This is a feel good album about terrible times.

Campbell is at the top of his game even at closing time. If there's no more to come then this is as good a spot as any to ring down the curtain.

It may not carry quite the swagger of Sweet Apple’s first album, but The Golden Age of Glitter still proves to be shiny indeed.

Sweeping and stirring in its emotional depth, Sing the Delta happily finds DeMent testifying to her beliefs with feeling.

Some of his best work, however, comes under the guise of his own name, as is the case with Crow's new album, He Thinks He's People.

Nobody has ever really sounded like Chrome but Chrome, and that makes Feel It Like a Scientist sound as fresh now as it did back in the bad old days.

What you get here, in 2017, is an accurate representation of their setlist at the time, seven lengthy numbers that include a pair of originals from the trio alongside extended, improv-tilting covers of Jimmy Webb, Bacharach & David, Herbie Hancock, and more.

Blistering, incisive and occasionally even surprising, Endless Scroll is anything but dull.

This record isn’t just Worthy--it’s essential.

With One Drop of Truth, The Wood brothers have put out a career-defining album. But they’ve been just as brilliant from the beginning; now it’s time for the rest of the world to finally realize that.

Working with a cast of Chicago jazz, improv and experimental luminaries and newcomers, Walker casts a most enchanting spell on Primrose Green, and while it may reflect his influences more than spell out his vision, the love he bears for those influences comes through in every plucked and sung note.

On the second album by Minneapolis four-piece Howler, an energy level worthy of forebears the Replacements, Soul Asylum and even, in places, Husker Du is dialed up, making such tracks as the thrumming/thrashy “Indictment” and the hardcore-tilting “Drip” buzz around the listener’s head like so many hornets.

The album’s arrangements and standout musicianship--including pedal-steel and slide guitarist Greg Leisz and Henry’s son Levon on clarinet--is a reminder that Henry’s extraordinary production work is second to none.

You won’t be able to resist this delightful album’s charms, either. Don’t even try. Gabba gabba hey.

An album that bears repeated listens, Summer Skin is nothing less than extraordinarily affecting.

It is not one thing (folk) or the other (post-rock, post-classical experiment) or even, really a blend of the two, but rather something fresh and idiosyncratic and worth exploring.

To The Sunset becomes a new plateau in a career that’s grown steadily and assuredly since the start. Indeed, its importance ought to grow over time given its unabashed enthusiasm and its unabashedly seductive set-up.

No other LP is more evocative of the raw essence of the Smashing Pumpkins' unique fusions of feels than this ten track collection, by far and away the most collaborative album in their canon.... This deluxe edition of Gish is chock-a-block with quality bonus material.

Here’s an album from guys who have been making trouble for more than 20 years, and if they haven’t gotten better behaved with time, at least they’ve gotten better at it.

Don’t Tell the Driver is far too gorgeously personal, too hushed, too subtle, too free-rangingly ruminative to ever play out on a public stage. Instead its chaotic swirls, its muted flares of brass, its clackety storms and ebbs of drumming seem destined to play out in private theaters.

Despite all odds, Into the Wide is Delta Spirit’s most driven effort yet, a rousing, riveting attempt to create an indelible impression.

Breakup Song is an electric, ultra-fun, frenetic carnival; but, it is most satisfying in its quieter, more spacious moments.

Small Town is a master class in chemistry, creativity and the joy of making music for no other sake.

Some of the songs here are better than others (even with more than four decades of hanging out with everyone from Willie Nelson to Keith Richards, there is only so much cred you can breathe into a Paul Anka song), but there is hardly any track here that hasn’t earned the right to stay.

Hurricane is her first new album since 1989, and it's her best ever.

The Fact Facer is a nuanced, multi-leveled listen that stands with the best things Amos--and anyone covering similarly adventurous terrain--has done.

There is nary a pair of finer testaments to the purity of the original SP sound than the group's first two albums, both of which have been beautifully remastered and generously expanded [here].

Without sounding anything like Pet Sounds, Seeds We Sow indicates Buckingham has absorbed Wilson's lessons well.