The stories are typically droll, but the accompaniment is solid, sturdy, old school country played by veterans who know how to keep things tight yet loose.

Happily, even a cursory listen affirms the fact that his snarl and swagger are still intact.

The album exudes the salty air of the conditions it was recorded in, which makes it a success on that level. How much your tastes lean towards undiluted, traditional Brit folk will gauge your enjoyment for this batch of unadulterated music in that genre, played and conceived with the purest of intentions.

Everything here captures the classy, sometimes sassy and always heartfelt essence that makes Shelby Lynne one of her generation’s most passionate and determined voices.

Love Letter for Fire shows what can happen when two near-strangers explore each other’s deepest emotions and private pains in song: They may still ultimately remain strangers, but they’ve created something profound in the process.

The music returns to the melodic strains of Hornsby’s more elegiac work, offering a frame of reference that longtime listeners will likely relate to best — from the sweeping piano undertow that characterizes “Days Ahead”—which sounds remarkably at times like Brian Wilson in symphonic mode—to the melodic strains of Lidar,” the “Way It Is”-like narrative that characterizes “Is This It,” the sparkle and sheen of “Had Enough,” the stately feel of “Simple Prayer II,” featuring the tender shared vocals of Z Berg, and ultimately, the dramatic delivery of “Point Omega.”

Granted, they haven’t hit the heights they climbed courtesy of such early mega milestones as Don’t You (Forget About Me),” “Glittering Prize,” “Somewhere in Summertime,” “Waterfront,” and “Alive and Kicking.” No matter, Kerr, Burchill and their newer recruits still manage to stay true to the band’s overarched intents, but do so based on premise rather than pretense.

Jude is Lennon’s singular statement, his purposeful pronouncement, his pivotal turn as far as coming into his own with music that bears a grander scope.

Because the sound is so jam-packed with instrumentation, and Martin’s voice so often bouncing about in the same patters, the sound can sometimes get a little muddy--a little salt to cut the sweetness would have been welcome here and there.

Even after over a decade away from the solo focus, Back Being Blue feels less like a return than a natural progression. That’s not to knock Willis’ two fine collaborations with Robison, but it’s a pleasure to have her talent front and center and not sharing the spotlight.

Suffice it to say that unless you simply need to own everything Janis touched, this package is of negligible value. Newcomers will be better served by the 2005 edition with its powerful concert material showing how Joplin and the scrappy Full Tilt reinterpreted her earlier work.

Not only is this a treat for longtime fans, but hopefully a sign for others to take Harper’s lead, creating relevant, incisive songs that are lyrically, musically and philosophically as inspirational and provocative as those here.

Those who haven’t absorbed this music yet will find it to be as edgy and intense as anything in Pop’s catalog, and deserving of the lavish treatment it receives here. Bowie fans, especially of his darker, experimental Berlin recordings, will also find this a welcome and even essential addition to his own classic albums of these storied years.

The 14 tracks clocking in at 50 minutes speak to War’s prolific nature, one that encompasses her diversity yet remains focused on vocal, lyrical, and melodic talents that this disc’s enhanced production, and budget, spotlight.

The tunes on Set You Free will give his long-time followers more than they could have hoped for, while garnering new fans coast-to-coast.

Ultimately, completists may debate the worth of this particular anniversary offering, due not only to the aforementioned repetition but also because of the definitive live Band recordings that accompanied the recent re-releases of The Band and Stage Fright. That said, a half-century anniversary makes any Band album well worth revisiting.

The retro countrypolitan and rawer, roots elements that informed Lane’s previous Dan Auerbach-produced All or Nothin’ have been sanded down slightly on this follow-up.

It's a Corporate World is a refreshing full-length debut that would serve well on any summer playlist.

It’s a haunting, generally melancholy 40 minutes that cries out for repeated playings to best capture the fleeting melodies, atmospheric performances and the singer’s delicate concepts.

As an album for those who have followed Skaggs through the years and think he can do no wrong, Country Hits Bluegrass Style definitely hits the mark.

There aren’t many surprises on Hardware, but with Gibbons now pushing into his mid-70s, should we expect any? He sells everything with his committed performance and sounds like he’s having a blast. At this late stage in his career, we shouldn’t ask for, or expect, more.

