The Invisible Way is Low’s essence distilled--potent, powerful and pure.

Like many a great singer-songwriter, Snider possesses neither an exceptional voice or above average guitar skills. What he does bring to the party, though, is his own inimitable point of view: a wry, self-deprecating, seemingly slightly stoned, hilarious, and authentic persona.

With age and maturity, she’s found her fit with an audience that’s happy to gave grown along with her. Few artists are so capable of making music that allows intimacy to emote so expressively.

The Deslondes provide a thrilling, original blend of American music that can’t be found anywhere else.

The backstory leading to Sorry is Gone may not be the type you’d wish on anyone, but in the hands of Jessica Lea Mayfield, it has resulted in compelling art.

It’s another home run for Lamarr’s trio who hasn’t made a misstep yet. Get on board and bring a friend as these guys generate the fiery funk/soul/jazz heat.

Although Jack's Mannequin hasn't been able to match the balls to the wall gusto of Everything in Transit, its 2005 critically acclaimed debut, People and Things is easily the most musically cohesive album in the band's catalog thus far.

Bobby Fuller Died For Your Sins is yet another example of not just his love of rock and roll, but an ability to create it with the spirit and intensity of the best of those that influenced him.

New proves that inspiration is not a problem for Paul McCartney, who shows both his contemporaries and the youngsters alike how to make rich music while swinging for the cheap seats.

It’s certainly one you’ll replay multiple times to appreciate the intricate sonic structure and imbibe Whitehorse’s often oblique wordplay with a sure sense of a hyphenated musical mixture that is elusively familiar and wildly idiosyncratic.

All told this a classy and worthy addition to your “Elvis, the later years” collection.

It’s a bold, eclectic and audacious approach to the bulging catalog of breakup ruminations; one that emerges from the crowded field and shows Marlon Williams’ talents are just beginning to blossom.

Since the selections were cherry picked from various shows, the playing and performances are likely the finest from the tour. The audio is tough and punchy with clean separation that leaps out of the speakers. Only Ozzy Osbourne’s insistence on introducing every song slows the momentum. A short, seven minute CD single of just two songs pushes the platter total to four.

A superb set that ranks as one of his finest.

Even though most are not familiar with Pinkunoizu or many others that populate this thoughtful and often downbeat set, they recreate Hardin’s timeless melodies with deep respect, passion and an artistic vision all too rare for these types of tribute discs.

From the throbbing Led Zeppelin-styled hard rock of “Don’t Bother Me” (complete with short drum solo), to the following Elton John/10cc influenced piano ballad “Shine The Light On Me” and the riff-rawk driven “What’s Yours is Mine,” these four guys play together like a well-oiled machine, not one that has been idle for a decade.

They decided not to overthink it — a great move, as it turns out. In just five days, tracking totally live — which, unbelievably, they’d done only twice previously (on “Darkness on the Edge of Town” and “Born in the U.S.A.”) — the band recorded nine new tunes and three unearthed from before Springsteen had recorded Greetings from Asbury Park, his debut. And yes, some of these songs will take their place alongside his greatest hits.

Everything about the intriguingly titled Sea of Noise--from the classy but never predictable production, to sharp playing, clever lyrics, memorable melodies and especially the dialed down arrangements--is an enormous step forward.

Just as good, and arguably better, than their first collaboration, this sympathetic partnership will thrill established fans as well as new listeners and will hopefully continue for many future editions.

Chesney has an uncanny knack for finding top-shelf material which sounds autobiographical and mixing it with his own to craft a uniquely distinguishable musical statement.

This is a great example of what a “tribute” album should be when compared to the countless other such recordings that are out there that are made primarily for the sake of money. This is real country music, albeit from the arid oil country of California and not the hills of Tennessee, with two of the finest living practitioners of the genre paying tribute to the masters of the craft and their genre-shaping material.

The Hold Steady need not ever deviate from such a potent product.

Clark has an outstanding cast of supporting players helping to underscore her intents, among them, Derek Trucks, Lucius, guitarist Judd Hughes, drummer Matt Chamberlain, bassist Sebastian Steinberg, and of course Carlile herself. Nevertheless, Clark can claim credit for this remarkably revealing record and for having the courage to convey these tattered truths so well.

