He beefs things and takes a full-band approach on Big Bad Luv, which contains almost as many hooks as it does Moreland’s hard-earned kernels of truth.

With a release as consistently robust as Pollinator, the remaining trio has tapped into past glories without sounding stiff, or worse, desperate. At this late stage, we can confidently call that a comeback and hope they still have a few more albums as strong as this in their tank.

It may not be her finest set, but it captures the light/dark spirit that informed Crow’s best music and is a worthy addition to an already impressive catalog.

Presley’s latest album is a masterclass in songwriting that shows the singer’s limitless potential.

Existing fans will rightfully be thrilled that Hitchcock not only hasn’t lost his edge, but has sharpened his knives on this superb set.

There’s a lot to chew on, but Americana is an overstuffed, first class offering from one of the UK’s most feted songwriters and a worthy entry into Ray Davies’ rightfully esteemed catalog.

It’s hard to follow any Ry Cooder assisted act, but Outlaw coalesces around his own, more intimate sound. We can always use an honest, unpretentious Sunday morning album to enhance the usually easygoing mood, and for those moments Sam Outlaw’s unassumingly enjoyable Tenderheart hits the mark.

While you may wish this newlywed was a little happier, this is a superb, emotionally poignant album that displays and expands Andrew Combs’ impressive songwriting, musical and vocal talents.

There is no rock here, although the prog nature of the music incorporates those influences, yet the album never feels bloated or one-note.

There’s nothing “brand new” about the Mavericks’ music; yet in this era of by-the-numbers, narrowly pigeon-holed playing, the group’s inclusive, adventurous vision is refreshingly unconventional and truly alternative.

Crowell’s brutally honest musings on his life and loves is a case-study that makes the reflective Close Ties a poignant and emotionally affecting portrait of one of American music’s most captivating, talented and honest artists.

There’s plenty of soul, sass and self-reflection as Hames works through these short, snappy tunes, where it’s impossible not to hear echoes of the Dusty Springfield and Bobbie Gentry influences that Hames mentions in the press notes.

The album’s eclectic nature never feels random. Rather, it highlight’s Foster’s natural inclusive qualities and showcases an artist who, nearly two decades into her recording career, has refined and elaborated her vision of empowered redemption, both of which are in full flight on the superb Joy Comes Back.

Smiles may be hard to come by on We All Want The Same Things, but flat-out songwriting excellence is in plentiful supply.

In Postcards Pieta Brown has created a trip through her most personal and revealing moments with an honesty and confidence most wouldn’t even attempt.

A major leap forward for an artist whose previous work now seems like a warm-up for the dizzying heights The Navigator strives for, and often achieves.

It’s an impressive start to what seems to be a promising career for Jay Som, an artist ready for the next step to build atop this remarkable and often striking self-constructed first release.

Semper Femina is a concise, dynamic statement from the English singer-songwriter, mixing breezy 70’s country-rock melodies with claustrophobic, fingerpicking folk, often on the same song.

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.

More ornate and richly produced than any of her previous recordings, The Order Of Time fully establishes June as a proper auteur who has long transcended any limitations as a quaint revivalist.

An impressive effort that proves these relatives with impeccable musical synergy have more than just bloodlines in common.

Between the album’s imaginative, original art work and music that follows suit, this is one CD you’ll want to hold in your hands and stare at as you strap in and let the inspired music unspool.

[A] terrific, moving and occasionally emotionally intense examination of the black experience in America.

Graveyard Whistling proves that even in the young man’s game of country rocking, growing older is no impediment to creating exciting, even exhilarating music that feels vital, fresh and dangerous.

Son Volt doesn’t try anything fancy on Notes In Blue, nor does it need to. It simply puts the spotlight on the frontman and lets him knock every one of these songs high into the stormy skies and right out of the park.

There’s plenty going on and most is worth hearing even if Milia’s artiness occasionally gets in his way.

Adams does his job just well enough on this album that we’re willing to join him on that downward spiral and maybe, as listeners, locate the catharsis that eludes the lonely “I” living the songs.

The retro countrypolitan and rawer, roots elements that informed Lane’s previous Dan Auerbach-produced All or Nothin’ have been sanded down slightly on this follow-up.