Like the most powerful of drugs, it will initially make you feel queasy. But once that passes, there’s a tangible bliss to be had... it’s the stuff addictions are made of.

This is not to say that this golden anniversary collection doesn’t do a perfectly respectable job. .... But with only one album of original material since the compilation in 2000, and a startling lack of liner notes in the 23-page booklet (the previous one boasted a book twice as long and far more comprehensive), there is little reason for this to exist other than to rake in some bucks by repackaging content any fan already has or for whoever doesn’t already own this material.

Credit Taylor and his colleagues —Alex Bingham (bass, vocals, mellotron), Chris Boerner (guitars, synth), Nick Flak (drums, percussion), and Sam Fributh (keys, vocals)—for executing an effort that can easily be considered another major achievement for this ever-consistent combo.

The Deslondes provide a thrilling, original blend of American music that can’t be found anywhere else.

While Welcome 2 Club XIII has been described by the band itself as autobiographical in nature, it still manages to retain the populist appeal that drove those earlier efforts.

Let’s Dance is the highlight of this 11- disc compilation which finds Bowie moving from that high point to some of his most unsatisfactory, misguided, uninspired and at times even embarrassing music (the ear-wincing Mick Jagger duet on “Dancing in the Streets,” anyone?). ... Two more discs of 1987’s Glass Spider tour with Peter Frampton on guitar document a successful jaunt where Bowie rescued some of the newer material in a flashy, elaborate, well received live show. A Dance platter of extended 12 mixes included here is for diehards only and the fourth volume of Re: Call collects another two platters of rarities, single edits, hard to find live tracks and the like.

Some of his best observations get lost in the full-throttle approach of songs like "Ecce Homo" and "Still Life With A Hot Deuce And Silver Platter." It isn't until the album's second half that pace slows, some open spaces appear in the music, and Stickles' rants come into clearer focus.

As usual, Petty makes it seem easy. And with help from his fellow Mudcrutchers, the unassumingly titled 2 is proof that even Tom Petty’s modest side projects are better and more compelling than many acts at their best.

If there's more of this stuff in Pearl Jam's vault, here's to hoping the guys sticks around long enough for Pearl Jam Thirty.

It's beautifully conceived, timeless music perfect for pity parties, languid Sunday mornings or times when introspection doesn't need to mean wallowing in sorrow.

This is as authentic as anything out of Nashville or Texas, elevated with terrific backing musicians who have supported such US loving Brits as Nick Lowe, Elvis Costello and Graham Parker.

Give ‘em credit for self-composing every track on this initial fist to the face offering even if there isn’t much originality to the sound. There is however sufficient raw blues and restraint in rugged ballads such as “No Good” and “Old Ways” to throw Joplin in as a logical touch point.

Don’t slot these guys into an Everly Brothers pigeonhole because not only is no one else releasing music like this, but the refined songwriting and flawless performances push these tunes into near classic territory.

The retro countrypolitan and rawer, roots elements that informed Lane’s previous Dan Auerbach-produced All or Nothin’ have been sanded down slightly on this follow-up.

It’s certainly one you’ll replay multiple times to appreciate the intricate sonic structure and imbibe Whitehorse’s often oblique wordplay with a sure sense of a hyphenated musical mixture that is elusively familiar and wildly idiosyncratic.

Musically, the occasional horns, a fuller production, and a more structured overall approach makes this eighth release the tightest, most focused Felice Brothers album yet.

The sparse solo acoustic “Be Easy” closes out the stunning Desert Dove, a splendid album that nimbly navigates footing on the tricky balancing act between Michaela Anne’s stellar performance, her striking material and superb production.

Magical, mystifying and flush with finesse, it’s easily Jurado’s most enticing effort yet.

This flawlessly conceived follow-up draws from many of the same influences yet broadens her boundaries. It’s every bit as potent and expertly arranged, putting it in play as an early contender for one of 2020’s finest albums.

Even completists might quibble with the fact that several of these bonus tracks appear to overlap those on the previous edition. The fact that two additional covers are included — a loose cover of “Money,” expanded from the 40th anniversary extra, and an extended read of “Rock Me Baby,” each well in keeping with the blues motif that encompassed the album overall — may be cause for persuasion, although certainly not on their own

There aren’t many musicians of Mayall’s advanced years still recording new music and fewer still sounding this energetic and dynamic. It’s not his finest work, but fans won’t come away disappointed either.

His quality control remains in place though which makes No More Worlds to Conquer another absorbing, if maybe not essential, entry into a bulging catalog that has remarkably few missteps.

Nothing breaks four minutes with each selection displaying not just catchy, crisp hooks but production (by him) that captures these songs with a sneaky sheen and rather slick polish. He is most convincing though when the music shifts towards a tougher gospel/swamp vibe as on the self-referential “Take a Long Hard Look.”

The one-woman production preserves Lynne’s style yet dials down the theatrics to not quite garage band levels, making it one of the most successful outings in her ongoing covers project series.

Expressed from a first person point of view, the music comes across with a sense of unease, urgency and uncertainty, which, in turn, boosts both interest and intrigue. Clearly, The Hold Steady are intent on burrowing below the surface in their pursuit of principle and propriety.

No one makes music quite like this pair. If Frank Zappa took drugs, this might be the result. The more you listen, the more you hear and if ever there was an album perfect for listening with headphones and the lights out, this is it.

his is not the album to play when trimming your tree, unless your family is as dysfunctional as the characters that populate most of these songs. But it’s one that will resonate for months after the last present is unwrapped.

An album of songs built to linger and last.