[An] impressive debut that at only 10 tracks and barely a half hour leaves you wanting more.

Even though it was recorded during dark times for both Dobson and the country, Impossible Weight is the strongest and most powerful statement yet from a talent on the verge of breaking out.

Rev’s somewhat radical interpretation will alert Americana fans to Gentry’s unfairly neglected gem, now ready for a belated rediscovery.

All but one are previously unreleased and show not only how prolific he was but how much work he put into these demo recordings, which sound as good as the finished product. Better yet, it’s an example of the quality of material still lurking in the Prince archives. This hour-long collection will more than satiate fans of the artist until the next batch inevitably appears.

Earthling suggests Vedder can remain earthbound after all. Figure it’s his best yet.

Mitchell put a permanent stamp of approval on her already sparkling reputation with the gorgeous and striving Young Man In America.

Nothing quite tops those two selections but there is enough strong Bonamassa playing and diverse material (like the lovely, Allman Brothers Band “Midnight Rider” lope of “Savannah” featuring Bonamassa’s rarely heard mandolin work), to make this album a highlight of his bulging, and ever expanding, catalog.

The Unraveling is a perfect storm of anger, resentment, frustration and even glimmers of hope, wrapped in the sharp, terse musical invention we have come to expect from these veterans. In other words, it’s another classic Drive-By Truckers release.

The musical leaps Punch Brothers takes are invigorating, sometimes breathtaking.

Their music is unique and instantly identifiable, high praise indeed for brothers that have seemingly become tighter and more focused as their professional liaison has matured.

Not everything is so different though, and in a good way. The Foo Fighters still adhere to the formula that sells out arenas from London to Japan.

Shemekia Copeland might have been born into the blues, but the riveting America’s Child shows her continuing to push those boundaries, creating music reflecting a larger, wider-ranging tract of Americana.

The revised sound and songwriting on Undivided Heart & Soul isn’t an extreme enough alteration to alienate existing McPherson fans, but it results in his finest set yet and signals that he’s pushing boundaries and staying fresh in a business that doesn’t embrace change.

While the mysterious yet sumptuous vibe wears thin with tunes that start to sound similar about halfway though, Monophonics have staked out predominantly dreamy territory on the moody It’s Only Us and are intent on keeping the retro psychedelic soul flames burning.

The performance careens from tight, frantic and professional to shambling, erratic and wobbly... basically your typical Replacements show. In that respect, this is historically important since it finds the group at arguably their most incisive and edgy.

There’s soothing, but never clichéd warmth in this retro-style. Both LaMontagne’s craftsmanship in the composition of these songs and his easygoing, unaccompanied playing will come as comfort food to established followers who should welcome this most organic return to his roots.

There are enough twists to keep even longtime fans on their toes. It’s what makes them so consistently intriguing and will hopefully keep the members inspired, and inspirational, for the foreseeable future.

The result is a warm, generally introspective but far from musty set that revels in predominantly acoustic material sung with Hiatt’s increasingly gruff, whiskeyed voice.

Both haunting and harrowing in equal measure, The Love Still Held Me Near finds the bond that connects those emphatic emotions clearly and convincingly.

Sparkle Hard comfortably fits in alongside any of the other entries in his oeuvre, but it also feels like a more mature release. He’s mostly let go of the overt references to The Fall and Dadaist poetry that defined Pavement’s early material. Instead, he delivers the prettiest album of his recent career, one that still rocks but does so in a relaxed, contemplative manner.

The slower songs—“Stranger Things,” “Goodbye Mary,” “The First Time I Fell In Love,” “More Like a River,” and the aforementioned “When My Race Is Run” in particular—assure an emotional essence remains intact throughout. Taken in tandem, then, this City of Gold shines bright indeed.

Like its simple, evocative cover painting of puffy white clouds drifting by a window, Khruangbin’s music hangs and hovers, creating an ethereal ambiance beckoning the listener to explore more of their addictive, atmospheric sound.

Few songs immediately jump out but when the album is over, you’ll want to hit the repeat button. That’s what any band hopes for and what The Nude Party delivers on the subtly irrepressible Rides On.

It may not have a story of a lost classic, but it has the music of a freshly discovered treasure.

