Sonically, everything is slightly cleaner than before, with Lennon’s vocals made more prominent in the mix. But the difference will be most noticeable on expensive audio systems. The surround mixes bring a more expansive sound-field making it a reasonable upgrade for those interested. But for the rest of the earbuds-are-good-enough wearing public, this is a perfectly acceptable trawl through the solo Lennon catalog.

By smartly abandoning the hip-hop and indie rock impulses that have appeared on, and arguably watered down, previous NMAS releases, the brothers Dickinson focus on what they do best; grind out muddy boogie with the pulsating, sweat soaked intensity of those that originated the rustic music they clearly love.

An album that’s not just an impressive follow-up to a career that fans thought was long over, but a splendid entry into the contemporary Americana field, one that The Long Ryders had an underappreciated hand in crafting.

Like the band’s 2008 album Devotion, Depression Cherry is an impressive showcase of the kind of beauty that two musicians are capable of when stripped down to a bare-bones approach. It’s worked before, and it works again here.

Willie provides each with a rendition that stays true to the iconic originals, and while there’s a certain sense of deja vu underlining it all, he remains undeterred by any hint that he’s merely mimicking the master. With sweeping orchestral accompaniment intact, he captures the feel and finesse of the original renditions and succeeds in making them his own.

Whether couched in the hush of his delicate acoustic finger-picking or amped up with a bit of tempo and electricity, sooner or later, his words demand attention.

He’s one of America’s most unique and unusual artists, exemplified by this original and compelling release.

Blessed ultimately remains an optimistic record that juxtaposes her typically heartrending croon.

At its essence, From Capelton Hill is an album that’s literally brimming over with unceasing delights, making it not only an exceptional comeback but what can justifiably be called, Stars’ album for the ages.

The title says it all, giving an impression of wistful repose and a genuinely soothing serenity that’s become Villagers’ signature style. These Fever Dreams are well worth holding on to.

Lambert’s new record is a challenging statement from one of the very few female singers that has a stage to be widely heard. That her statement manages to weave together nuanced humor and sarcastic wit with huge pop hooks only makes it that much more impressive.

For all its timid trepidation, Stay Gold is an ambitious sounding record, full of massive hooks, and expansive arrangements.

Regardless of the eclectic nature of these albums and their often subpar material, George Harrison deserves the elaborate treatment he gets here which makes this a worthwhile addition to any Beatle lovers’ bulging collection, even if they may not play much of it all that often.

Fans who have stuck with Morrison for any length of time will eagerly welcome his recent spurt of creativity with You’re Driving Me Crazy (the title song has been covered by everyone from Billie Holiday to Frank Sinatra, Big Joe Turner and Louis Armstrong) as another worthy notch in Van Morrison’s remarkable and ever-expanding career belt.

There are enough artistic twists and turns to please even the most dedicated Jacket fan, showing that James remains as musically edgy as ever on an album that pulses with energy, enthusiasm and the restless spirit James has always personified.

It’s overwhelming proof, if anyone needed it, that Noel Gallagher’s best days aren’t behind him. If Who Built the Moon is any indication, the high flying British icon may just be getting started.

A brilliant record that serves as a perfect blueprint on how to make something new out of something old.

Here they keep the songs lean, tough and relatively compact, reigning in Trucks’ more expansive slide tendencies in favor of nailing tight, tough arrangements featuring Tedeschi’s gutsy vocals.

Don’t slot these guys into an Everly Brothers pigeonhole because not only is no one else releasing music like this, but the refined songwriting and flawless performances push these tunes into near classic territory.

Perhaps a few more originals, or even covers, could have been wrestled with to bulk up the playing time. Nevertheless, what’s here is solid, uncluttered, unadulterated blues rocking, played by a trio who will never sell out.

The Vivian Line is unlikely to land on anyone’s hip/hot list. Rather Sexsmith, now pushing 60, is content to churn out radiant, sublime, transcendent music that unobtrusively exists in its own delicate bubble, inviting us in to join him on his unique musical path.

Unlike other singer/songwriters, she consistently pushes her and her audience’s boundaries with music that’s as catchy as it is intriguing and idiosyncratic.

All in all, Greenfields is an admirable effort, and hearing these songs again, even in an altered context, serves their memory well. Any gift from the Gibbs, past or present, is still well worth cherishing.

The end product feels natural, unforced and even at times humble, making this appropriately titled sixth Stringdusters album yet another successful effort that moves the act beyond its string roots while keeping their collective feet planted in them.

Sometimes the rhythms skitter and stutter; sometimes they throb, or soothe. More often than anything, they surprise and intrigue.

Early Takes Volume 1 might just be the ultimate George Harrison compilation because it pays such respect to that voice in terms of how it sounded and what it had to say, reminding us just how much we miss hearing it today.

While O’Connor never really went anywhere, this self-assured and confident release feels like a comeback. It has elements of what made her so strong and startling back on her still dynamic 1987 debut but tempered and matured with the wisdom of a quarter century of experience.

This project is far more adventurous in its presentation of a unique and provocative sonic palette.