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