The slower songs—“Stranger Things,” “Goodbye Mary,” “The First Time I Fell In Love,” “More Like a River,” and the aforementioned “When My Race Is Run” in particular—assure an emotional essence remains intact throughout. Taken in tandem, then, this City of Gold shines bright indeed.

There are a lot of songs here, and it overwhelms in one sitting, but even in small pieces, it’s clear that Tweedy takes home the songwriting ribbon at the father-son picnic.

So far, Jepsen has us in the palm of her hand. Every song, every beat, every intonation has been sublimely chosen.

The songs that stand out here are the ones that have the most authentic feel.

If you’re already a fan of Banhart’s recent work, this slots firmly into that leisurely, often lovely vibe. He has shifted away from the quirky “freak folk” of his early years into something just as odd, even subversive, around its edges, but far more relaxed and enjoyable.

Ultimately, the album's roomy sound and well-observed sentiments come across as byproducts of lived experience rather than of an extensive vinyl collection.

Give this West Coast quartet credit for honing its sound on this, the group’s third album.

His latest album isn’t a pop masterpiece, but that doesn’t mean that there aren’t a few enjoyable tunes that even non-fans should be able to find themselves hitting the rewind button a time or two.

Earthling suggests Vedder can remain earthbound after all. Figure it’s his best yet.

The warmth Nail musters vocally is matched by the pairing of production big and bright enough for radio with performances that feel unmistakably like the work of real, live musicians with personalities.

Ultimately, Our Two Skins is an album that begs closer examination to fully flesh out those deeper designs.

While this album encompasses only a fraction of the total trajectory, it’s a fascinating glimpse at his his seminal sound. In that regard, The Width of a Circle is expansive indeed.

By smartly abandoning the hip-hop and indie rock impulses that have appeared on, and arguably watered down, previous NMAS releases, the brothers Dickinson focus on what they do best; grind out muddy boogie with the pulsating, sweat soaked intensity of those that originated the rustic music they clearly love.

This is raw, honest Americana featuring a punky edge that connects due to the power and passion it’s played with and inspired by.

Every Loser is commanding, powerful, and above all fun, proving that Pop has plenty of gas left in his aging tank.

This is another in a seemingly endless streak of quality albums from Richard Thompson, a journeyman artist in the homestretch of his long career, whose best years never seem to be behind him.

The sparse production rightly focuses on the vocals with a backing band that's in the pocket yet appropriately reserved.

Despite its many highlights though, it nonetheless falls short of accomplishing its goal with a performance that is highly professional, yet generally too measured and safe.

This album delivers pop at its most intelligent and affecting, stuff that, in a cooler world, would be beaming out of radios everywhere.

It’s miles from the bluesy/folk/country you might expect from a band with “Texas” or even “gentlemen” in its name. But proceed into Floor It!!! with an open mind and find plenty to enjoy.

Admirable though the attempt may be, I’ll Be Your Mirror too often misses its mark.

Without stronger, more diverse material, the whole frustratingly becomes less than the sum of its parts. Notwithstanding its good intentions, Sage Motel doesn’t resonate as forcefully as it should, especially in light of the amount of work clearly instilled into its creation.

Given its rallying refrains and carefully considered sentiment, Peace…Like A River easily ranks as Gov’t Mule’s most moving effort yet. This River flows courtesy of soul, sentiment, passion, and purpose.

For their part, the band is spotless. The majority of the record adheres to the lilting and forlorn brand of country that one might expect from an album called Invariable Heartache.

The good news is, it all works.

In the here and now, with Jump Rope Gazers, they are bounding past their contemporaries.

All told this a classy and worthy addition to your “Elvis, the later years” collection.

Olsen locates every last ounce of heartache within the song’s tale of someone who’s trapped between wanderlust and homesickness. If these are the leftovers, it’s fun to imagine how tasty Angel Olsen’s next main course will be.