As a major player during the height of the Muscle Shoals scene, Fritts held a quiet presence, writing, playing keys, and producing for those artists who came down to soak up the uncanny mix of soul, pop and country produced there. While songs like "Breakfast in Bed" and "We Had It All" have been covered widely for over three decades, One Foot in the Groove is only the third album he's fronted as a vocalist since 1974, and the first since 1997. His warbling, down-home pleading falls somewhere south of Randy Newman's, but his good humor and sincerity, flavorfully backed by his old pals, shine through, whether he's enthusing over a homely trailer park gal and country cookin' or hanging onto his last blues and gospel thread.

Canadian singer/songwriter Ron Sexsmith has been celebrated for keeping it simple: At the heart of such masterpieces as Other Songs (1997) and Retriever (2004) are eloquent lyrics and gentle melodies. On Exit Strategy of the Soul, his ninth full-length album, Sexsmith sticks with what works, once again partnering with producer Martin Terefe, to create earnest, effective folk-pop songs. This time, however, it feels as if he's stretching new muscles in his musical canon by adding sweeping horns and pleasantly imperfect piano arrangements. What results from his risk-taking is a richly satisfying album from start to finish. Full of hope, "This Is How I Know" finds Sexsmith at his most confident, vocally, and most evocative, emotionally. Backed by buoyant horns, "Brandy Alexander" is a lighthearted take on the song he co-wrote with fellow Canadian Leslie Feist, whose version appears on 2007's The Reminder. Even in its bleakest moments ("Ghost of a Chance," "Hard Time"), Sexsmith's voice shimmers and spirit soars proving Exit Strategy of the Soul to be his latest triumph.

Whereas Calexico's last album, Garden Ruin (2006), saw the group leaning towards more traditional rock song structures, earning rave reviews as they thrived in the simplicity, their new effort is a step backwards to the melancholic vibe of albums past. On Carried to Dust, the 6th album from the Joey Burns-led collective, the band returns to their trademark rock/country/mariachi-infused sound, with Burns singing in whispers on the majority of the tracks. But the album's high notes are where the cultural mélange of Americana and Mexico meet, such as the Spanish language songs "El Gatillo" and the beautiful duet, "Inspiración." Since the band's inception, Calexico have flourished in the collaborative nature of the group and this album is no exception, with a laundry list of guests such as Sam Beam, Jairo Zavala, and the amazing Amparo Sanchez (on "Inspiración"). But this overuse of outsiders leaves the album lacking focus. The band plays it safe on Carried to Dust; the sound is distinctly Calexico, an abstract and ghostly hodgepodge of Tex-Mex sounds, but will be a welcoming return for longtime fans.

The cherished bouncy new wave mope of their debut returns with a tell-tale touch of match-lit mysticism and its old pal, metempsychosis. As intimated by the album's title, the grim slide approacheth. "Snow in California" notes the Mayan calendar ends, the following song asks, "Who's/Snakecharming the masses/At the end of time." While this may read like The Stills are wallowing in eschatology, the songs themselves don't convey that affect. For example, "Every emptiness you're inside/You trade death for life," in "Panic" is made to sound comforting, just before a sudden roar and signature change.

Madness in a shifting self and a roiling world is couched in lush layered pop throughout. "Being Here" is the anthemic play on this theme, "Statues of Sirens," the fragile end of that spectrum. Souls reeling in and out of the void and chaos rarely sound this good.

