It’s almost 25 years since Alabama 3 unleashed their “sweet, pretty country acid house gospel music” on an unsuspecting world with Exile on Coldharbour Lane – one of the finest records of the late 20^th Century. 12 albums later and with their first since 2016’s Blues, the band are still very much rooted in a world of urban weirdos and misfits, and this is all to the good.

For 25 years now, LA label Stones Throw records has become one of the most reliable brands in music. It began with, and has always been associated with, the leftfield hip hop of founder George “Peanut Butter Wolf” Manak, and regular contributors Madlib and J Dilla.

Theartsdesk is a labour of love. Bloody-mindedly run as a co-operative of journalists from the beginning, our obsession with maintaining a daily-updated platform for good culture writing has caused a good few grey and lost hairs over the years. But it has also been rewarding – and looking back over the 10 years of Disc of the Day reviews has been a good chance to remind ourselves of that. 

Music has been a solace during a year when we’ve both retreated into our private spaces and reached out more feverishly than ever on social media.

The day that Little Richard’s death was announced, my friend the soul singer PP Arnold wrote on her Instagram feed, of a “sanctified boogie-woogie piano style that was just electric”. She went on, recalling first hearing the man’s undiluted craziness: “I loved it when he did that "ooo" thing after the “Tutti Frutti aw Rudi” bit that sounded like one of the high soprano sisters in church”.

Alabama-born Lonnie Holley, the seventh son of 27 children, more or less abandoned as a child, comes from a tradition of African-American visionaries who reach back through the generations to a culture of great aesthetic and ethical sophistication, one which the slaves’ horrific voyage across the Atlantic wasn’t able to obliterate.

London’s latest new theatre opens with an appropriately otherworldly Halloween offering: American composer Dave Malloy’s teeming 2014 song cycle, which played at the Edinburgh Festival in 2016.

Over two days in 1972, the great Aretha Franklin, undoubtedly one of the greatest American voices of the 20^th century, performed and recorded gospel classics in Los Angeles, with a predominantly African-American audience, the red-hot Los Angeles Community Gospel Choir and the support of Rev James Cleveland.

Endlessly gigging Northern Irish performer Foy Vance's profile first rocketed after touring with fellow singer-songwriter Ed Sheeran. The pair became pals, Vance went onto support the likes of Elton John, and signed to Sheeran’s Gingerbread Man Records. His fourth album is the first of a themed couple paying tribute to the southern US roots of popular music (the other will hail from Sam Phillips Studios in Memphis).

In the summer of 2014, there was little getting away from Hozier's "Take Me to Church". Whenever you turned on the TV or the radio there it was. It wasn't just in this country. Eventually, the song became number one in 12 countries and number 2 in the States. Of course, for the singer, this massive success also brought a big problem: how to top it? When Hozier sat down to write his new album he must have agonised about what he'd got so right first time around.

On paper, the recipe was simply a blend of soul, gospel, folk, and rock. The clever bit was how the ingredients were mixed. Hozier's music appealed both to sensitive indie rockers and those who prefer a more muscular style. That's what set it apart. theartsdesk's reviewer - a self-confessed loather of vulnerable male singer-songwriters - even opined that Andrew Hozier-Byrne had much more in common with Robert Plant than the likes of David Gray or Jack Johnson.

This time around Hozier still mixes soul with rock and folk. But now, the proportions have changed. 

Three belting soul-rock numbers open proceedings. Guest appearances by Mavis Staples and Booker T give opener, "Nina Cried Power", a rich, meaty sound. Personally, I prefer the more nuanced tone on "Almost (Sweet Music)". The guitar is light, the verse is beautifully mumbled and the whole lot just sways. It almost reminds you of Van Morrison.

It also sets things up nicely for the album's two pop-rock numbers. One works well, the other less so. "Nobody" adds a pinch of hip hop to create a possible summer hit. Unfortunately, "To Noise Making (Sing)" takes the catchy vibe too far, veering perilously close to George Ezra territory. 

Finally, we come to the brooding folk-rockers. The best of these are really quite pretty. "As it was" contains hints of early John Martyn, and the album's closer, "Wasteland Baby!" harks straight back to acoustic Zeppelin. Disappointingly, though, the quality, again, isn't even. "Sunlight" seems to never end and "Dinner and Diatribes" is just too scratchy. 

You can't help noticing too, that these are two of the album's most gloomy-sounding songs. As Hozier knows well, being musically downbeat works better when there's a little contrast. Wasteland Baby!'s finer moments - and there are many - come where he balances his natural despondency with some positivity. 

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@russcoffey

Overleaf: the lyric video to "Wasteland Baby!"