Despite the downbeat album title, Johnson has crafted winning, uplifting music that’s inspirational, even rousing, under any name.

For a long time now, Radiohead has been achieving mesmerizing results by blazing the trail for synthetic sounds in rock and roll. But it’s the humanity, oh, the humanity, that makes A Moon Shaped Pool so moving.

Lyrically, the concepts are obtuse and diffuse, but with all the effort Little Scream and co-producer/multi-instrumentalist Richard Reed put into the soundscape, it’s likely there are some intriguing concepts here, if you can untangle them.

Nothing here hasn’t been done many times before, and much better, by either the original artists (do we need a shockingly feeble-voiced Willie Nelson dueting with Lauper on his “Night Life”?) or others closer to the country aesthetic.

Not all of Hope Six is mired in dissonance. Harvey frequently returns to the well of pop music, but the irony of wrapping a grim lyrical message in upbeat music is that those uncomfortable truths become that much harder to overlook.

While Luck or Magic isn’t a major transformation for Britta Phillips, it’s never less than an enjoyable listen. It also reaffirms her substantial if low key vocals and displays a vision as essential to the Dean & Britta albums as her higher profile husband.

Like most of Doe’s solo work, this one grows on you.

As often as White Hot Moon feels like a diary entry recitation, its real catharsis is in the sheer acts of volume that back up Drake and Greaves’ lyrics.

With or without Olson, the Jayhawks remain one of the lynchpins of Americana, a position they proudly solidify on the impressive Paging Mr. Proust.

The lack of the Spector-ish sound, while understandable--Ronnie’s marriage to Phil was legendarily troubled--along with material that is far more powerful and enjoyable in its original form, makes this an experiment that fails on most levels, in particular from Scott Jacoby’s ill-fitting production and sonic approach.

With any luck, he’ll have plenty more gas in his tank to release albums as rugged, diverse and memorable as this in the foreseeable future.

Ultimately, it takes a real curmudgeon to dislike this often enchanting, rosy-cheeked, harmony laden alliance, even if you wish it was better. It also does little to display the vocal talents of Kelly Jones who has a handful of terrific albums under her own name but whose own style gets lost here.

Love Letter for Fire shows what can happen when two near-strangers explore each other’s deepest emotions and private pains in song: They may still ultimately remain strangers, but they’ve created something profound in the process.

Not only is this a treat for longtime fans, but hopefully a sign for others to take Harper’s lead, creating relevant, incisive songs that are lyrically, musically and philosophically as inspirational and provocative as those here.

Robbie Fulks at 53 might be a kinder, gentler version of the rascal of old, but one who has perfected balancing touching, reflective ruminations and a sardonic outlook with effortless aplomb.

If these results reflecting about two years of work in Rhodes’ home studio with producer Chris Price don’t quite capture the vibrancy of his earlier work, they are close enough not to disappoint those who stuck around waiting for them.

There may not be many moments here that couldn’t have been included on his other two albums, but when an artist finds his pocket and groove as perfectly as Bradley has, that’s an insignificant detail.

Bang Zoom... is everything anyone would want from the Rock and Roll Hall of Famers at this late stage, and likely far more than even their staunchest fans expected.

These are some of the most musical and enjoyable tunes of his more than 20-year career; one that has found him shifting styles without abandoning a dedication to compelling words matched by intriguing songs that never take his audience for granted.

At only 36 minutes, it’ll leave you wanting more, convinced that Parker’s previous set was no fluke and that his career as an electrifying singer-songwriter has just begun.

The tunes here aren’t necessarily in a class with some of the material Bonamassa has recorded in past years, songs by blues giants like Willie Dixon or writers like John Hiatt and Tom Waits. But they suit the artist perfectly.

On Weighted Mind she showcases her obvious instrumental talents while displaying a newfound attention to reflective, beautifully conceived songwriting.

Jurado manages to fill Visions Of Us On The Land full of musical surprises, but the unfettered emotion that sneaks in toward the end is the most welcome surprise of all.

An album of songs built to linger and last.

These songs may take a few spins to connect and early fans of La Sera may need to open up to accept the revised style. But most will appreciate Wisenbaker’s higher profile input and Goodman’s ability to remain distinctive in the La Sera guise while maintaining the music’s chameleonic qualities and urging it forward in her still dreamy fashion.

Those willing to take the plunge will be rewarded with one of the more challenging major label efforts released this year.

As both a comeback and perhaps a farewell to recording, with Full Circle Lynn continues with the style, talent and class that have personified her lengthy, legendary career.

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.