Ryan Adams as an album might not be uplifting but it sure is outstanding, reaffirming the singular talent of its namesake.

Perhaps more Dr. John participation would have been a logical and welcomed addition to the show (Rolling Stones pianist Chuck Leavell and ex-Papa Grows Funk man John Gros effectively cover most of his piano parts) but this remains a terrific few hours of music that honors not only one of New Orleans’ most influential musicians, but the city that formed and defined his vision.

Apart from several live recordings of older classics, which feel unnecessary on an album that highlights Clark’s late-career work, this collection is a testament to the spectacular consistency of quality and depth in Clark’s songwriting genius even as he struggled through declining health in his final decade.

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

It’s the continuation of a fabled legacy and one that has not only stood the test of time but remains vibrant and invigorating all these decades on. Clearly, The Zombies are still in the game and still playing for keeps.

This is a powerful, insistent collection of generally unknown artists laying down a murky groove that few contemporary artists get right.

Tastefully arranged, fully cohesive and concise.

Given that Morning Phase reveals similarly raw honesty and engrossing emotion [as Sea Change]--plus bears the mark of superior penmanship gained by a decade’s more patience and wisdom, the album is poised to be revered as one of Beck’s most potent collections.

By shifting back to his roots, Eli Paperboy Reed swings into the future for his most direct, honest and propulsive set yet.

It’s a terrific and enriching listen, especially with headphones, where the singer’s supple voice and imaginative lyrics along with Martine’s sympathetic production dovetail with an effortless grace.

The album is a winning mix of traditional and contemporary: her arrangements are often performed with pedal steel and electric guitar, and the age-old problems of infidelity and heavy drinking are represented with modern twists.

This moodier, more prickly attack suits Glaspy’s voice, concepts, and vision. She aligns with other New York City performers who push into shadier, more extreme territory with a similar snarl, mirroring the insecurity, brashness, and honesty the area seems to instill in its finest artists.

It’s a swaggering, easy-to-digest introduction to an artist whose combination of committed vocals, sharp song construction and offbeat, often dark-edged concepts is as creative and snarky as the inspired tongue-in-cheek title of this impressive debut.

Those who need a soundtrack for a rainy night alone can take comfort in the pure reflective intimacy of this alluring and frequently enchanting album.

The new Jicks album benefits from Beck's imaginative treatment, which foregrounds headphone moments while not stinting on pure, spontaneous rock goodness, and Malkmus's songwriting, which sounds inspired and confident.

Womack and husband/producer Frank Liddell have collected 13 terrific songs that not only stand on their own, but reflect an older, more mature look at life when taken as an album.

The rawness of Holmes’ approach and the sheer down-home intensity of everything here may be too stark and unfiltered for most listeners. But thank Auerbach for capturing this most primal of blues music played with the loose, seemingly unrehearsed power and hypnotic force of what most will never experience unless they enter Holmes’ club on a sweaty Saturday night.

Built to Spill Plays the Songs of Daniel Johnston manages to do what most tribute albums aspire to, but few achieve — it stands as a testament to the songs and to the band reimagining them. Martsch spotlights Johnston’s lyrics and arrangements in a fresh, innovative way that makes us reconsider these songs while reminding us why we fell in love with them in the first place.

There aren’t any revelations on Prayer For Peace, but the energy, excitement and intensity poured into every performance makes this a standout in an impressive Dickinson brothers catalog that doesn’t have any weak entries.

Expressive and emotive, it’s a work that finds delicacy and diligence operating on equal footing.

This analog affair sounds cinematic even without the visuals.

Having long since cracked the code for the perfect country song, Haggard expertly crafts a fresh batch of tunes that make you want to write one yourself.

Underneath slicker production and diminished guitar usage, are the same melodies and introspective, angsty songwriting, only this time the band may come off as occasionally happy.

Based on its variety and power, Strand Of Oaks’ Heal seems like that special kind of album that can serve as a temporary buffer for others just as the aforementioned artists did for Showalter.

Production by longtime collaborator Thomas Bartlett and ex-Frames member David Odlum is inviting, alluring and engaging. It pushes Hansard into his finest performances yet on originals that are haunting, poignant and beautifully conceived.

Another rollicking, rolling set of the 69-year-old Finley’s Louisiana-based soul, blues, and gospel-laced intensity.

The result is her finest, most poignant and accomplished album in an already impressive seven year solo career.

This rollicking outing confirms that his output and talents are just hitting their peak, with hopefully more to come.