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.