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A solo singer, go-to collaborator and member of the Pistol Annies, Monroe is a star who's both arrived and rising: accepted by insiders without losing her veneer of outsider cool.

The gospel-punk band's self-titled debut couches its invective in feedback, guitar noise, bruising drum machines and Franklin James Fisher's guttural howls.

Listen to Sam Beam cover a deep Seventies Neil Young cut on the latest volume of his Archive Series.

These are songs by and for feel-big dreamers, performed with a gift for weapons-grade ingratiation by a pair of born crowd-pleasers.

Those Darlins hooked up at the Southern Girls Rock 'n' Roll Camp, which bassist Kelley Darlin founded in 2003. Critic Robert Christgau is glad to see the band finally playing rock, as well.

On her latest album, the Nashville singer-songwriter tells compelling stories from the inside out.

On her latest record, the Detroit-born singer teams up with songwriting veteran Brian Holland to pay tribute to the Motown sound.

Susan Werner has done alternative folk, original American songbook material, and gospel for agnostics. And for her latest effort, she's picked a handful of '60s and '70s pop hits, and arranged string and woodwind backings for them.

A new Johnny Cash album, American Recordings VI: Ain't No Grave was released this week to coincide with what would have been Cash's 78th birthday. We remember the singer, songwriter and guitarist, who wrote more than 1,500 songs — and performed from the 1950s until just before his death in 2003.

Superchunk's new album, Majesty Shredding, fits the textbook definition of indie-rock: the pomp and spectacle of marketplace rock 'n' roll turned inside out to show the seams, revealing the men and women behind the curtain who aren't much different from the rest of us.