The contrast of light and dark has always driven the Raveonettes’ music, but it’s especially effective on this beautifully realized collection that shows the couple to have plenty of tricks left in their already unique and compelling sonic bag.

The Stray Cats remain a well-oiled machine, as super charged in 2019 as they were 40 years earlier. If this is their final road rally, they’re going out in style.

Gilkyson uses her nocturnal musings to create a shimmering album that sounds just as impressive in the daylight as in the darkness that inspired it.

While Welcome 2 Club XIII has been described by the band itself as autobiographical in nature, it still manages to retain the populist appeal that drove those earlier efforts.

The songs aren’t easily digestible but, as he winds into the final stages of his life, they are honest, intricate, personal and above all, uniquely the work of David Crosby.

The arrangements are both agile and emphatic, by turns jaunty, gyrating, and exuberant.

Even with all the experimentation, this remains a recognizable David Gray album with subdued melodies, unforced vocals, subtle acoustics and honest lyrics even in their more obtuse state.

This is just one more related side trip in the band’s tenure and, as usual, they rip into it with typical vibrancy, rearranging Lowe’s material so creatively, these sound like Los Straitjackets originals.

Even though they were assembled from different years and with other artists’ input, Back Roads And Abandoned Motels feels as cohesive and organic as the best Jayhawks releases.

It’s another classy notch in LaVere’s slowly growing catalog belt and shows her boundary pushing, restless artistry results in music that’s heartfelt, reflective, challenging and consistently compelling.

The thrilling Black Sabbath Vol 4 is essential listening for Brit rock enthusiasts since it captures the band gently prodding its established metal genre. Whether anyone but the most fervent fan needs to spring for this pricey and skimpy reissue though is debatable. [Music: 4 1/2 out of 5 stars/ Reissue package: 2 1/2 out of 5 stars]

As its' title suggests, this record is not what it seems at first listen, but one that's worth the extra effort to decipher all of its introverted intricacies.

Overall this record shows not just promise, but quite a bit of realization of that promise. Many of these songs seem memorable and enduring… and individualistic.

It’s little surprise that Hearst and Trent have taken this edgy approach given the dread and despair heaped on the world over the course of the past two years. With Manticore, they attempt to make some sense of it all.

As usual, the originals prevail. Yet even with its musical limitations, it’s hard to dislike an album that’s ultimately a lot of fun.

He’s just a diehard rock and roller with a cool voice and an itchy pen slamming out another pretty great album because that’s what he has always done.

An album that’s probably not as good as The Front Bottoms are bound to get, but is just fine for right now.

There is certainly craftsmanship behind the songwriting here, but it lacks the sweep that the strings would bring to the classic hits.

Olsen locates every last ounce of heartache within the song’s tale of someone who’s trapped between wanderlust and homesickness. If these are the leftovers, it’s fun to imagine how tasty Angel Olsen’s next main course will be.

It’s Prince as few have heard him: inspired, unrestrained, playing for no one but himself and the engineer who pushed the record button. Clearly this isn’t for everyone. But those looking for a glimpse into the artist, mostly pre-global fame, working out new and old material, will find it an invaluable and unique addition to his already bulging catalog.

Even with its abbreviated length, there is plenty to chew on, both sonically and conceptually. The 60-year-old Farrell sounds inspired and as edgy as 30 some years ago.

Surprisingly the results are pretty great and even if they won’t make you forget the often charmingly dated originals.

While Stinson isn’t a great singer or songwriter, he exudes a scrappy persona that, like Keith Richards’, encompasses a heartfelt rock and roll strut.

The album has a little something for everyone, from the electronic skronk of "Awake On Foreign Shores" and the Dark Lights' remix "The Stars In His Head" to the gentle, Bachian minute-long dirge, "All The Days I've Missed You."

Band of Brothers is Willie Nelson’s first album of largely self-penned tunes in almost two decades, but on his latest, Nelson mostly proves he’s still as sharp a vocalist as ever.

Sing The Delta is as well-executed as it is welcome.

Competence and creativity are never in question, even though every one of these numbers requires the listener to allow added indulgence.

Kimbrough has a smooth yet vibrant voice, perfect for this melodic and poignant music. Perhaps a few more rockers would have cranked up the fire, and at ten short cuts, more on the level of what’s here would have been welcome.

