Arguably her finest, most explosive release.

To say the results probably exceeded anyone’s expectations is an understatement.

A heartfelt album that reflects Anderson’s optimism, gratitude, honesty and outlook in the aftermath of an experience that almost stole his gift of music out from under him.

Crockett is not aiming for edgy but neither is he slick, overly smooth or worse, commercially motivated. Even when the songs describe the titular hard times, his affable approach makes them go down easy and, like the best performers, leaves you wanting more.

Although certain songs on the new record offer her a catharsis of sorts —”When She Comes,” “Half Hanged Mary” and “Bones” being some of the more obvious examples — the album overall finds her exuding a decided clarity and confidence.

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.

Ultimately, Leftover Feelings doesn’t take either artist beyond their respective comfort zones. Yet, it is an outstanding album nevertheless, simply because it’s everything one would expect from a collaboration between the two. Above all, it succeeds in eliciting emotion, which is, by definition, the standard upon which most memorable music is judged. Given that measure, Leftover Feelings is both revealing and resilient indeed.

While this is far from anything that may land on commercial radio, there are just enough compositional moments on Burnside’s finest set to push it a little closer to widespread acceptance while maintaining the tough, raw foundation of the uncompromising music that came before. And… you can dance to it.

A superb set that ranks as one of his finest.

He could have jettisoned the closing “I Gotta Go,” a jazzy vamp where he chats about having to get off stage at the end of a gig. ... Don’t let that minor misstep dissuade you from supporting Gales as he continues to fine-tune his songs and muscular blues rocking on an exciting album that provides a taste of his combustible live show.

Paint This Town could be considered the group’s most emphatic effort yet, given its music and messaging. Simply put, it’s also their best to boot.

Perhaps a few more originals, or even covers, could have been wrestled with to bulk up the playing time. Nevertheless, what’s here is solid, uncluttered, unadulterated blues rocking, played by a trio who will never sell out.

This is soul music of the most raw and affecting type; naked but brimming with more feeling than the majority of today’s stars in the genre whose elaborate productions can’t touch Son Little’s cottage project for purity and emotional clarity.

All are already available on one of the many existing Hendrix live discs although as usual, the performances are substantially different since Hendrix seldom played anything the same way twice. ... One of the last recordings with the original threesome. Despite reported tensions within the group, they tear it up.

Price breaks down any barriers left around her on this record to great appeal. In just 10 songs, she manages to tell a lifetime of stories that are captivating from start to finish.

Few songs immediately jump out but when the album is over, you’ll want to hit the repeat button. That’s what any band hopes for and what The Nude Party delivers on the subtly irrepressible Rides On.

Ultimately, Orpheus Descending ranks as one of the most commanding and compelling albums of Mellencamp’s entire career.

For the most part however, Coyote is a stealth-like affair, filled with suspenseful circumstance. Likewise, it’s an impressive achievement that ought to bring LeBlanc the further recognition he so decidedly deserves.

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.

While there are few moments that challenge the band’s finest work, let alone justify the extended wait for new music, The Tipping Point reaffirms TFF’s collaborative talents. They remain idiosyncratic and distinctive in a pop music landscape now enhanced by having this veteran duo back in action again.

[Frontman Kurt Wagner] doesn’t write these songs so much as he unwrites them, and the effect is vividly disorienting, sometimes--as on “NIV” and “Directions To The Can”--even perversely beautiful.

Live At The Cellar Door sounds like Neil Young with his head down playing to an exceedingly polite crowd.... But the real gems here are the pared down Everybody Knows tracks.

The unexpected is to be expected, and in that regard, Wagner and company don’t disappoint. The Bible may not be the last word as far as this band’s creativity is concerned, but as always, Lambchop’s music is worth heeding.

Even as her world expands, and her style shifts along with it, Brandy Clark keeps her feet grounded in the here and now. Her songwriting is only getting better.

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.

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.

Harry’s House pleasantly surprised us—knocked us off our feet actually—with its synth-layered earworms.