Rather than an uninspiring photo copy of the previous collaborations, the fourth go-round of this feisty association shows that it’s getting better and tougher, whetting our appetite for the next iteration.

While the dizzying array of sounds The Limiñanas fuse into their splendidly unique final product might make it seem like the mess you get throwing these against the wall, it works unusually well. And at a relatively compact 40 minutes, you’ll find yourself wanting more of wherever this came from.

First Aid Kit’s latest may be a slightly more conservative gesture than their last record, but it synthesizes their many musical strains more fully than ever before.

The songs are terrific, East sells them with his gritty, committed vocals and Encore is poised to push the talented singer-songwriter over the top and into the mainstream.

The details in Childers’ intricate character descriptions make this one of the finest releases of the year and an impressive introduction to a talented newcomer with striking lyrical and musical talent.

The music’s not raw enough to be considered outlaw but it’s melodic, sharply arranged and driven by passion. That balance makes the Turnpike Troubadours both one of Americana’s preeminent purveyors and this album arguably their most accomplished set to date.

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.

The Visitor, his collaboration with Promise Of The Real, is broad and all-encompassing. If there is one unifying factor, it’s that the subject matter can be roughly described as Young’s unflinching look at the state of the world, in all its abject beauty and squandered promise. Don’t call it a comeback, but damn if it doesn’t feel like one.

It’s overwhelming proof, if anyone needed it, that Noel Gallagher’s best days aren’t behind him. If Who Built the Moon is any indication, the high flying British icon may just be getting started.

You may wish the songs were a little tougher (the Wilco frontman might have spread himself too thin writing the entire album), but Tweedy’s words preach without sounding overly preachy. The backing musicians effortlessly find a funky/soulful groove and even at low boil, Mavis Staples remains a force of nature.

It’s not just a rousing bookend to a remarkable, late-starting career, but a terrific and moving soul explosion that stands as one of the finest in her limited yet extraordinary catalog.

Not many albums still stop you in your tracks after 25 years of listening. This one does. It’s a pure masterpiece, from beginning to end.

Olsen locates every last ounce of heartache within the song’s tale of someone who’s trapped between wanderlust and homesickness. If these are the leftovers, it’s fun to imagine how tasty Angel Olsen’s next main course will be.

Womack is in terrific voice throughout, the songs--including her co-writes--are top notch and with Lidell’s sympathetic backing and production, it’s hard to imagine how anything could be improved. It’s a late-breaking short list nominee for 2017’s album of the year.

The album is far more interesting when Clark is more introspective, pleading “please don’t hang up yet” on the gorgeous “Hang On Me,” or simply showcasing her noisiest guitar riffs on “Young Lover.”

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.

The beauty of Vile and Barnett being on such similar wavelengths is that each song would work just fine for either artist individually, but combined, their talents--particularly their vocal harmonies--often amount to a whole greater than the sum of its parts.

Plant continues down his remarkably innovative path on the combustible Carry Fire, further expanding an already eclectic, forward-thinking solo career and creating an artistic, often edgy persona largely removed from past glories many younger fans may not even be familiar with.

At times this slick party vibe sounds like Hall & Oates at their least soulful, which is to say the music has an inevitability to it that initially feels fresh, but starts to wear thin when it’s clear the entire album is cut from the same glitzy cloth.

The 74-year-old King looks and sounds great. ... This is a lively celebratory concert, enhanced with historic photos flashed on a backing screen, by a legendary artist who takes, and clearly deserves, her victory lap.

The performance careens from tight, frantic and professional to shambling, erratic and wobbly... basically your typical Replacements show. In that respect, this is historically important since it finds the group at arguably their most incisive and edgy.

Rose found a musical soulmate in Malo to help realize that sound in the studio. But even though he has helmed and guided her, this is her singular vision. And with two terrific worldwide releases to her name, she’s just getting started.

The revised sound and songwriting on Undivided Heart & Soul isn’t an extreme enough alteration to alienate existing McPherson fans, but it results in his finest set yet and signals that he’s pushing boundaries and staying fresh in a business that doesn’t embrace change.

The backstory leading to Sorry is Gone may not be the type you’d wish on anyone, but in the hands of Jessica Lea Mayfield, it has resulted in compelling art.

This is a master class on how to create a re-issue that covers and expands upon essential and ultimately timeless music made by one of rock’s true icons. It’s the final word on arguably Bowie’s most experimental years and an important historical document presented with boldness, integrity and dignity, all elements reflected in the artist’s work and ever evolving art.

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.

Even though their vocals aren’t always suited to each other, this set of mostly covers (some previously recorded by the participants), works relatively well, as long as you’re not expecting too much.

Boy in a Well remains a missed opportunity for The Yawpers to raise their lyrical game, one that could easily have been rectified with more attention to packaging and explanatory details that are mysteriously and frustratingly MIA.