Tempest is fantastic, but being impressed by Dylan is old hat. That he still finds ways to surprise us is an achievement beyond all comprehension.

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.

If you’re new to Everett’s talents, Extreme Witchcraft is a fine place to start, before working back through a catalog that has no weak entries. But this stands out as a highlight by his lyrical dexterity and the visionary Parish/Everett production partnership.

The Union brings up two very good points again and again: No amount of celebrity shenanigans or animated transgressions can eclipse the fact that Elton John is an absolutely amazing musician and there's a never-ending list of reasons why Leon Russell is your favorite musician's favorite musician.

This is clearly an album to be absorbed, perhaps alone, as you read the words and let the music wash over you, taking you places few singer-songwriters dare to explore, let alone those on their first albums. Similar to the early work of the equally unconventional PJ Harvey.

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.

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.

These stories resonate with strength and an irrepressible spirit few other artists can summon. Williams’ ability to persevere over issues that would sideline lesser talents and create music this impressive is a testament to the vitality of her rock ’n’ roll heart.

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

Earle is far too musically adventurous to linger too long in any one genre, and kudos to him for that, but Terraplane is such a standout that we can only hope he makes his way back around to the blues relatively soon.

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.

Everything connects emotionally and musically in front of an enthusiastic crowd on one of the year's best and most vibrant live albums.

The result was a rich listening experience, as Swift flew past the mark she set for herself with ease, daring to look further inward than ever before.

Third time the charm? Based on the shimmering Mint Condition, it deserves to be.

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

After the celebri-beef and ALL CAPS blog posts fade away, Fantasy will stand as an album that dare to push the entire medium of recorded music forward, for better or worse.

Despite a few glaring omissions (no “The Slider”?), most of Bolan’s recognizable work is represented. Willner’s flair was matching artists with unlikely song pairings and having them gel perfectly, such as Lucinda Williams running “Life’s a Gas” through her moody, Southern-swamp personality.

Even as he enters his 60s, Waits still sounds as lively and as cagey as ever, indulging both his most brazen and his most sentimental urges to upend all of our expectations.

Price’s ability to mesh elements from rock, soul, country, and beyond to craft her own modernized yet classic sound shines on tracks like “Where Did We Go Wrong.” Although the project is a departure from the traditional country sound of her early albums, every song feels authentic and distinctly her own.

This stunning entry into his already impressive catalog shows he refuses to rest on his laurels.

Both as a songwriter and as a performer, Laura Marling has never soared so majestically.

Plant continues down his remarkably innovative path on the combustible Carry Fire, further expanding an already eclectic, forward-thinking solo career and creating an artistic, often edgy persona largely removed from past glories many younger fans may not even be familiar with.

Even without the obvious gravitas hovering over the project, this is an exceptional work and arguably Allman’s finest non-Brothers release.

The result is naturally a bit of a mish-mash, but all of the material is terrific and the sequencing makes this seem like a finished product.

It’s not just a rousing bookend to a remarkable, late-starting career, but a terrific and moving soul explosion that stands as one of the finest in her limited yet extraordinary catalog.

The absurdity and terror that Nick Cave and the Bad Seeds have so often courted aren’t absent on Push The Sky Away. They’re just muted, and rendered all the more seductive via lush arrangements and Cave’s crooning baritone.

The album is somewhat of a musical and philosophical rollercoaster. But that’s all in a day’s work for Everett who adds to his already impressive, uncompromising catalog with another expressive, rugged and diverse gem.

Some 42 albums on, Morrison remains as emphatic as ever. This Latest might not be his greatest, but in many ways it clearly comes close.