What could be a convoluted jumble is instead a beautifully fashioned collection of sounds that flow and shift from the ornate qualities of “When It Grows Darkest” to the stark piano and voice of “The Meadow”; one that drifts with the pensive, thought provoking vibe of a foreign film or the undulating of the ocean tide.

He beefs things and takes a full-band approach on Big Bad Luv, which contains almost as many hooks as it does Moreland’s hard-earned kernels of truth.

As an album, Valtari might not be the band's masterwork, but it very well could be their re-birth.

Short but potent and powerful set.

Arguably his reach sometimes exceeds his grasp. But with the captivating For Their Love he’s using all the musical and production tools in his artistic arsenal to expand his band’s approach into an album as compelling and transformational as any you’ll experience in contemporary music.

Taken as a whole, the Let It Be box is an essential addition to any collector’s library, a collection that documents a critical time in the final stages of the Beatles’ existence. Few albums were accompanied by such sad circumstances, but now, visited anew, the joy and jubilation are evident after all.

Another in a series of endearingly quirky albums from one of Americana’s most intriguing and unconventional artists.

LaVette is clearly in her element throughout, delivering Bramblett’s words with as much emotion as anyone could squeeze out of them. Producer Jordan supports her with a band of pros that never upstages the star. Call it a win-win for the writer and singer, spotlighting the talents of both, with this thrilling, often electrifying work.

While there is an aural sameness that occasionally feels repetitious, the material is so exquisitely composed, effortlessly recorded and emotionally sung, this isn’t a major shortcoming for an album that gets more impressive each time you hear it.

Ultimately, Local Valley becomes a place where melody and mystique are woven well in tandem and relentless reflection gives way to a sense of clarity and comfort. Be assured the depth of devotion is never in doubt.

It's mood music with a melody, orchestral pop without the pomp, midwest Americana with Euro-classical training. And despite the title, it's far from broken.

Sure sounds a bit like a certain New Jersey rocker who was born to run and also tackled the topic of the workingman's plight, both before and after he made it big. Take that example to heart, Sam Roberts Band. Tycoon and rebel? If you do it right, you can be both.

It’s another remarkably strong and mature entry in a sturdy body of work that hasn’t shown any missteps yet.

A full band backs the twosome and while this might seem like an unusual pairing on paper, the result is an alternatively sweet, touching, rousing and undeniably heartfelt set that plays to both artist’s strengths while pushing each slightly outside their comfort zone.

Those who believe the singer’s best work is behind him will rethink that after one spin of the impressive Apache, an album--significantly the first on his own label--that ranks with the finest in Neville’s storied career.

A handful of high profile ringers (Beck, Beth Orton, the Cure's Robert Smith, Phil Collins, Snow Patrol) join less recognizable names interpreting Martyn songs in versions that will hopefully encourage listeners unfamiliar with his work to seek out his bulging catalog of inspired originals.

With newly remastered sound and a second disc of worthwhile rarities including live tracks, remixes, B-sides and the like, even fans would do well to take the plunge on this refurbished, expanded reissue of an album that Frame, despite multiple later attempts both under the Aztec Camera moniker and later his own name, never could build a career on.

Songs to Play may not be as incandescent and life affirming as the best of the wonderful Go-Betweens but at times it gets close, which is high praise indeed.

Storm Damage is generally a difficult scenario to weather, in more ways than one. Happily then, Ben Watt proves he’s got the desire and determination to see the situation through.

An illuminating effort in absolutely every regard, Nothing Lasts Forever is easily one of the most memorable musical encounters you’ll hear this year.

Clapton never sounds clichéd, artificial or forced as he delivers this material with low key charisma and a laid back exuberance that’s charming and inspired.

Stories Don’t End is still a step forward, if only for the moments of off-the-cuff brilliance that result from all the ambitious effort.

Somehow simultaneously edgy yet soothing, these songs may not display the type of unbridled, jagged joy that these members’ main bands provide, but there is depth and complexity here, inviting immersive exploration.

The entire set is as classy, often self-indulgent and challenging as the man himself.

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.

Perhaps a better balance of rockers and reflective selections might have made this stronger and more diverse. But those who shied away from Wynonna’s slicker commercial heyday will find this direct, collective style a refreshing transformation for the better. For the rest of us, it’s yet additional proof of her tough/tender, sassy/sensitive vocal prowess and arguably the finest release of her extensive career.

Existing fans will rightfully be thrilled that Hitchcock not only hasn’t lost his edge, but has sharpened his knives on this superb set.

Between the quality of the songs (five written or co-penned by Raitt, an unusually high number), the relaxed yet taut performances and Bonnie’s characteristic smooth whisky drawl, the appropriately titled Dig In Deep is another distinguished and near perfect entry into a classy, bulging catalog that has seen few missteps.