The Duhks fans were introduced to new lead singer Sarah Dugas in early 2007 when Jesse Havey departed the band after its second album, Migration, was already gaining critics' praise. It appears the members have had plenty of time to adjust to personnel changes. The resulting blend of talent yields an all-time creative high, harnessed by producer Jay Joyce, and evinced on Fast Paced World. Dugas brings not only a wallop of attitude and attack to the Duhks folk-soul fusion, she also brings self-penned songs-including the standout, social commentary of the title track-to the disc that cements her place as frontwoman. In addition to the traditional standards, Dugas plunges the Duhks into unchartered sonic territory. From the cabaret vibe evoked on "This Fall," to the more sophisticated "Toujours Vouloir," Dugas transports listeners across eras and genres with her rich, dramatic pipes. Another Dugas, Sarah's brother and drummer/percussionist, Christian, is also a prevalent influence on the changing soundscape. Stellar, rhythm-driven contributions from Duhks founder Leonard Podolak and multi-instrumentalist Tania Elizabeth round out the album.

It's usually a sign of desperation when an artist re-records his old songs. An admission that the muse has dried up, the generally unsuccessful attempt to generate fast cash by spit-polishing the hits in hope of an unlikely comeback also seems somewhat depressing. Thankfully Loudon Wainwright lll is too artistically sincere to take the easy way out on these 13 covers of his tunes, all originally recorded before 1974. He's also experiencing a mini-revival after the positive reaction to last year's Strange Weirdos soundtrack. Producer Joe Henry suggested revisiting Wainwright's obscure 30-year-old tunes, bolstering their once stark, often lone acoustic guitar arrangements with a broader, bolder, even edgier approach. Everything clicks due to the timelessness of Wainwright's wry, self-deprecating lyrics-generally concerning human foibles-and especially Henry's crisp, sympathetic arrangements. The singer/songwriter's older and wiser delivery resuscitates his nearly forgotten folk/rock with a well-deserved, new lease on life.

Chris Gaffney, the hardworking folk-blues musician, had finally found himself some recognition as a member of the Hacienda Brothers, a California band with an organic, atmospheric, country-soul approach somewhere between George Jones and Arthur Alexander. Gaffney took most of the rustic lead vocals and shared multi-instrument playing with chief songwriter Dave Gonzalez. Sadly, right after recording Arizona Motel this year, their third album, Gaffney took ill with liver cancer and died. This album, then, becomes a eulogy. Partially produced in Nashville with Dan Penn, and partially in Tucson by the band itself, the album has a compelling, simultaneously loose-tight sound. The best songs tend to be plaintive ("Uncle Sam's Jail," "Use to the Pain," "I Still Believe"), but there is enough versatility for a rave-up instrumental "Light It Again Charlie" with Gonzalez on baritone guitar. The band has said this will be the last album. A loss for us all.

Manhattan/Back Porch Records is thinking expansively about Carrie Rodriguez, the fiddler/singer who caught the Americana audience's fancy for the sweet, good-natured (and seductively drawling) naturalism of her vocals on several albums with Chip Taylor. The label on her second solo album is trying to make her a sophisticated, roots-influenced adult-alternative singer/songwriter (and maybe star) by bringing in Malcolm Burn (Emmylou Harris) to produce. These songs are stylistically first-class, like the rocking title tune with its melodic overtones of "Bette Davis Eyes" and the sensuous ballad "Rag Doll." The endearing drawl is still present, but the disarming homespun quality of her work with Taylor-as well as a lot of her fiddle-playing-has been replaced with something more familiar, and that's a loss.

Reckless Kelly is the country equivalent of the Counting Crows-Willy Braun is the driving creative force, the singer and the songwriter; the supporting cast is nothing short of brilliant; and the fans always scream for more. But Reckless Kelly is several albums in and has yet to have its "Mr. Jones" moment. Now is Yep Roc's chance to take RK and run with it: on Bulletproof, everything's fallen into place for a grand welcoming to the Big Show. "God Forsaken Town" (co-written by Robert Earl Keen) is an ode to those displaced by Hurricane Katrina and takes you right to the scene of the crime with its evocative lyrics and trumpet swirls. "American Blood" is from the Steve Earle School of Outlaw Liberalism. Its one of the catchiest songs RK has ever written-but its antiwar sentiments, including a swipe at George W. himself, might not make RK many friends in their adopted home state of Texas.