Reteaming with co-producers Ethan Gruska and Tony Berg, Bridgers pulls the listener into a weary world only she could master. It’s exhaustive but redemptive, and she casts her songwriting into fire and brimstone, only to later yank it free in the knick of time.

Nothing is rushed. Listeners should prepare to hunker down for 45 minutes to absorb the hypnotic and often mesmerizing U Kin B the Sun in a single, uninterrupted sitting where it hits the hardest.

Morrison and his always top-shelf musicians knock out these songs as if they’re hanging around the studio, having a party playing music they love without knowing tapes are running.

While fewer slow songs might better balance the often somber pacing, this hour-long program shows why Griffin is one of today’s finest singer-songwriters; one who never rests on her impressive laurels by consistently challenging herself and her audience and coloring outside folk music’s established boundaries.

Where Del Rey’s music feels icier to the touch and more pop-oriented, Olsen sings from the heart, reflected in the melancholic, often soaring, even experimental backing that hits home more than it misses. It may take some time and uninterrupted concentration, but the expansive All Mirrors grows on you with repeated plays.

Watch the Throne is one of the more interesting, envelope-pushing mainstream rap albums in recent memory.

Regardless of its compiler’s obvious intent to generate more cash from Jones’ name, this is a consistently enjoyable listen. It’s a lot of fun and a reminder of the enormous talent taken from us as she was hitting her artistic peak.

The beauty of Vile and Barnett being on such similar wavelengths is that each song would work just fine for either artist individually, but combined, their talents--particularly their vocal harmonies--often amount to a whole greater than the sum of its parts.

While you may wish this newlywed was a little happier, this is a superb, emotionally poignant album that displays and expands Andrew Combs’ impressive songwriting, musical and vocal talents.

A tough, tight and clearly inspired project as well as a most welcome return from the musical shadows for Steven Van Zandt.

The music is charismatic and chaotic, full of shouts, clanging and bright guitars--listen to it with your eyes closed and you'll see everything short of sparkling blue stars.

While almost all of the music is five-star material, it’s hard to recommend this collection wholeheartedly when anyone paying attention long enough could have easily picked up every item in the set individually.

Jason Isbell and the 400 Unit's Here We Rest is not what you'd call easy listening.

It’s still early to throw accolades like “visionary” around but aspects of Clark’s music encourage that reaction. “This music sets me free,” he continues on “Healing,” and it’s likely to have the same effect on you.

If there's more of this stuff in Pearl Jam's vault, here's to hoping the guys sticks around long enough for Pearl Jam Thirty.

This is music that fascinates on first listen but requires multiple spins for its complexities and idiosyncrasies to take hold.

[Landing on a Hundred Years is] a much leaner, concise collection of rich and soulful tunes that takes in the last 50 years of funk, soul and R&B, and catalyzes that history into something warm and vibrant, yet altogether fresh.

The tunes here aren’t necessarily in a class with some of the material Bonamassa has recorded in past years, songs by blues giants like Willie Dixon or writers like John Hiatt and Tom Waits. But they suit the artist perfectly.

Rose found a musical soulmate in Malo to help realize that sound in the studio. But even though he has helmed and guided her, this is her singular vision. And with two terrific worldwide releases to her name, she’s just getting started.

Clearly this one-off side trip is not for everyone, perhaps including The Dream Syndicate fans. But those willing to take a leap into more mysterious, experimental, unfamiliar, occasionally avant-garde waters will find enough spine-tingling moments to make this one of the more mind-expanding hours you’ll experience on any recent CD.

If this sounds musically dour, it’s not. My Morning Jacket is just too solid of a unit to get dragged under musically by James’ brooding musings. He never loses his strong melodic sense and is always ready to bring a retro-styled 70s soul vibe to the table.

Winchester won’t be recording any more music, but he has left us with plenty of classics and undiscovered gems with this final one a wonderful example of his humble yet impressive gifts.

The material is softly lit and effortlessly assured, conveying the calming and caressing sound that all so frequently added its soothing sobriety to CSN and CSNY (Crosby Stills Nash & Young), respectively. That’s not to say there aren’t rallying cries included as well. Both “Golden Idols” and “Stars and Stripes” recall the outraged anthem of old.

