While it may be a while until the current pandemic eases its grip on hard touring musicians like the Delvon Lamarr Organ Trio, there’s nothing stopping you from pushing play on the exhilarating I Told You So and diving into the surging soulful sounds of one of most talented, driving and funkiest acts around.

By turns both heartbreaking and heroic, it boasts the signature sound of an artist whose music has always been soothing, seductive and immediately engaging. In this case, quality is matched by quantity, given the fact that the album boasts some 18 tracks (plus an added demo), each as winsome and wistful as the next.

Despite its dark, cautionary subject matter, The Future Bites is Steven Wilson’s most powerful and commercially appealing set to date. Beautifully produced—it’s one of the first studio albums of new material mixed in Dolby Atmos surround—this is the bristling sound of Wilson taking a bite into the future of prog-rock.

Still Corners stitches a seamless amalgamation of lyrics, vocals, production and song composition, all of which makes The Last Exit an early contender for one of 2021’s finest, and most enduring releases—one to listen to, absorb and bask in.

From an Old Guitar may be a stop-gap release during the pandemic, but it’s also a consistently enlightening and even inspirational listening experience.

Matthew Sweet is a journeyman musician whose impressive resume speaks for itself. On the nearly solo Catspaw though, his insistence on being a one-man-band, seemingly dismissing input for songs and especially production, would benefit from other objective ears.

Obviously this isn’t for everyone. But Trost and Barnes push boundaries on the often inspirational, always interesting, occasionally off-putting Petrichor. Those with open minds prepared to take the leap into this artsy sea will come away richer for the experience.

He has released one of the early contenders for finest debut of 2021. The appropriately titled Introducing... justifies the spotlight status he clearly deserves.

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 heartbreak is palatable and one can’t help but be moved by both the confession and the candor. Indeed, the poignancy is not without purpose.

Though it’s by no means essential, McCartney 3 will likely still win over legions of compulsive Macca collectors.

It’s apparent that this fine fusion succeeds, perhaps beyond the parties’ initial expectations.

At their best, live albums serve to encapsulate a career. In this case however, What To Look For In Summer offers something more, an actual elevation to the accomplishment. Look… and listen. Summer is an album for all seasons.

Other than basic songwriting credits, there are no liner notes, no band history, no lyrics, no indication of which album each selection originated on, a few unimpressive pictures in the skimpy four page pamphlet and an overall lackadaisical artistic presentation. ... Musically this is an impeccable set of classic, edgy rock that captures the essence of an eclectic couple that stayed honest and true to their uncompromised sonic vision. [Music: 5 Stars/Packaging: 2 stars]

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, or perhaps because of, the scattershot musical smorgasbord, Calexico delivers a fitfully enjoyable album, one with enough artistically entertaining moments to make it worthwhile, even if its overall approach is more unfocused than festive.

Campbell seems reluctant to imbue a significant imprint of his own. It leaves little that hasn’t been rehashed dozens of times before. That makes Wreckless Abandon nowhere neither as daring or distinctive as its title otherwise implies.

It’s an interesting mix of music, and, as might be expected, a dynamic and diverse concert that stands among the most dynamic of the live music extracts culled from the Hendrix archives thus far.

In the end, Jewel Box is a lot to sift through, but ultimately it’s well worth the effort. Go through the couch cushions and save up some coin. Elton’s jewels provide a worthy cache indeed.

Pine Needle Fire slots flawlessly with his established catalog while adding a fresh, somewhat reflective approach; music that could only have been crafted by someone with the experience, class and integrity Bramblett brings to everything he touches.

Thankfully, the abundance of material doesn’t lead to any lapse in quantity, although some songs are admittedly more essential than others. Taken in tandem, they serve as yet another reminder that for all the unpredictable paths Young’s pursued throughout his career, his reputation as an astute songwriter puts him in the upper tiers of rock’s most reliable artists of the past 50 plus years. Save up your coin, folks. This one’s essential.

LIVE DRUGS with minimal audience feedback and crystal clear, at times thunderous, audio is a thrilling representation of the band, at its back-rows filling finest. It’s a terrific substitute for those who haven’t caught them on stage, or have and yearn to relive the experience.

It’s an excellent live document, and though it’s devoid of otherwise familiar material, it brings attention to an unlikely artifact that deserves renewed attention. Consider this a most remarkable return.

Starting Over finds Stapleton not only maintaining his momentum, but also opting for diversity as well. While his influences are as obvious as always, he breaks out of the Southern rock mold he established early on.

Even though it was recorded during dark times for both Dobson and the country, Impossible Weight is the strongest and most powerful statement yet from a talent on the verge of breaking out.

It might also be argued that Hey Clockface is Costello’s attempt to redefine himself as a more mature performer, one cognizant of the fact that he has an aging audience seeking subtlety and sentiment. Indeed, as the title suggests, time is ticking away, ensuring relevance becomes more a priority than rambunctiousness.

Even completists might quibble with the fact that several of these bonus tracks appear to overlap those on the previous edition. The fact that two additional covers are included — a loose cover of “Money,” expanded from the 40th anniversary extra, and an extended read of “Rock Me Baby,” each well in keeping with the blues motif that encompassed the album overall — may be cause for persuasion, although certainly not on their own

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.