The mostly original songs capture the gospel spirit in ballads (“The Highest”), funk (“Speaking in Tongues”), New Orleans second line (“Soul Food ll”) and driving blues rock (“Play All Day”) that will satisfy existing fans of any of the participants and win over some new ones too.

He’s a rocker with a folksinger’s soul, or perhaps a folkie with a rocker’s spirit. In either case, both sides are well represented over the course of these 15 tracks that prove Jesse Malin’s creativity is alive and well.

The one-woman production preserves Lynne’s style yet dials down the theatrics to not quite garage band levels, making it one of the most successful outings in her ongoing covers project series.

Jean’s vocals are on the thin side, especially for music that punches and pounds like the majority of these tracks. But she delivers her often dark-edged lyrics with the louche, ice-queen nonchalance of Debbie Harry and Belinda Carlisle which suits this snaking vibe.

The performances themselves are well-arranged and played in virtually all aspects, although as a full listening experience, it gets a bit repetitive by album’s end, even at a scant 45 minutes.

The band has never been less than classy fun and the jaunty, delightful Hey! Merry Christmas! doesn’t stray from that by keeping the season alive and well with a holiday album you’ll be returning to each year.

Aside from his forays into electronic music, Mould is dabbling a little bit here in the sounds found throughout his career. Many of Beauty & Ruin’s tracks have a poppy tinge that’s more reminiscent of Mould’s 1990s band Sugar.

Combs describes the disc’s overall tone as that of a black and white film. Add foreign to that description (one song was inspired by an Ingmar Bergman flick) and you’re a few steps closer to this stirring, decidedly non-commercial music that sounds like little else.

None of this breaks musical barriers. Still, Cocker’s assimilation of some obvious influences noted above hits a sweet spot that makes Beyond the Pale, some of which was apparently recorded live then enhanced with overdubs, impressive, often moving and hypnotic. Hopefully he can follow it up faster than the time it took to get here.

By any measure, this is an engaging, complex, lyrically confrontational and intellectually intense 80 minutes.

Ultimately, although ‘Like The River That Loves The Sea’ flows slowly towards its ultimate destination, it makes the journey worthwhile. The grace and beauty Shelley shows throughout gives reason for a celestial celebration.

An intimate, multifaceted reflection of her always complex, frequently indistinct character. These often inscrutable songs offer kaleidoscopic glimpses into what seems like a complicated persona

Mylo Xyloto is fully realized and instantly revealed on first listen.

Even if little here sparkles as splendidly as House’s prime era, Dreamers Are Waiting is quality, thoughtful pop from the mind of a guy who knows his way around a terrific tune.

This is the comeback album they should have released in '03.

It’s a diverse offering with Weller’s deep soulful voice splitting the difference between Bowie in his Thin White Duke phase on the funky, twisty title track (check out the tasty, offbeat clarinet), jazzy R&B on the flute enhanced “Testify” and the crunchy power pop not far from later period Jam of “True.”

With a release as consistently robust as Pollinator, the remaining trio has tapped into past glories without sounding stiff, or worse, desperate. At this late stage, we can confidently call that a comeback and hope they still have a few more albums as strong as this in their tank.

It’s impossible not to be enchanted by one of this year’s freshest, most delightful and all around grooviest releases.

The fact that there isn’t much variety in the approach is somewhat forgivable at the shorter EP length. boygenius may be a one-off, but there is great potential there for more should they abide, what with their top-notch songwriting and three voices that coexist much more smoothly than the couples depicted in their songs.

Downhill from Here is well attuned to that template, flush with troubled tones and unyielding urgency. Whether rocking or reflective, the sound is well served by many of the same session players that have played with him in the past—bassist Bob Glaub, guitarist Val McCallum and pedal steel player Greg Leisz chief among them. Several women share the singing, altering the dynamic but not the intention.

The album has one major issue--it’s got too much going on in places.... But despite that flaw on this effort, it has a lot going for it.

Oceania sounds louder, better, and altogether more revelatory than any Pumpkins album in years.

Lenker has a penchant for songs that mine deep emotional depths, but even by her standards, the ten songs that comprise abysskiss are some of the most starkly vulnerable songs of her career.

