With Treasure of Love, The Flatlanders’ reverence for their roots stays true to its title.

The sound is leaner, a little less rough around the edges and solidly in sync as well.

Faithfull simply shares her dry recitations with poise and proficiency.

Whether this is the beginning of an extended musical partnership or just a one-off, it’s a powerful and rewarding album. That’s especially the case for those who have been through the more challenging parts of the broken relationship mill.

These particular sessions were graced by local legend, songwriter and Hammond organ ace Spooner Oldham and guitarist Will McFarlane, each of whom add to the atmospheric embellishment on the album.

It’s all quite exquisite, gorgeous, charming… and a little bland. Each selection confines to the group’s established low key vibe. But that gets monotonous after a while, even as instruments drift in and out of the mix and tracks such as “Song of the Bell” and “I Lie Awake” up the energy and guitar reverb to include delicate, slightly edgy psychedelics.

It’s a set of songs somehow manages to come across as both subtle and assertive in equal measure. That’s not an easy task of course, but it’s a credit to the band’s particular prowess that they not only tow that tricky divide, but do it so efficiently.

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.

Consequences offers no shortage of rhythm-ready offerings, which ensure the enthusiasm remains at a constant peak.

The music comes across as honest, emotional, credible and convincing. ... A Few Stars Apart brings him closer to the singular distinction he so decidedly deserves.

Since the selections were cherry picked from various shows, the playing and performances are likely the finest from the tour. The audio is tough and punchy with clean separation that leaps out of the speakers. Only Ozzy Osbourne’s insistence on introducing every song slows the momentum. A short, seven minute CD single of just two songs pushes the platter total to four.

The agitated, anxious emotions that explode over Big Mess create a difficult, even grating 73 minutes, which is clearly what Elfman was aiming for. It’s a bumpy, challenging, often exhilarating, sometimes scary experience. Strap in and hang on.

The heightened level of fury and overall frustration about the state of society is admirable. Some might say there is not enough of it in today’s music. But that needs to be balanced with songs which beckon you back for another listen, an aspect of the confrontational No Gods No Monsters that too often falls short.

Even if little here sparkles as splendidly as House’s prime era, Dreamers Are Waiting is quality, thoughtful pop from the mind of a guy who knows his way around a terrific tune.

There aren’t many surprises on Hardware, but with Gibbons now pushing into his mid-70s, should we expect any? He sells everything with his committed performance and sounds like he’s having a blast. At this late stage in his career, we shouldn’t ask for, or expect, more.

Royal Blood shifted gears and embraced a more polished sonic profile and neon color scheme for Typhoons, given that intensity and darkness reinforce its narratives in this album more zealously than its predecessors.

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 album encompasses only a fraction of the total trajectory, it’s a fascinating glimpse at his his seminal sound. In that regard, The Width of a Circle is expansive indeed.

Fatal Mistakes reflects a dueling perspective, one that recognizes the difficulty of maintaining a certain standard but that is determined to reach new goals. The fact that Del Amitri succeed as well as they do is a testament to both their confidence and their talent.

Blackberry Smoke continues to deliver with the assurance and dependability that their fans have come to expect. At this point, their chief priority seems centered on maintaining their dixie designs.

Beneath this veneer of mirth and melodrama, there’s an artist who gives full reign to intrigue and intellect in equal measure.

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.

Ultimately, Long Lost could be considered an opus of sorts, a fully realized work that’s epic, intriguing, expansive, and yet introspective. It’s an emotional encounter that delivers on all it promises far more often than not.

The end result is a festive power pop brew, a combination that mines instinct and intelligence. It’s fair to say then that Seeking New Gods is indeed a truly divine experience.

Perhaps a few upbeat performances would have better balanced the all-ballad program, something Hynde could surely have pulled off without breaking a sweat. Regardless, what’s here displays her ability to inject a fresh approach to Dylan’s timeless work, revealing nuances of his writing that often get overlooked in his or others’ hands.

It’s a perfect juxtaposition of earthy lyrics and frank storytelling with honest, unaffected roots music organically adding an exclamation point.

Not everything clicks—the lazy Latin shuffle “Del Rio You’re Making Me Cry” edges too close to Jimmy Buffett territory—but there’s enough that works to make this an effective posthumous effort that even perfectionist White would have been proud of.

It’s a diverse offering with Weller’s deep soulful voice splitting the difference between Bowie in his Thin White Duke phase on the funky, twisty title track (check out the tasty, offbeat clarinet), jazzy R&B on the flute enhanced “Testify” and the crunchy power pop not far from later period Jam of “True.”