The Lucky Losers got tight by touring. A lot. Their website has a map of where they’ve played, and it’s got more pins dropped than a tailor riding a mechanical bull.

Soars’ voice and guitar are the glue that holds the album together. Both are the common thread through the various songs, and both inject all of the tracks with a warmth and humanity.

Spencer Mackenzie exists in two worlds. His voice is pure Broadway but his music is unmitigated Austin.

Say what you will about what slacker millennials bring to this world, but if they keep producing hard-working, ass-kicking, no-shit-taking, honest-at-all-costs rockers like Courtney Barnett, the music world will be a much better place.

On ‘City Soul,’ Russ Green creates a smooth blues album. It’s the blues, but there are no rough edges. Instead, it’s a solid album of great harmonica playing and solid vocals.

There is a familiarity to ‘Chasing Shadows’ that put us right at home from the very first. But then we played it again, and again, and discovered new delights each time.

‘Please Don’t Be Dead’ works because it sounds so natural. Every song sounds just how it should be…

Great blues is about the groove, not the guitar solo. On ‘The Cleaner,’ Toronto’s own Dan McKinnon shows a great understanding of that concept.

Venable is the real deal. ‘Puppet Show’ would be a mature album for someone twice her age.

Soul Kamotion defies genrefication. Their blues, soul, and gospel roots extend out into a lavish coppice of musical pageantry.

The music is moving and alive with promise, and we wait for every note like it was money. The vocals keep us where Franchi wants us to be: in his crosshairs and captivated.

Rock and Roll has been described as dangerous, incendiary, and corrupting. Philadelphia’s Low Cut Connie, and their release ‘Dirty Pictures (Part 2)’ are all those things in the very best ways. Hail! Hail! Rock n Roll!