Both long-time fans, as well as curious dilettantes, may well experience numerous epiphanies large and small when immersed in all this content, the end result of such enlightenment a state of mind (heart and soul) George Harrison himself would no doubt appreciate.

Private Space is a honeyed slice of the retro-soul with pop leanings from Durand Jones & The Indications as they continue to mine the 60’s and 70’s for inspiration.

Throughout Electro Melodier, the quintet’s momentum arises from arrangements are as crisp and potent as the playing, which in itself is as intelligently wrought as the material. Notwithstanding those virtues, even as Farrar and company mix up the arrangements to include piano and organ as on “These Are The Times,” they don’t offer anything new here.

Stand For Myself is a resounding success as confidence and talent oozes through each well-crafted note and stunning vocal phrase.

Thirstier is too melodic and hooky for a good heavy album and too heavy for a good pop album. But viewed as a hybrid album devoid of any specific genre, it’s a solid alchemy of Scott’s influences.

Los Lobos puts out a dazzling love letter to their hometown of Los Angele with Native Sons, 13 songs initially sung by LA-based bands. The reinterpretations are as inspired as they are varied.

The second half of Downhill From Everywhere reaffirms how Jackson Browne has mastered the art of uniting issues personal and political, then turning the dual meaning(s) universal (albeit not without some difficulty, circa 1986’s Lives in the Balance).

Alice, long regarded as one of the pillars of spiritual jazz, is at her most deeply spiritual in this setting, one that has only minute traces, if any, associated with jazz.

The album is as good, maybe even a little better than Vagabonds, if not musically, certainly lyrically.

The album has a joyous feel and familiarity even by those who have never heard U-Roy before. Each tune rings vibrantly with highlights being the artist’s earliest hits of “Wake The Town” and the cheeky “Wear You To The Ball.”

A stripped-down guitar-forward record that still wraps the music in a solid pop sound.

Ely gets into ballad mode on Ernest Tubbs’ “I Don’t Blame You,” demonstrating a superior command of dynamics, phrasing, and expression that have long defined his storied career. Hancock gets into rollicking mode on Mickey Newbury’s “Mobile Blue” as the twangy guitars fire full throttle while Ely takes Hancock’s “Ramblin’ Man” down a couple of notches with his pals joining on the choruses.

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.

Dacus’ lyricism is pushed farther on Home Video than ever before, with each song contributing its own characters and memories and developing a work tight and succinct enough to be called a concept album. ... Even more importantly, she has proven once again that she is amongst her generation’s strongest lyricists.

Though not as upbeat as Getting into Knives, Dark in Here is still a solid release from The Mountain Goats that loyal fans will appreciate.

Seven albums in, Hiss Golden Messenger just keeps getting better with Taylor expressing personal thoughts that resonate with most of us.

A worthy follow-up to Strangers To Ourselves. Though more controlled than the band has been of late, The Golden Casket still has its share of outlandish moments. From its amalgamation of influences to its raucous rhythms to its bizarre lyrics, there is plenty of Modest Mouse to go around.

Throughout, as we’ve come to expect, Armatrading sings fervently and delivers a batch of songs that at first listen, seem fairly simple, but echo with a bit more intensity each time.

Path of Wellness lacks the punch of the groups’ highest points and the more restrained searching style leaves a few of the tracks lacking, but Sleater-Kinney is open to trying anything at this point in their excellent career and continue to craft intriguing songs.

The easy rhymes so obvious in “Smile” end the album as it began, on a relatively placid note that unfortunately doesn’t change much over the course of the eleven cuts. As a result, this album title may refer to the disparity between potential and achievement on the part of Lukas Nelson & Promise of the Real.

Though darker than most Garbage releases, No Gods No Masters is no less catchy than the albums that produced numerous hits in the 90s.

The result, though not as immediately catchy as the band’s earlier, now classic records, is still a solid collection of jangle pop

Her work is built around the truths of her perspective, not just that each song and its themes resonate with her, but that every tragedy offers nuance to life. Zauner has given us her strongest album yet and so far, the best album of the year.

She begins with “Montreal,” singing in both French and English, with a voice so beautiful that it’s difficult to imagine the pain she recollects. “Persephone,” replete with a brief clarinet solo, is positively exultant as Russell sings an ode to her teenage girlfriend whose home provided refuge for Russell during her teenage years. “The Runner” swaggers confidently, spurred by the background vocals and a steady, emphatic beat.

Everything from future horror movie soundtracks, to thrash blasts of rage, to smoky 70’s fuzz flows out of Arrows and while the overall result is a bit hit or miss, Red Fang returns back to their sweet spot; recording together for the simple love of playing heavy music.

Cavalcade, much like its title suggests, is the sum of its individual parts, a great collection of songs, but still, exactly that.

They deliver some gems here (especially the four-song sequence of “Hey Delilah” “Ain’t the Same,” “Lonesome for a Livin’,” and “All Rise Again” ranking with the best in their catalog.

This is a decidedly dark album, which is probably a turn-off for some. But then, artists don’t do what they do to make people comfortable. Amigo the Devil is really adept at creating pictures with his words, even if those words make some listeners uneasy. This is an album where every song is a vivid scene that makes you feel something.