On this 1986 debut, Steve Earle burst on the scene as a fully formed songwriting master, synthesizing effortlessly the finest parts of country-folk troubadours like Townes Van Zandt and the anthemic, working-class rock of Bruce Springsteen. "Someday," a country-rock masterpiece about a kid stuck pumping gas in a dead-end town, remains the perfect realization of this style, and with the exception of the slight and silly "Little Rock 'N' Roller," most everything else here (especially "Hillbilly Highway" and the heartbreaking ballad "My Old Friend the Blues") comes awfully close. The 2002 reissue, overseen by Earle and original producer Tony Brown, offers fresh remastering, new liner notes by Earle, and a bonus live version of Springsteen's "State Trooper."

Lucinda Williams is incapable of sounding anything less than 100-percent engaged and sincere. Whatever she has to say, she clearly means it, and that more than anything else is the thread that runs through 2020's Good Souls Better Angels, her fourth album since she launched her own record label and took full control of her process of recording and releasing music. Cut mostly live in the studio with her road band – Stuart Mathis on guitar, David Sutton on bass, and Butch Norton on drums – these 12 songs play like a long stream-of consciousness journey, with Williams writing in blues structures that repeat certain lines like a mantra while her band either sneak up on the music like a ghost or howl with elemental, bluesy skronk (the raw, gritty tone of Mathis' guitar matches Williams' vocals for sheer ferocity on numbers like "Down Past the Bottom," "Bone of Contention," and "Wakin' Up" like he's roots rock's answer to Ron Asheton).

As guitarist and frequent songwriter with the Jayhawks, Gary Louris was on hand from the group's atmospheric country-influenced early recordings to their later grand-scale pop productions, so it shouldn't be much of a surprise that Louris' first solo album should embrace both ends of this musical spectrum. Vagabonds manages to sound grand and organic at once, with the arrangements and production capturing a sense of the wide open spaces of Hollywood Town Hall and Rainy Day Music, especially on the beautifully heart-tugging "She Only Calls Me on Sundays," while also encompassing the more ambitious melodic conceits of Smile and Sound of Lies on tracks like "Black Grass" and "Omaha Nights."

On the first album they’ve released together since they were partners in The Jayhawks in 1995, singer/songwriters Mark Olson and Gary Louris reconvene for a recording that's unlikely to disappoint fans of their old band. But while they mine a thoughtful country-folk vein that’s not far removed from Jayhawks territory, Olson and Louris take a somewhat softer, more acoustic-based, balladic approach here than they did in the Jayhawks days, lending Ready for the Flood a warm, honeyed glow.

Few young singer/songwriters have quite so quickly won the sort of acclaim that Idaho-born Josh Ritter gained with his first self-released album, which won rave reviews, earned him slots opening for Bob Dylan, and made him a minor celebrity in Ireland, where he's already headlined several tours. Ritter's second disc (and first nationally released album), Golden Age of Radio, makes it clear that his sudden success is well deserved, and based on genuine talent. Ritter's moody, evocative songs seem to reside in a middle ground between Richard Buckner and Ryan Adams, but without suggesting he's lifted anything from either of those performers…

On August 20, 2020 the world lost an amazing light with the passing of Justin Townes Earle. Justin was a vibrant songwriter who could play the blues, country, and rock n roll all in the same song. In his short career, Justin released eight albums and one EP that all manage to sound classic and yet inventive. Justin's father, Steve Earle, pays tribute to his son by recording an album of songs written by Justin titled, J.T. The album consists of ten Justin Townes Earle songs as well as one song written by Mr. Earle shortly after Justin's passing. J.T. features fan favorites such as "Harlem River Blues," "Far Away In Another Town" and "Champagne Corolla" along with lyrically heavy songs like, "The Saint of Lost Causes" and "Turn Out My Lights."

It’s hard to be ambivalent about Zooey Deschanel. She’s a polarizing personality, one whose deadpan movie roles and big Bambi eyes are either charming or too cute for their own good. The same can be said for She & Him, a soft rock duo that features Deschanel doing what she does best as a film star: acting utterly adorable alongside a quiet, talented male character. Her co-star in this case is M. Ward, who produces the band's second album and frames Deschanel’s voice with a Spector-sized pile of instruments. Those who already take issue with Zooey’s acting will almost surely pick this record apart – it’s too reminiscent of her cutesy turns in movies like (500) Days of Summer to change many minds – but for fans of retro pop (and Deschanel in general), Volume 2 is a gem. Whether they’re copping the Brill Building sound or resurrecting ‘70s beach-pop, She & Him always seem to have nostalgia on the mind.

Recorded over the course of a series of freewheeling, improvisatory sessions, ‘Kingdom In My Mind’ is The Wood Brothers’ seventh studio release and their most spontaneous and experimental collection yet. A testament to the limitless creativity of the unharnessed mind, the record explores the power of our external surroundings to shape our internal worlds (and vice versa), reckoning with time, mortality, and human nature. The songs here find strength in accepting what lies beyond our control, thoughtfully honing in on the bittersweet beauty that underlies our pain and sadness with vivid character studies and unflinching self-examination. Deep as the lyrics dig, the arrangements always manage to remain buoyant and light, though, drawing from across a broad sonic spectrum to create a transportive, effervescent blend that reflects the trio’s unique place in the modern musical landscape.

If there’s one lesson to be gleaned from Jaime Wyatt’s latest album, Neon Cross, it’s that life goes on. And through it all - good times and bad, dreaming and desperation, there is truth. When it came to capturing that truth on tape, Wyatt had some assistance from Shooter Jennings, who produced Neon Cross. Together, she and Jennings boldly colour out- side the country lines, taking a wide-lens sonic and stylistic approach to the songs on Neon Cross.

Kim Richey celebrates the 20th anniversary of her album Glimmer with, A Long Way Back: The Songs of Glimmer, featuring new recordings of the songs from Kim's classic album. Whereas Glimmer, produced by Hugh Padgham, had a pop sheen to its sound, A Long Way Back. . . strips everything down to a more raw essence. Produced by Doug Lancio, who also plays most of the instruments, A Long Way Back. . . allowed Kim to reinterpret these songs and give them a fresh, yet timeless sound. Other musicians on the album include Nielsen Hubbard and Dan Mitchell.