Even as her world expands, and her style shifts along with it, Brandy Clark keeps her feet grounded in the here and now. Her songwriting is only getting better.

His obvious joy and dedication to this classic approach is contagious and the secret sauce that makes Hunter’s seventh release arguably his finest.

Even at their most carefree and explorative, these tracks are tight, well crafted, and time conscious.

There’s a maturity and self-assurance on the appropriately titled Expectations that’s remarkable, especially for an artist’s initial release.

Once you get past the at times overwhelming sweetening added to make Cooke more palatable to a larger audience, you’ll be hypnotized by the singer’s creative phrasing, timing and sure sense of dynamics. Previously unheard selections, along with stereo and mono mixes, make this an essential item for the Cooke collector. And because these songs are from the once lost original tapes, this music has never sounded fresher or more alive.

While some may complain about the ballad vibe that envelopes most of these ten tunes, there’s no doubt that The Secret Sisters, and their famed production and musical support team, have tapped into a well, secret sauce that makes this beautifully conceived, often introspective but never insular rootsy folk and pop so unique and immediately likeable.

With the powerful That’s What I Heard, he and Jordan still find ways to broaden, expand and magnify that template without breaking it. Established fans will rejoice in the sheer exuberance, professionalism and variety displayed here. But even those who may have dismissed Cray over the past decade should jump back in and enjoy the ride.

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.

To say the results probably exceeded anyone’s expectations is an understatement.

Arguably her finest, most explosive release.

With Say Nothing the band takes enough steps to both developing their lyrical content and staying musically contemporary to please hard rock fans who weren’t born when their debut was released and may have no idea who Ted Bundy, or even Nickelback, is.

The Lone Bellow stands as one of the most consistent bands of the last 20 years. Across Half Moon Light, the trio ventures outside their usual musical box, alongside producer Dessner (the man behind 2015’s Then Came the Morning), to provide richer, poppier, and bolder textures. Yet it is never at the expense of their lyrical bite.

For Zappa obsessives, and you know who you are, it’s impossible to imagine a more thorough and exhaustive (maybe exhausting is a better word) examination of the artist and how his music was created—before the advent of digital technology– than this. Sit back, dig in and enjoy.

Nothing is rushed. Listeners should prepare to hunker down for 45 minutes to absorb the hypnotic and often mesmerizing U Kin B the Sun in a single, uninterrupted sitting where it hits the hardest.

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.

High Road is fun, frilly, and fanciful – and Kesha has more than earned this moment. It suits her.

The Unraveling is a perfect storm of anger, resentment, frustration and even glimmers of hope, wrapped in the sharp, terse musical invention we have come to expect from these veterans. In other words, it’s another classic Drive-By Truckers release.

This is classic folk that shimmers with a vitality and determination so hypnotic and cohesive, it seems like they wrote these selections themselves. And except for occasional passé references like “magpie’s nest,” “one evening fair,” and “by the roving of her eye,” there isn’t much dated about the gorgeous approach.

El Dorado is an inspiring and impressive work displaying another side of King’s talents, albeit one that he has shown glimpses of in the past. It’s certainly his most expressive and arguably finest recorded moment.

Ultimately, although ‘Like The River That Loves The Sea’ flows slowly towards its ultimate destination, it makes the journey worthwhile. The grace and beauty Shelley shows throughout gives reason for a celestial celebration.

A free yet fanciful spirit, Nilsson would likely be proud that his legacy lingers even now. A treasure waiting to be discovered, Losst and Founnd offers renewed reason for celebration.

After half a century, it’s clear that he still retains an eternal energy and enthusiasm. It’s little wonder then that this 50 Year Trip proves such an exhilarating journey at every stop along the way.

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.

The rawness of Holmes’ approach and the sheer down-home intensity of everything here may be too stark and unfiltered for most listeners. But thank Auerbach for capturing this most primal of blues music played with the loose, seemingly unrehearsed power and hypnotic force of what most will never experience unless they enter Holmes’ club on a sweaty Saturday night.

Duster have finally found their audience in 2019, and their self-titled album shows that the band still has a lot left up their sleeve.

These songs—either live or in the studio– maintain the power and magnetic, manic dynamism that turned heads nearly four decades ago and they have never sounded better.

It’s a lovingly assembled package and the last word on a once misunderstood but now acknowledged masterpiece.

Even if this is a stopgap release to buy time for writing new material, it’s a cool, fun and even informative set that’s as entertaining as the rest of the band’s work.