Both respectful to rustic tradition while energizing and expanding it, the Supersuckers semi-humorously declare themselves “the greatest rock and roll band in the world.” And, even in their less forceful country guise as here, few would dispute that claim.

Never Will (pre-order here) proves the tough gal persona she established on that stunning debut was no fluke or act. It shows she’s got plenty of raw talent to keep her career growing as another capable, no BS rootsy country infused woman who has charged into the charts and is likely to stay there.

Everything about this set feels more confident, self-assured and assertive than even her impressive earlier releases. The combination of Rose’s alternately sweet and tangy vocals with her best collection of tunes yet makes this her finest overall album.

Credit goes to multi-instrumentalist/producer James Elkington who balances a near perfect blend of acoustic and subtle electric instrumentation, ghostly supporting vocals and strings along with Gunn’s own singing and exquisite guitar. He molds this hypnotic mélange that finds its footing early and tugs you deeper into the vortex of sound through the next 45 minutes, crafting a swirling, effortlessly artsy album with an almost surreal atmosphere you won’t soon forget.

From His Head to His Heart to His Hands shows that what Bloomfield did accomplish in his short life was not just sizeable but downright seismic.

For an album that successfully manages to carry an understated beauty, and often comes across as a fragile work, Eternity Of Dimming almost does it all without doing near as much as others would attempt to.

Neil Young and Crazy Horse, when they're at the top of their game like they are here, can make music of any origin rock.

This 2-hour double disc captures all the excitement and improvisational interplay of the gigs.

An extra disc of 19 newly remixed demos is more than window dressing. Stripped from the production flourishes, these early raw versions of every OOT track show the songs taking shape with hummed sections where words hadn’t been written, different lyrics and sometimes no lyrics at all. Not just for fans, these bring us closer to the creation of the tunes, generating a terrific alternative version of one of R.E.M.’s finest collections.

There are moments enough to both hoist your beer and shed a lonesome teardrop throughout Miracle Temple, an album that’s overflowing with both emotion and beauty.

With the balance of upbeat rockers, twangy Americana, sassy humor and even some delicate moments, this is everything longtime Lambert fans would want, all wrapped up in a 51 minute gift to her fervent, largely female audience.

It’s an all killer-no filler set that’s the culmination of everything Nick Waterhouse has accomplished for the past nine years. He might have plenty bugging him, but with soul music this joyous and exuberant, you’ll be too busy riding the groove to care.

An album of songs built to linger and last.

A heartfelt album that reflects Anderson’s optimism, gratitude, honesty and outlook in the aftermath of an experience that almost stole his gift of music out from under him.

The Ballad of Boogie Christ weaves beautiful narratives in and out of folksy numbers and rock songs, adding a layered palette of horn solos and soulful back-up singers.

With the right material, this man as an artist has few flaws. Ghost on the Canvas allows Campbell one more chance to prove that again.

Soaringly tuneful rock is back on this brilliant, cohesive CD.

While this is still a typical Alan Jackson album in many ways, it’s a fine bluegrass album, and a good primer for those who aren’t all that familiar with what bluegrass is supposed to be.

This dream of an album sounds like little else currently in the pop field, and the fact that it’s a debut from a relative newcomer makes it even more impressive.

The 11th release from the Toronto-based, foursome certainly contains some of The Sadies’ finest work. Colder Streams is one of the group’s most diverse sets.

Though he has many glorious accomplishments, with this album, Ian Hunter proves he is still incredibly active. As well as a man capable of taking his own advice.

They register only a fleeting impact, but display cleverness and craftsmanship that far surpasses that of your run-of-the-mill tropical-themed country tune.

Slipstream is Bonnie Raitt's best album in years and one of the best of her 40-year career.

Tweedy might be missing his band members, but the restless, resonant spirit that drives Wilco’s best records seeps winningly into WARM just the same.

What might be surprising is that, in spite of the sober lyrical themes and the laid-back music, this all sounds so vibrant.

Those willing to take the plunge will be rewarded with one of the more challenging major label efforts released this year.

American Love Song expertly and movingly shows how the overarching U.S.A. theme can encompass triumph and tragedy from one moment to the next.

At only 36 minutes, it’ll leave you wanting more, convinced that Parker’s previous set was no fluke and that his career as an electrifying singer-songwriter has just begun.