Through much of Till Midnight, Ragan is still kicking up dust and throwing down, and pretty much doing everything except buying into the stereotype of the mature, mellow troubadour.

Improved songwriting and assured ambition have turned them into formidable recording artists as well.

While the album is too long by at least four songs (Johnson has never been the best editor of his own material), he and his crew do well by Cochran.

While his 17 new songs don’t amount to a flawless masterpiece, they do paint a picture of a Post Malone who not only knows he needs to turn things around, but also intends to at any cost.

Mercyland: Hymns for the Rest of Us hits its stride once it takes an old-school turn courtesy of the Carolina Chocolate Drops, who kick up some serious string-band dust with a cover of the traditional gospel number "Lights In the Valley."

Whitmore might only occasionally let that rock ‘n’ roll animal out from time to time, but that scarcity--coupled with excellent pacing--is exactly what makes it so exciting.

Grace Potter's voice is the perfect compliment to the band's newly designed dual-guitar blitz.

This CD/DVD combo, recorded in September 2011, shows the 73-year-old Shaver still has plenty of gas left in his tank.

Versatile may ultimately be a minor addition to the Irish icon’s swollen catalog, yet it’s another example of Van Morrison’s inimitable flair as an interpreter and arranger. It’s hard to imagine spending over an hour with these 16 tunes and not coming away with an appreciative grin and an acknowledgement of the singer’s timeless talents.

This wasn’t a tremendously fertile period for the group. Yet based on the animated gig and some inspired moments, they still sounded vital, and capable of writing impressive new music, albeit inconsistently and largely without Brian’s input.

All in all, it’s a record that’s flush with reassurance and decidedly sedate circumstance.

He’s clearly infatuated with this raw sound and, like the Stones, at this late stage in his career, isn’t concerned with moving units or getting radio play. All of which speaks to the honesty and love of blues exuding from every track on this heartfelt tribute to the music that has always inspired Billy Gibbons’ best work.

As the track [Untitled] fades out and Eminem thanks the listener for coming out to the show, it's clear that if this effort is just the recovery, then the countdown to full rehabilitation begins now.

While it remains to be seen if any of these eleven tracks yields another legendary moment on the order of the ones Crowell has already penned, the organic Tarpaper Sky is a welcome reminder that at 63 he remains capable of releasing beautifully crafted music that can stand toe to toe with his best.

he talk-sings his way through the material, getting by on gusto more than singing talent. ... All that said, it’s an awful lot of fun. Wood and band are clearly enjoying themselves, pianist Waters — featured in two large photos in the booklet — shines throughout and the party vibe is contagious enough to make this a success not just as a tribute to Berry, but as a showcase for Wood, one of his most celebrated fans.

From The Black Dirt Sessions we get the sense that being painfully serious is more important than making stylistic progress.

Once you accept that Lana knows exactly what she's doing--that she, not Interscope Records or any of her co-producers, is the architect behind this R-rated retro-pop fantasy--then maybe you'll start loving her, too.

Marcus King isn’t pushing any boundaries on the leathery Young Blood, he doesn’t need to. His talents as songwriter, singer, and guitarist are skillfully displayed in these dozen roots rockers that any musician in this genre would be proud to have crafted with the energy, enthusiasm, and sheer professionalism he displays.

It may be startling news to fans who expected something more raw, more twangy or more of the same, but in this case, the startling news is that the new Tristen is startling good.

With its passionate embrace of multiple genres and sheer musicianship, Inheritance places the The Last Bison on the cusp of much bigger things.

Shaver’s deep, dusky, rugged voice is perfectly suited for this material.

Change in the Show is Kane’s fourth solo album to date, and, by and large, his most satisfying as well.

What Steve Earle and the Dukes make clear with Guy is that these songs are old friends as well, somehow truer and purer today than when they were written by one of the masters.

Neither has anything left to prove but the utter joy and comradery on display makes you hope this isn’t their final collaboration.

The songs are rich with relentless, complex instrumentation, the smooth, ethereal voice of Yannis Philippakas, and dubious lyrics about life.

The affecting, rugged, yet at times surprisingly sensitive Private Lives, the act’s most accomplished and immediate release yet.

Even if there is a sense that we’ve heard a lot of this before, People, Hell, And Angels is still a well-chosen and finely-presented collection that should not be blamed for that familiarity.

Grace sings with macho guts and Shape Shift With Me, with its provocative title and explicit, non PC cover art no major label would approve, continues the band’s string of powerfully uncompromising but surprisingly tuneful albums that make you think, but only if you’re not busy thrashing in the mosh pit.