The original songs, written by either Gilmore or Alvin, including one co-write, are generally quite strong yet there are only six of those among these eleven. The duo made some astute cover selections but would have been better served with more original fare.

Condon’s latest LP under his Beirut moniker is his most ambitious and rewarding project to date. A Study of Losses is a high-concept LP executed with careful precision by an empathetic poet hellbent on injecting his views on longing and loss into these poignant displays of folksy chamber pop bliss.

To these ears, he’s right about the warmth and intimacy. It would have helped to have an inset with lyrics as in many cases they could be more audible. Nonetheless, it deserves several listens because this is as uncluttered as Ribot as ever sounded.

The album is not perfect. As Morrison often does, he makes the album too long with ‘filler’ songs – “If It Wasn’t for Ray” (a failed attempt at honoring his main influence, Ray Charles), “Cutting Corners,” and “Colourblind,” the latter annoyingly placed in the spellbinding songs in the album’s latter half. Take most of the songs that are left and arguably you have the best music Van Morrison has presented in over three decades.

The novelty-worthy Blues/rocker “Kudzu Vines” sounds like little more than album filler. But the slow built to almost euphoric “Wild Ways,” complete with a backing choir, and the organ-drenched, revenant song “The Throne” make up for the inclusion of “Kudzu Vines.”

The 12-song sophomore effort allows the listener to view punk music through their lens, and these aren’t rose-tinted glasses, showing a band content with one sound forever. Snooper is looking to leave their mark on punk, and Worldwide slowly begins to dig its claws into that goal, even if it comes with subtle growing pains.

The remastering gives both nights a welcome clarity while keeping the raw, club-floor immediacy intact. Heard back-to-back, these shows tell the story of a label that could bring the heat whether at home or under the bright lights of a major city.

Though the album doesn’t really venture into new territory, the quality of songs on Tip of the Sphere maintain the same consistency of quality as his past albums. It is an album that is bound to please both diehard fans and newcomers alike.

While the rest of the Power Up is still the same medicine, it remains a grade of B or better. No ballads and no “rock” titled songs on these 12 shakers. Call it now –Power Up is the strongest AC/DC lp since 1990’s The Razors Edge: Well done boys.

First Two Pages of Frankenstein feels like a return to The National we fell in love with 20-plus years ago while still being creatively ambitious and providing new context to a band who never fears away from putting themselves out there.

Plum is a great album, one that is professional without losing its beauty, ambitious within their discography and undoubtedly one of the year’s best.

XOXO, while broadening the band’s sound, becomes not a major shift, not even a detour really, but a refocus and sharpening of their hallmark jangly sound – brimming with country, folk, rock, and British Invasion power pop. It’s reinvigoration.

In an album of mixed results, there are enough brilliant moments that bode to a more meaningful lyrical side for Rateliff and his powerful band, which has a knack for infectious grooves and hooks.

While Black Hole Superette follows a concept, the LP seems to double as a victory lap for Rock, as he showcases his raw talent and earns legendary status.

There are enough catchy hooks and eclectic compositions to keep things interesting, though it never reaches the high levels of Twin Fantasy. The Scholars is a bit of an overreach, with puzzling narratives following too many characters to track without help, but it’s impressive for its ambition and giant swing at transcendent art.

Lightning itself is a competent record, but more importantly it’s another notch in the belt of one of America’s most overlooked and underappreciated songwriters, someone who has consistently proven that he’s always worth hearing from.

Iggy Pop has released a few live albums with varying degrees of success, yet Live at Montreux Jazz Festival 2023 proves (somewhat surprisingly) that the rock and roll legend is still firing on all cylinders while crafting sonically dense pastures to rant over.

If this LP isn’t so groundbreaking as Tommy, it’s definitely a logical extension of The Who By Numbers and certain preferable to the forced and pedestrian It’s Hard.

Despite its historical importance in completing something of a missing link in the wide arc of Nobel Laureate’s career, The Complete Budokan 1978 is notably missing designation as an entry into the ongoing archive initiative known as The Bootleg Series. Consequently, this is one of those ever-so-rare Bob Dylan items to be taken almost strictly at face value and savored as such.

While tunes like the shifting/warbling “Slow” are trippy, the band seems more comfortable with tracks like the synth-led off-kilter R&B of “Hit the Ground” and the 50’s rocking, “In the Dead Mall”, which gets its kicks by shoplifting. A few of the more straightforward tunes turn out to be album highlights.

Endless Arcade serves its purpose – providing longtime fans of the band with new material that both furthers their critical clout and gives the band more room to grow. Their newest album may not rank among their classic work, but when taken out of context, it’s a warm and revealing work, something that most other bands would consider their best.

Radiate Like This floats along in the vein of 2016’s Heads Up as the former art-rockers wander in semi-aimless, sleepy pop waters. Warpaint’s dreamy vibe is pleasant, starting with the ambient-looking cover art, but it doesn’t leave any real lasting impact.

Trying on outfits/styles, genres/sounds is all second nature for Lewis and while there are clear country touches throughout Joy’All, Lewis manages to make them her own, evolving, writing, and singing with a sense of palpable happiness and freedom.

More formal and complete editions of Neil Young’s archives have been as satisfying as Tuscaloosa--this one lacks two cuts from the original recording--but none carry its implicit social relevance: even an artist as supremely instinctual as Neil Young couldn’t foresee the topical pertinence of an album titled in reference to this Southern state in 2019.

No Time for Love Songs is an album that channels a range of adult emotions from grief, anger, disbelief, and a deep respect for those lost into charming, evocative, gorgeous songcraft that serves for both an excellent listen and outlook.

The arrangements here are spacious and dreamy, anchored by rich, righteous organ topped with airy falsetto and mesmerizing four-part harmony. Belying his sometimes-bleak persona, the writing here is buoyant and soulful – geared in every way to offer hope.

Overall Covers is a mixed bag containing strong song choices, but very few must-hear offerings from the artist who will always dig the crates for new covers to unearth.

A satisfyingly solid collection of new originals. ... Several of the tracks here take a little longer to grow on the listener, like the Woodie Guthrie-in-spirit singalong “Big Backyard,” but after hitting the repeat button a couple of times the appeal starts to become clearer.