Perhaps the input of a full band or an outside producer would have curtailed some of Scott’s more impulsive, if well-meaning, tendencies and made this a more cohesive experience. They may not work, but give him credit for trying.

Not everything clicks—the lazy Latin shuffle “Del Rio You’re Making Me Cry” edges too close to Jimmy Buffett territory—but there’s enough that works to make this an effective posthumous effort that even perfectionist White would have been proud of.

Ultimately, A Colossal Waste of Light takes Eyelids several steps further in terms of heft and gravitas, sharing the sense that they need not rely on hype or headlines to garner the attention they so decidedly deserve at this juncture.

He continues his streak as one of this country’s most prolific and talented players, singers, and songwriters in an inimitable “electric swamp funkin’ blues” genre he pretty much owns.

Before Arrow, I thought I liked this band; I thought I liked them a lot, even. Having seen this new side, though, a better word would be "love."

Even if there isn’t much meat here and the concepts are obtuse at best, the oddly titled Enderness (the beginning “T” is conspicuously, and intentionally, missing), taps into an enticing, low-key vibe that’s just as satisfying and far more personal.

Despite the ominous lyrical content, Nadler creates music with warmth, grace and genuine humility.

Archive Series, Vol. 1 is a collection of 16 pop prayers and private whispers that offer a striking alternate version of Iron & Wine’s mythic inaugural release.

Even if Joe Jackson is no longer the mega-star of the ‘80s, it’s clear from the consistently innovative, often challenging Fool that he is far from a faded has-been. On the contrary, it’s good enough to suggest his best might still be ahead of him.

Here they keep the songs lean, tough and relatively compact, reigning in Trucks’ more expansive slide tendencies in favor of nailing tight, tough arrangements featuring Tedeschi’s gutsy vocals.

Needless to say, Still Woman Enough is all one might expect of a concept collection like this, and it should be obvious at the outset that there’s a remarkable wealth of material to be had here. Fans will, of course, be throughly delighted, as well they should be. And newcomers, if there are any at this point, will marvel at this able expression of country craft and creativity. Suffice it to say, the title says it all.

While the result doesn't justify the buildup, there is no doubt that frontwoman Brittany Howard is a major talent.

There are moments enough to both hoist your beer and shed a lonesome teardrop throughout Miracle Temple, an album that’s overflowing with both emotion and beauty.

Aside from his forays into electronic music, Mould is dabbling a little bit here in the sounds found throughout his career. Many of Beauty & Ruin’s tracks have a poppy tinge that’s more reminiscent of Mould’s 1990s band Sugar.

We’re treated to a combination of short, instrumental segments and lyrically-driven, radical, long jams that sound familiar, yet unpredictable enough to demand further listening

These songs are as trippy, wonderfully produced and well-written as anything in his catalog.

Circuital sounds like a reaction to the extravagances of its predecessor. My Morning Jacket tamper their more evil urges and settle back into being a solid rock band.

Existing fans will take this in stride since it’s cut from a dense cloth that Dulli has been stitching for the majority of his nearly 30 year career. They will find plenty here to pore over and try to untangle. Newcomers may scratch their collective heads yet still appreciate Dulli’s unconventional, minor key songwriting, distinctive vocals and playing that, even with guests on every track, comes primarily from his mind and hands.

Established fans will appreciate the trip back in time and perhaps acquire new respect for the more obscure tracks such as “Persuasion.” But those new to Richard Thompson are just as likely to relish these terrific songs played and sung by a master still at the top of his game and wise enough to realize he actually can improve on the originals.

His unique pop prosody and production skills, more sophisticated than ever in Pony, foretell that his sound will continue progressing to new creative heights, with the heft of catchy pop music and the inventiveness of its growing indie subgenre.

The material is consistently strong, thanks in large part to her ability to integrate her originals with a well-chosen collection of covers. And while she doesn’t feel the need to lean on standards, the material does have meaning.

The album’s eclectic nature never feels random. Rather, it highlight’s Foster’s natural inclusive qualities and showcases an artist who, nearly two decades into her recording career, has refined and elaborated her vision of empowered redemption, both of which are in full flight on the superb Joy Comes Back.

Tape Deck Heart [is] the kind of album that doesn’t just tell us what it feels like to have your heart cut out, it practically puts us on the operating table during the surgery – which, of course, happens before the anesthesia kicks in. And he does it so well, we willingly bleed right along with him.

Despite a half decade of keeping relatively quiet, Orton has emerged with a fresh approach, and a batch of songs both intricately gorgeous and, more importantly, a hearty distance from familiar.

Downhill from Here is well attuned to that template, flush with troubled tones and unyielding urgency. Whether rocking or reflective, the sound is well served by many of the same session players that have played with him in the past—bassist Bob Glaub, guitarist Val McCallum and pedal steel player Greg Leisz chief among them. Several women share the singing, altering the dynamic but not the intention.

It’s an all killer-no filler set that’s the culmination of everything Nick Waterhouse has accomplished for the past nine years. He might have plenty bugging him, but with soul music this joyous and exuberant, you’ll be too busy riding the groove to care.

It has a silky-smooth sheen about it, but there’s an earthy, analog vibe that keeps its songs grounded, and more importantly, makes them sound absolutely sublime, no matter how ornate or ethereal.

Middle Brother is a prediction of great things to come. It's a promise that a new generation of songwriters is rising up to carry and brilliantly build on the tradition.