“Hell to Pay” doesn’t represent the rootsy Bonnie Raitt pushing Boz Scaggs into a new direction, so much as reminding him from whence he came.

The sweeping, deeply inspiring “Rise” keeps the synths, even as Todd Rundgren begins looking outward rather than inward.

Chad Bradford’s new song “A Day Before Tomorrow [A Day After Yesterday]” simply buzzes with hit-single ingredients.

“Might As Well Smile” explores a new kind of song for Beth Hart, part of a new kind of album – one framed by hope, rather than pain.

Joey Calderazzo’s “Mike’s Song” keeps his fallen leader Michael Brecker’s spirit alive and strong with nary a single note blown from a horn.

As sun-flecked as Ron Sexsmith’s melodies no doubt are, his lyrics often run the other way. “Can’t Get My Act Together,” however, feels brand new.

Daryl Hall has said he and Robert Fripp were trying to combine sounds from two different cultures to “form a third kind of music.” They did.

If you’re expecting another rootsy upbeat rocker from the BoDeans, the frankly scarifying blues of “Slave” likely comes as something of a shock.

“Wolflight” is a colloquialism for the time just before dawn, when the world is rousing itself. Steve Hackett seems to be similarly coming alive again.

Always open to new sounds, Mavis Staples is now working with Son Little, after earlier collaborations with Jeff Tweedy and the North Mississippi All-Stars.