This cohesiveness is the very thing that was lacking from previous efforts, and ultimately dulled their impact. Kudos to the Casadys for finally accenting their highly inventive songwriting in a unified manner.

Nick Lowe continues to age gracefully and for those still yearning for the Basher of yesteryear, there's always the Labour of Lust reissue that came out earlier this year.

The pair deserve credit for an adventurous attitude and for not allowing their reverence to deter their intents. These are, after all, interpretations, and in any such circumstance, creativity counts. Granted, it’s an unorthodox tack for a tribute, but it’s one that still resonates well.

A dozen effusive offerings that show off both their talent and tenacity. The tones and tempos vary from song to song, but nearly all provide an upbeat delivery that grabs the listener straight out of the gate with nothing less than an instant impression.

The combination of the macabre subject matter and the celebratory music feels akin to last spring’s Pile, an album by Houston, Texas’ A Giant Dog. But where that band explodes with party-friendly garage rock, Shovels & Rope let things sizzle a little bit longer.

They just make music that pleases them and in doing that also created one of the most adventurous, least predictable albums of the year.

Happy Ending sounds like a bunch of top notch, jittery Squeeze songs dialed down just a notch.

Nile delivers one of his finest and most passionate projects with American Ride.

Feat stomp and strum their way through a pretty good batch of new tunes that capture the band's distinctive musical gumbo but aren't exactly classics.

Those who wanted a well-rounded musical summation of Russell’s oeuvre instead of this highly stylized set of romantic musings might be disappointed, but this is the album he wanted to leave as his legacy. As such, it’s a significant, often impressive work from one of rock and roll’s true icons who has chosen a unique and, to many, surprisingly starry-eyed way to say goodbye.

Filthy Friends invites you to their party that pounds out a rugged, lived-in and honest rocking sound, delivered by a bunch of rock and roll lifers with nothing to prove who are clearly in this for the camaraderie and the music.

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.

As much as Broken Social Scene's identity is wrapped up in it's concept as a collective, their most transcendent moments are not their speedy grandiose party anthems but are instead the small soft details like the band setting into a slow almost improvisational groove in "Sweetest Kill" or the hushed vocals of Emily Haines, Leslie Feist and Amy Millan singing in poignant unison on "Sentimental X's."

For anyone expecting a stark left-turn from the songwriter, What It Is will be a let-down. But the record’s greatest strength is also what makes it predictable: as Carll settles into the warm consistency and careful craft of middle-career, he’s less interested in proving who he is than in refining what he does best.

Datura4 should pump up the volume at any party whose participants are either over 60 or just love the music of the era known for black lights, skin tight trousers, beards and waist long hair.

Citizen Kane Jr. Blues finds Young back in a solo setting, and while some of the performances initially seem rather tentative, he comes through with unfailing effort and determination.

These performances could have come from an old Folkways album. Colter Wall captures a long-forgotten time and place, keeping the cowboy folklore alive by reminding us that poignant songs sung by a superb singer will never sound outdated.

The duo has a knack for affecting turns of phrases such as that, which helps offset the lack of finite details to ground the songs on Monterey.

Vetiver's latest record, The Errant Charm, is certainly more folk than freak.

Despite the distinct musical talents involved, Together is surprisingly as its name suggests--cohesive.

The disc is like the best jukebox you ever heard in a sleazy, punky country bar, perhaps like the broken down Seeburg pictured on the back sleeve. Plunk down your quarter and wherever the needle falls, you’ll end up on the dance floor.

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.

The punchy songs and spontaneous performances are contagious in their jittery energy.

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.

Though some longtime fans may feel as though some of the imperfections that adorned Toledo’s original DIY bedroom release are lost in translation in this gorgeously polished release, in its new iteration Twin Fantasy is a deeply moving statement from one of indie rock’s freshest young voices.

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

These songs, masterfully written and delivered with obvious passion from one of America’s most veteran and idiosyncratic composers, show that Crosby is perhaps getting better with age and seems confident in his abilities as a singer and songwriter still willing to take chances.

As enjoyable as the album may be, this band needs an audience of excited, cheering fans to transform these songs from 1s and 0s into transcendent experiences.