The Blind Boys of Alabama
Take the High Road
(Saguaro Road)

It may be possible for the Blind Boys of Alabama to make a bad album, but after seven decades (singer Jimmy Carter is an original member) of their making good ones, it seems unlikely. For the latest record in the group’s catalogue, the Blind Boys, who specialize in multi-part harmony and foot-stomping Southern gospel, teamed up with Nashville session players and several big-name country stars. There are tunes that don’t catch fire—the traditional hymn “Have Thine Own Way, Lord” possesses that brand of Sunday night down-tempo fatigue uniquely induced by the “invitational” at a Baptist church—but such low points are few. The rest of the album combines country and gospel to remarkable effect, offering the kind of soulful, high-energy harmony singing that makes the band an American treasure. —James Heflin

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Erik Alan
Full Circle
(independent)

Late of Valley acoustic supergroup The Amity Front, Erik Alan has left behind the more jazzy or bluegrassy tendencies of that group on this solo album, the bulk of which hovers gently between a J.J. Cale-meets-Jack White collection of bluesy roots rock/Americana and sensitive singer/songwriter compositions, infused with an overall air of comfort and relaxation. Even the tunes that dabble in darker lyrical subject matter come off as casual but calculated observations, and you can picture Alan as one of those quiet-but-deep all-American badass characters—a James Dean or John Mellencamp sitting on an idling Indian motorcycle, calmly flicking a finished cigarette into an oncoming tornado. If anything new is showcased here, it’s Alan’s lyrical and storytelling skills—”Once More Into the Breach” is a truly exceptional song—here revealed to be on par with his instrumental prowess. —Tom Sturm

*

The Decemberists
The King is Dead
(Capitol)

The first new music released by The Decemberists since their widely popular album Hazards of Love in 2009 represents a musical shift and a return to the simple, country-based music of their roots in Portland, Oregon. The King is Dead is perhaps less epic than the rock-opera tracks of Hazards, but no less eloquent in its storytelling. Vocals by Gillian Welch, who collaborates on seven of the album’s 10 tracks, add to the country feel of the album. The country music lover in me is drawn to the twanging simplicity of songs like “Down by the Water” and “Dear Avery,” and the hyperactive 10-year-old in me appreciates that most of the songs are only three to four minutes long. The album will satisfy fans of The Decemberists, and new listeners will likely find this the most accessible of the group’s recent releases. The King is Dead. Long live The Decemberists. —Rachel Dougherty