Their finest album, 1977’s Rumours, addresses with heart and sharp insight the romantic disengagements and re-entanglements of the members in the free-spirited, free-love 1970s.

It's a beautifully understated album of personal confessions, wandering thoughts and worldly observations, all rendered with the assurance of a naturally gifted vocalist, one who clearly has no need for auto-tune or other irritating tonal tampering devices.

A fierce backing band, Okkervil River lends them drama, tension and a cinematic pomp that underscores the miraculous nature of Erickson's recovery.

It's about people, and Mellencamp continues to write and sing about them better and better with each passing year.

The Union brings up two very good points again and again: No amount of celebrity shenanigans or animated transgressions can eclipse the fact that Elton John is an absolutely amazing musician and there's a never-ending list of reasons why Leon Russell is your favorite musician's favorite musician.

It's geek rock's holy grail courtesy of the sub-genre's flagship band, and an album that, though rife with sincerity, songwriter Rivers Cuomo has seemed to run farther and farther away from ever since.

After the celebri-beef and ALL CAPS blog posts fade away, Fantasy will stand as an album that dare to push the entire medium of recorded music forward, for better or worse.

Since PJ Harvey is a veteran artist who, in her 20-year career, has yet to either make a bad record or repeat herself, to call her latest, Let England Shake, one of her strongest efforts to date is a bold statement, but it's true--this a brilliant record by an artist impervious to aging.

For folks new to the Truckers, intrigued but a little overwhelmed by their rather expansive catalog, this is the album to start with.

For their part, the band is spotless. The majority of the record adheres to the lilting and forlorn brand of country that one might expect from an album called Invariable Heartache.

The words are as woodsy and quaint as ever. Pecknold seems to take his inspiration from classic British poetry, and rarely refers to objects, characters, or events that would place him in the 21st century, relying instead on imagery like old stone fountains, seeds, keys, sand, and the night sky.

Strange Mercy is more mysterious than its predecessors, the references more obscure, but it also feels more personal.

What truly makes the album memorable--and what makes it arguably Bondy's best--is the atmosphere that pervades every song.

If Wilco (The Album) was the band tempering their experimental nature into something more accessible, The Whole Love refines that approach and showcases the full range of Wilco's considerable abilities.

Even as he enters his 60s, Waits still sounds as lively and as cagey as ever, indulging both his most brazen and his most sentimental urges to upend all of our expectations.

Four the Record retain all the pain and personality that drove those dark songs [of her first two albums] and redirects her energies toward some of her best and most eloquent singing and songwriting yet.

Though this remastered 40th Anniversary Edition tightens and polishes every tone, L.A. Woman isn't exactly a studio marvel.

Bruce Springsteen's Wrecking Ball is that rare release that manages to fulfill, defy, and exceed expectations all at once.

The only thing that the Immersion Edition is really missing is any extensive liner notes.

This record is urgent, pissed, strident and macabre.

You'd be mistaken to pass up the greatest album of Loudon Wainwright III's four-decade career, and an easy frontrunner for this year's best album, period, as 2012 enters its second half.

Mermaid Avenue project is essential for showing that Woody Guthrie could illuminate what was going on inside of him as well as he could detail the plight of his fellow man.

For a songwriter with nearly two decades of performing under her belt, Marshall has never sounded so youthful or commanding.

Tempest is fantastic, but being impressed by Dylan is old hat. That he still finds ways to surprise us is an achievement beyond all comprehension.

For how uncharacteristic it might seem for a band whose greatest gift, all along, was nuance, this louder take suits the band brilliantly.

Everything connects emotionally and musically in front of an enthusiastic crowd on one of the year's best and most vibrant live albums.

As bright and warm a guitar-based indie pop album as that [debut album, Gorilla Manor] was, it left a fair amount of room for expansion and maturity. On second album Hummingbird, that growth is readily apparent from the first track.

As diverse as ever, this is the kind of comeback every once-defunct act strives for but few deliver with the consistency and sheer enthusiasm exhibited here.

The absurdity and terror that Nick Cave and the Bad Seeds have so often courted aren’t absent on Push The Sky Away. They’re just muted, and rendered all the more seductive via lush arrangements and Cave’s crooning baritone.

Her major label debut, which moves from country waltz to roadhouse blues, from rootsy singer-songwriter narratives to irresistible country pop, follows its own relentless arrow throughout, and the result is one of the most fully-formed, arresting debuts Nashville’s seen in years.