It may not have a story of a lost classic, but it has the music of a freshly discovered treasure.

The Warren Haynes fronted quartet’s first studio album in four years and its Blue Note label debut is a typically gritty eleven song set of gutsy Southern blues rock.

There aren’t many hooks to latch onto, his emotional tenor is difficult to gauge, and although his four-piece band works hard to vary its sonic palette, no amount of electronic drums, thickly-layered synths, Spanish guitars and theremins can cover a humdrum set of songs.

[Kevin Barnes] sounds like he’s gotten more comfortable here, and while that doesn’t always make for the best music, in the case of Of Montreal, it resulted in one of their best.

Teeming with melodic hooks and reflective lyrics, Too Weird to Live, Too Rare to Die! is both hypnotic (the lingering closer “The End of All Things”) and beguiling (Far Too Young to Die” and second single “This Is Gospel”).

While this is still a typical Alan Jackson album in many ways, it’s a fine bluegrass album, and a good primer for those who aren’t all that familiar with what bluegrass is supposed to be.

It’s the sound of a knowing band reveling in what it does best. B-Room, which combines the scrappiness of the band’s earliest records with a matured sense of songcraft, is sure to please longtime Dr. Dog fans.

From the album’s clunky title which is simply a list of all 13 tracks with no punctuation, to its incessant use of a brittle, dated drum machine (could Doughty not afford to hire a live drummer with the money he raised from fans to finance this?), most of this feels calculated, deliberate and stiff.

It’s a logical extension of their earlier work that’s easier on the ears without watering down the inherent craftiness of the vibe or, even worse, selling out.

It may have taken a while for The Bones Of What You Believe to arrive, but it more than meets the standards of all the tantalizing sneak previews.

In the hands of a wannabe, the aforementioned songs might sound somewhat cloying, but given Young’s rugged vocals and apparent reservoir of conviction, the emotions ring true.

The Diving Board proves that Elton John is on the right musical path once again, sounding so energized by the familiar trappings that a career renaissance, which seemed a long shot a few years back, now seems thrillingly possible.

Even if they may sound dated, there’s a reason these tunes are collectively considered as additions to The Great American Songbook.

By design, Mechanical Bull was made for fun, and in that spirit, they succeeded.

Competent though they are, the band’s experiments stretch cohesion to its limits, and Spreading Rumours consequently feels like a collection of singles rather than an album-length statement.

Wise Up Ghost is a fearless, invigorating gut-punch of a record, one that never settles and surprises from start to finish.

Lissie’s latest record, one the year’s most consistent, sprightly indie-pop albums, is a well-rounded introduction to the young singer.

By smartly abandoning the hip-hop and indie rock impulses that have appeared on, and arguably watered down, previous NMAS releases, the brothers Dickinson focus on what they do best; grind out muddy boogie with the pulsating, sweat soaked intensity of those that originated the rustic music they clearly love.

In its strongest moments--though there are no real weak moments to speak of--Dream River presents a compelling, gorgeous sonic world in which to get blissfully lost.

There’s no dancing allowed but anyone looking for a calm come-down after a night at the clubs, London Grammar speaks your language.

All told this a classy and worthy addition to your “Elvis, the later years” collection.

The album is at its best when it sticks to the timeless stuff about love and loss.

While it doesn’t include some of his best post-jail efforts, the set documents the beginning of one of the greatest second acts in rock history.

Bergquist is in wonderfully relaxed voice and the open production by Joe Henry allows her vocals--a mix of Sheryl Crow, Rickie Lee Jones and even Billie Holiday at times--plenty of room to explore the bucolic shadows and light of the material.

It’s Okkervil River’s most mature album yet--coming after six previous records that were already fully formed.

This is a mammoth and comprehensive overview of one of the major musicians of our time and as such, is essential listening for all enthusiasts of funk, soul and rock.

Stills’ vocal limitations, brought on through age and hearing loss, are well known by now. But in this looser environment they are almost an asset as he spits out lyrics with joyful abandon.

Bob Dylan may have gone to drastic lengths with his music to achieve the simple pleasures he sought. Those willing to accept simple pleasures in return will find plenty to like on Another Self Portrait. It’s a collection that shows that Dylan may not have been painting masterpieces in 1970, but he was still delivering colorful miniatures.