The closest Lynne has got to where she should always have been.
A deserved and haunting evocation of what might have been.
Smith’s first LP since 1998, both classic and classicist in feel.
Parton’s 41st studio LP sparkles with the enthusiasm of a debut.
Old songs, newly recorded, many of which are fine indeed.
However hard and commendably he tries, Martin is a comedy performer at heart.
An engaging diversion down a road which might be worth investigating further.
The Canadians synthesise disparate elements into a startlingly coherent whole.
Startlingly confident country soul from the Welsh singer.
There’s a great deal of stunning pop across these 47 tracks.
Alabama sisters’ T-Bone Burnett-aided debut is a strong, promising start.
A rich, warm, big-hearted and hilarious album.
More wistful, more mournful, and the better for it.
A natural, effortless pairing, and a set that’s enduringly treasurable.
A worthy addition to a catalogue already embarrassed with riches.
An affecting and intelligent record: the pair shouldn’t shy away from a sequel.
Robbins’ first foray into music is a misstep compared to his successful acting career.
Live recordings from Cohen’s superbly acclaimed 2009-09 world tour.
A fine album by an act who really should think about turning professional.
Cook is an increasingly intriguing and surprising artist.
An altogether welcome updating of an unusually gilded resume.
A spirited challenge to the prejudices of both sides of country’s enduring schism.
As ever, Neil Hannon’s way with a tune is magnificent.
Shows how a lasting reputation can be founded upon one lucky strike.
In small measures the Canadian octet’s latest long-player is great fun.
The group’s first album for five years features some expectedly great moments.
A sweeping up of scraps, a collation of tracks previously found wanting.
Fizzy, furious and cheerfully unreconstructed rock’n’roll.
Consistently confirms what an unusually inventive arranger Stephin Merritt is.
The sound of a band rediscovering themselves.
An album’s worth of Jones’ luxuriance is somewhat rough going.
When Miller sticks to what he’s good at, he is a marvel.
Eitzel infuses his despondent dispatches with a bleak humour.
Cash’s voice has always been a deceptively potent instrument.