This is a solid album that will make fans happy without an instant classic like "Waiting For The Sun" or "Blue."

While REVAMPED is enticing enough as a filler project, it doesn’t hold up as a major release. Perhaps that wasn’t the point, but apart from a few powerful moments and some buzzy names, the album is a little lackluster.

C’est La Vie is a welcome return for Madness, an outfit most wouldn’t have expected to deliver a project so musically or lyrically complex, and enjoyable, this late in their career.

High Road is fun, frilly, and fanciful – and Kesha has more than earned this moment. It suits her.

There is still a lot to like on Welcome 2 Collegrove. Wayne is still rapping like he is in his prime as an artist, as his auto-tuned, crooned flow will never get old. Add to this the ever-amusing, boisterous flows from 2 Chainz, which contrast well with Wayne’s delivery. It just feels like, at times, a sharp-minded executive producer could have done wonders for the rhythm of the track list.

[Producer Ryan Adams] allows Johns’ emotionally driven music to simply and effectively do its job, capturing a two day moment in time that will continue to resonate for years.

It’s unfortunate that a platter which runs less than 25 minutes includes filler, but there is little else to call the closing 1:40 studio instrumental jam “How ‘Bout a Hand for the Band.” It’s clearly fun for the musicians involved but not interesting enough to pad an already too-brief release.

For anyone who feels similarly disenchanted about country music, Outlaw’s songs--closely bound to tradition, endlessly romantic--are the perfect remedy.

His latest, Songs and Stories, is simply Clark doing what he does best: relating life's joys and sorrows, from "Homegrown Tomatoes" to "The Randall Knife," in song.

McBride is still singing--and now occasionally even writing--songs that employ specific, substantial storytelling to speak to modern women's experiences.

This is a unique and poignant album that was clearly a labor of love for all involved.

Dylan's talent for matching, smart plentiful (arguably too much so) words to chiming melodies supported by a solid, unpretentious rock band and sung with conviction has returned.

Existing fans will take this in stride since it’s cut from a dense cloth that Dulli has been stitching for the majority of his nearly 30 year career. They will find plenty here to pore over and try to untangle. Newcomers may scratch their collective heads yet still appreciate Dulli’s unconventional, minor key songwriting, distinctive vocals and playing that, even with guests on every track, comes primarily from his mind and hands.

On their self-titled debut album, country duo Meghan Linsey and Joshua Jones Scott deliver a sound that is familiar and cozy, as if the songs have always been there.

The singer is in fine voice and seems inspired by this outlaw move to revive the time-honored music he loved when he first hit Nashville as an impressionistic kid in 1972.

For all of its immediate sonic beauty, however, IE//CM’s slow, languid reveal requires patience and time to get acclimated.

Rejoice in the music of Beggars Banquet that sounds as vital today as when it was released five decades ago. But unless you’ve got money to burn, it’s best to stick with the existing versions of one of the Rolling Stones’ most immersive and enduring works.

At just over a half hour, the short but compelling set finds a generally chipper—if somewhat guarded—Andrews expanding her musical boundaries and peering cautiously to a brighter, more fulfilling, and looser future ahead.

Everything about Beast Epic feels true to Iron & Wine. Beam neither abandons his greater ambitions nor overindulges. He’s making a return trip to his roots, offering a gentle reminder of his early records’ simple beauty while allowing himself the freedom to build.

Archive Series, Vol. 1 is a collection of 16 pop prayers and private whispers that offer a striking alternate version of Iron & Wine’s mythic inaugural release.

You just need to listen and enjoy without reading too much into the material. That is easy to do here.

On his latest album, Millsap continuously plays with the tension between motion and stability, and the result is a rewarding, weighty LP that will surely serve as a trusty emotional roadmap for years to come.

He makes each of these tracks reverberate with the best aspects of the Americana genre that has clearly influenced him, while carving out his own space in it.

Those willing to put forth the effort will be rewarded with a beautiful, stimulating and eclectic album that stands alone in a genre of its own making.

While the result can’t be dismissed as a gimmick, the best tracks of both would have made a great single album. Spread out over two shorter ones, the effect is diluted.

It’s a wildly eclectic yet entirely natural career progression for the unpredictable Wilkes, whose vocals and overall approach is slightly less frenzied than we have come to expect.