On Valley of Heart’s Delight Cilker proves herself to be one of our finest and most literate songwriters, one whose physical and psychological distance from the pressures of Nashville seems to be at least partially tied to her artistic triumphs.

They decided not to overthink it — a great move, as it turns out. In just five days, tracking totally live — which, unbelievably, they’d done only twice previously (on “Darkness on the Edge of Town” and “Born in the U.S.A.”) — the band recorded nine new tunes and three unearthed from before Springsteen had recorded Greetings from Asbury Park, his debut. And yes, some of these songs will take their place alongside his greatest hits.

It’s required listening for even moderate rock fans. This upgraded version, while not necessary for casual listeners, especially those who already own the first pressing, improves on it with supplementary music and, almost as importantly, expanded liner info, rare photos and enhanced track details in a 44 page book that dedicated Zepp followers will revel in.

Jamie is nothing if not daring, filled with fascinating, sometimes jarring musical complexities which the most skeptical listener will appreciate. Despite its relatively brief 36 minute playing time, the disc’s concepts and sheer obliqueness makes it linger far longer as a bold declaration from a restlessly creative artist with plenty on her mind.

There are standouts everywhere.

Overall, the hardest part about listening to Noah Cyrus’ The Hardest Part is turning the album off.

The 11th release from the Toronto-based, foursome certainly contains some of The Sadies’ finest work. Colder Streams is one of the group’s most diverse sets.

In retrospect, Young’s decision may have been for the best, but like everything he’s done, Homegrown still has much to offer. In retrospect, and with all things considered, it’s not a bad blend.

At the end of the 20 tracks, you’ll feel both closer to yourself and to Bill Callahan as you drift along with his expansive, occasionally humorous, always provocative and quirky mindset.

It’s an album that shows again and again that very few songwriters on this planet illuminate the oft-unfair rules of this game or the inner workings of the players quite like he can.

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.

Though some longtime fans may feel as though some of the imperfections that adorned Toledo’s original DIY bedroom release are lost in translation in this gorgeously polished release, in its new iteration Twin Fantasy is a deeply moving statement from one of indie rock’s freshest young voices.

Robbie Fulks at 53 might be a kinder, gentler version of the rascal of old, but one who has perfected balancing touching, reflective ruminations and a sardonic outlook with effortless aplomb.

Lyrically, Bowie it at his best here when he dives fully into off-kilter impressionism and ponders the uncertain present and apocalyptic future.

Isbell revisits favorite themes with powerful results.

U.F.O.F. is a beautiful album, but one that finds Big Thief a little more willing to push their limits, both in terms of abrasiveness and grace. Perhaps Big Thief are no longer a secret, but they continue to draw the listener ever closer.

The second, slower side is the less immediate of the two, but the one that features its most jaw-dropping moments, namely twin seven-minute monoliths “Sister” and “Woman.”

This is, in every way, a crowning affair, one that’s destined to be considered a high point in Carlile’s ever-expansive career. It’s little wonder then that In These Silent Days consistently speaks volumes.

Her 11th studio set, Blood (produced by Kenny Greenberg) is as inescapably devastating as it is cathartic, liberating and beautiful. ... Blood is an irrefutable masterpiece.

The album captures a shared sense of both isolation and optimism with melodies and harmonies that soar assuredly, building on an ornate orchestration that allows songs such as “Deep Water Swim,” “Laughing Gas,” “No False Gods” and the title track resonate with such haunting yet harrowing designs.

The songs are solid but the disc is greater than the sum of its parts as it congeals around Hubbard's confessional, often personal memories.

This is music that fascinates on first listen but requires multiple spins for its complexities and idiosyncrasies to take hold.

This album is harrowing and not for the timid, but those who stick with it will be treated to a truthful, moving journey and a master class in songwriting to boot.

The Fragments box set offers enough weight and return to justify its weighty price tag. The remastered version of the original album is simply stunning, bringing clarity to the source material that wasn’t as evident before. So too, while repeated versions of certain songs may sometimes seem redundant, they are well in keeping with any Dylan devotee’s desire to peer well below the surface while gathering clues as to the germination of Dylan’s genius.

Choose the edition based on your appetite for this remastered/reissued meal. In any version, these sonically refreshed songs are well worth hearing, or reacquainting yourself with, and are an integral chapter in the Beach Boys’ long, influential history.

Joni Mitchell is working in a basic acoustic folk idiom here, albeit with some wonderful compositions. While the “buyer beware” warning isn’t needed since the contents are clearly noted in the box’s title, suffice it to say this is geared toward historians, hardcore folkies and/or Mitchell fanatics; basically those willing to fork over nearly $60 to explore her musical back pages.

There is a vibrant exuberance to these performances that, like its old-school audio, feels alive and fresh making the Mavericks one of the few bands better in their second act than in their first.

Be The Cowboy is a standout because of its restlessness, Mitski winding each lonely melody through the peripatetic music and always landing someplace unexpectedly moving.