Not everything works, however. ... Overall, though, this is the Hank Jr. we’ve been waiting to hear for years, and it’s a welcome return.

This is a masterful album, replete with wonderful stories and fully drawn characters.

The charm of these tracks, though, is in their now-less-common unselfconsciousness (with its close kin, indulgence, lurking nearby) and the largely likable blemishes reminding us that music, above all, should sound human. For better and occasionally worse, this music unquestionably does.

Full Circle stands as a wonderful and welcome piece of work, 14 solid songs that shift easily from Appalachian mountain soul to pure country and even spiritual fare. Plus, Loretta has simply never sounded better.

In every aspect, from production to instrumentation and Wynonna’s sensational performances, this ranks as her absolute best solo effort.

While he’s done nearly a dozen yesteryear-based solo albums, this one is distinguished by its smartly chosen representation of the Gershwins’ musical breadth and the handpicked, multi-stylistic band (with Mickey Raphael’s winsome yet penetrating harmonica again providing a crucial link to Willie’s larger body of work) fittingly snazzing up the affair while making the most of Willie’s no-dress-code musical fusion.

Down to My Last Bad Habit is simply Vince having loose-limbed fun with his cohorts, resulting in one of the most enjoyable listening experiences you’ll be privy to all year. You’ll want to play it over and over.

With a range of topics that cover bullying (“Kill a Word”) and women running afoul of the law (“Chattanooga Lucy”), there’s plenty to indulge in without coming away bored or feeling like you’ve heard it all before.

Carrie’s never been in better voice, but a little more control in the production would have served her well.

The production team of Tim and Byron Gallimore have struck country music pay dirt with this incredible collection that balances contemporary and traditional styles with amazing subtlety, all without making Tim sound as if he’s trying to keep up with the younger stars--indeed, with Damn Country Music, he’s in the passing lane.

The result feels a little something like those beloved ‘80s movies in spirit and aesthetic.

Kill the Lights isn’t consistently pleasing, but it does represent a progression and evolution from Luke’s previous material.

The Blade further serves to position her as one of the premiere and rare female neo-traditionalists in the format.

It may not be all pretty, but Something More Than Free is as real as it gets.

Kacey adroitly communicates who she is through her music, maturing in her artistry while staying true to herself. Pageant Material deserves to win some sort of title--and it just might.

Their fourth album, The Muscle Shoals Recordings, is an outstanding 11-song offering that lives up to the lofty expectations of its namesake.

With this, his fourth country album, Darius and his team have most definitely solidified his sound with expertly layered, but not overdone, musical arrangements that add some dimension to his already warmly textured vocals.

The tunes are infused with banjos, B3s and other instruments without sounding cluttered. It’s nicely done, but you would hope for better material.

Much of the rest of the album features ho-hum mid-tempos and ballads that don’t move the meter much in either direction.

It’s the incredible balance of Lady Antebellum’s many shades that makes this a flight worth catching.

This is a nicely balanced album that you could listen to repeatedly and still discover fresh, exciting touches with each new listen.

A collection that plays into the group’s rock sensibilities without any loss of identity.

There’s a common theme of relationships among many of the songs, with the ballads “Lonely Tonight” and “Anyone Else” coming away as the strongest of the bunch.

Although the title is also an album track referring to hair color, the depth of this project goes further than Miranda’s roots.

Hunter Hayes has once again produced a collection of music that belies his tender age, not only in content, but in vocal confidence.

On Blue Smoke, the country legend travels many different paths and sounds only like herself.

Like most projects released by Americana singer/songwriter or heritage acts, Tarpaper Sky is best enjoyed like a book, in its entirety as opposed to a chapter here and there.

At times the slower tempos make the album feel longer than it actually is, but it’s never dull.