“If They’re Shooting at You,” “Deathbed of my Dreams,” “Do It for Your Country” and “Prophets On Hold” manifest as engaging and affecting ballads, sweetly suggestive and instantly engaging.

Why Me? Why Not. is indeed comparable to one of Macca’s recent solo albums, a little modern, a little throwback, a lot of good stuff. Don’t miss out on the resurgence of Liam Gallagher while you’re hoping against hope for the return of his former band.

12 Stories, a record full of humor and pain, remorse and reckoning, is one of the very best country debuts of 2013.

This is raw, honest Americana featuring a punky edge that connects due to the power and passion it’s played with and inspired by.

It is also one of his most consistently rewarding efforts since the heady early records.

Although certain songs on the new record offer her a catharsis of sorts —”When She Comes,” “Half Hanged Mary” and “Bones” being some of the more obvious examples — the album overall finds her exuding a decided clarity and confidence.

These days, a classic croons are cool again. Witness the 90-something year old Tony Bennett or the ongoing admiration for Sinatra, Bobby Darin and others that share that seemingly romantic repast. In that regard, This Dream of You offers comforts you can count on.

Loveless may have left the twang behind, but returns with one of the most powerful, moving and musically sophisticated offerings in a career that is clearly still growing despite, or perhaps because of, any self-doubts.

This record is all over the map, showing how widespread Loretta Lynn's influence has been on the generations of performers who have followed her.

All Your Favorite Bands is an inspired record full of space, swagger and warm, analog glow.

Give credit to the band’s founders and co-producers bassist Robert Mercurio and saxist Ben Ellman who molded this album and show that Galactic doesn’t need a stable front person, or even a singular approach, to make their dynamic music connect with playful passion and vibrant integrity.

It's beautifully conceived, timeless music perfect for pity parties, languid Sunday mornings or times when introspection doesn't need to mean wallowing in sorrow.

For those so inclined, Songs for the General Public is a giddy musical roller coaster ride through the poppier aspects of the 70s with more twists and turns perhaps than are necessary. Hang on tight and enjoy the trip.

Once you hear any of them, you’ll want more, especially since this compact 32 minute disc ends way too soon.

It’s over in a compact 36 minutes but that’s plenty of time to realize this outfit is taking no prisoners in the quest to tear the roof off the sucker.

The Lone Bellow stands as one of the most consistent bands of the last 20 years. Across Half Moon Light, the trio ventures outside their usual musical box, alongside producer Dessner (the man behind 2015’s Then Came the Morning), to provide richer, poppier, and bolder textures. Yet it is never at the expense of their lyrical bite.

One of the band’s finest and most alluring offerings to date.

On Dark Arc, the craftsmanship and lyricism reveal a uniquely singular band informed by Appalachian mountain music and the explosive recklessness of punk.

No one makes music quite like this pair. If Frank Zappa took drugs, this might be the result. The more you listen, the more you hear and if ever there was an album perfect for listening with headphones and the lights out, this is it.

It’s a feisty, dynamic hour long set that does what it sets out to: captures Armstrong’s indefatigable spirit and keeps his music alive for a new generation.

It’s as strong an album as Cantrell has ever released--even if it took nine years to get here.

Del Rey has certainly carved out her own niche in the world of singer-songwriters, much as the quasi-namesake of Norman Fucking Rockwell! did in the art world. This shows her refining that approach, adding a few new brush strokes here and there, but still providing a unique and fascinating tableau as a whole.

This isn’t as immediately powerful or riveting as Love & Hate. But the multifaceted material, along with the pioneering, organic and often offbeat production, grows on you. Listening closely with headphones heightens and intensifies the experience.

By turns arched, ambitious, intriguing and expressive this sprawling 20 song set recalls the band’s earlier epics with melodies that boast the same elevated intensity that’s driven their signature sound from early on.

Despite a half decade of keeping relatively quiet, Orton has emerged with a fresh approach, and a batch of songs both intricately gorgeous and, more importantly, a hearty distance from familiar.

There’s something rich and nourishing about it. And that’s true of all of Doug Paisley’s music, which is strong on melody and comes from a place of genuine emotion. Whatever you choose to call it, music like this is universal.

A rollicking set that nearly two decades in, stands as some of the Old 97’s finest and most exhilarating music.

Like the previous set, this is another batch of slightly skewed but affectionately crafted R&B, heavily tinged by mid-’70s affectations with some blues touches. ... Most impressive though is how soulful a vocalist Dan Auerbach is.