I Be Trying hits the sweet spot and when the players deliver the goods during the smoking hill country blues of “Keep On Pushing” everything else seems to slip away as Cedric Burnside confidently carries on traditions while successfully injecting his own spin on the genre.

The range of twenty-three selections total delivers consistent impact over the course of the ninety minutes duration.

The record is consistent in its songwriting, from that wry opener to the closing song, “If It Was Up To Me,” a love song to humanity of sorts about running the world that dodges the hokiness for relatable earnestness and ultimately results in a stellar record that shows the results of two decades in the making.

The quartet’s sound (produced by Haynes and John Paterno) goes for the retro blues gusto and succeeds; the sonic quality of this record is top shelf.

Use any adjective you want – stunning, devastating, captivating, or mesmerizing. Sea Drift sets the bar for the roots albums that follow in 2022.

He has created a modern blues album that is as much a protest album as it is a dance album. That’s not something just any artist can do. Also, the album is 16 songs, so no listener will feel cheated.

A stellar modern Americana/Bluegrass record from the opening track to “Hillbilly Boy,” the impossibly catchy album closer.

The album mixes Creole vocals with English, the latter in Caetano Veloso’s Brazilian song of exile “You Don’t Know Me,” one of several examples of beauty to offset the anger and angst.

The son of the legendary Ali Farka Touré, Vieux Farka is continuing the tradition of those artists who came before him, while forging his own path. Les Racines is an ode to the past, yet Touré’s is constantly working towards a better future.

Fans of retro soul need to get onboard Thee Sacred Souls train immediately as the group has tapped directly into that classic sound with precision and grace on their debut self-titled offering.

Lloyd, as he typically does, enters gently but increases his intensity to the highest levels in the four pieces, his trio mates in restrained accompaniment until Wilson first blossoms with a jagged, inspired solo followed by Clayton’s cascading, shimmering turn which builds to a crescendo. At the diminuendo, Lloyd reenters with a simple six notes, the piece fading quietly. Enough said.

Every Jarrett solo performance holds its own magical appeal and Bordeaux certainly holds its own with any of the others in his storied catalog.

The result is a freer flowing record that admittedly takes a few sessions to really stick, but once it does, you realize that it just might be – song for song – their strongest album yet.

Cleaner and lighter than past efforts, The Murlocs Calm Ya Farm is their best full album yet as the good time sounds flow like free wine at a late-night afterparty.

From a musical standpoint, it’s arguably overproduced in places, and the arc of the story settles into the same place in some of the two-three song sequences. Those quibbles aside, sonics usually match the thematic content which is stoked with bevies of provocative thought. Set aside the time to listen carefully; this is not casual stuff.

18 tracks of songwriting prowess set to dusty orchestrations that shake you to your core. For his first solo release in three years, Aesop Rock has never sounded hungrier as everything that makes him such a powerhouse rapper gets elevated and reimagined on what might be his best work in years.

Accompany is Nau’s best solo effort to date. The artist traverses twangy arrangements with his heart on his sleeve for a calming set of tracks. The unassuming nature of these songs emphasizes Nau’s songwriting prowess as he pens some of the best songs of his career.

Overall, it’s a great listen in the car or for a gathering of friends, but the lyrics and diversity of sound surpass previous efforts, offering a rewarding, focused listen.

The ever-evolving Joel Ross has taken a step back and forward at the same time. If this is your introduction to his gorgeous music, it’s an auspicious place to start that will likely lead to seeking out his previous work too.

Pernice, rightfully lauded for his classic pop songwriting and arrangements, has been compared to Burt Bacharach over the years. You can hear that influence in songs like “What We Had” and “December In Her Eyes,” two tracks that sound a bit dated and out of place on an otherwise great return for Pernice and his band.

On Up On Gravity Hill, METZ” sound evolves as the trio explores new sonic pastures while keeping their core intact.

For many, Thompson is an acquired taste. There’s little, if any, middle ground. So, while this may not attract new fans, it will more than satisfy the legions of those who stay attuned to his every move. It’s as solid as any of his recordings.

It captures the joy, complexity, and spirituality of mambo, making it both a tribute to the past and a beacon for the future. Whether you are a seasoned mambo aficionado or a newcomer to the genre, Caracoles is a must-listen, promising to lift spirits and inspire dance floors worldwide.

ALL IN is just another reason to dig back into his musical brilliance.

A stout first full length from The Heavy Heavy, whose fuzzy retro rock, mixed with So Cal pop charm, results in a winning combination on One Of A Kind.

Mixing his 1950’s retro-rock core with different genres is a winning combination for McPherson as Nite Owls drifts by with ease and confident charm.

This is a fresh, meticulously arranged but still casual-sounding big band outing.

Whether you’re a fan of the desert blues sound or new to it, Songhoy Blues has delivered an infectious, comprehensive take on the music infused with tradition.