Down memory lane, taking us back some six decades to the Buffalo Springfield, the latest Neil Young album's almost 50 minutes of continuous music, each song segueing into the next.

“Songs from my life, recently recorded, create a music montage with no beginnings or endings,” Young has stated. “The feeling is captured, not in pieces, but as a whole piece, designed to be listened to that way… This music presentation defies shuffling, digital organisation, separation. Only for listening. That says it all.”

Kristin Hersh’s voice, it transpires, is ageless. In the 80s when Throwing Muses broke through, she hit a particular combination of tones – blurring boundaries between harsh and smooth, melodic and discordant, trad and weird – that became vastly influential.

Along with the likes of Sonic Youth’s Kim Gordon and Pixies’s Kim Deal, she not only reconfigured the sense of what the female voice was in rock music, but helped codify singing styles for men and women vocalists in grunge and alt-rock ever after.

Any surprises which Jump for Joy brings aren’t about the nature of the music or the unfailingly open lyrics recounting Hiss Golden Messenger main-man M.C. Taylor’s outlook on his life, but an intermittent undertone suggesting he’s been considering the rhythmic foundations of The War On Drugs. In the sixth song, “Jesus is Bored” there’s a hint of WOD’s fondness for a chugging, insistent tempo. It’s more to the fore on eighth track “Feeling Eternal.”

In late 2019, BC, another age, Rhiannon Giddens and Francesco Turrisi stepped on to a Southbank Centre stage and gave one of those mesmerising performances that forever stays in the memory.

Ruarri Joseph is not a household name but in a Sliding Doors scenario, he might have been. Scottish, raised in New Zealand, and based in Cornwall, he signed to Atlantic in 2007, and had the same management as Damien Rice and David Gray.

Lorrie Moore’s brief but haunting I Am Homeless If This Is Not My Home is a bizarre, unsettling read. At times it’s a road trip, at others a romance, then supernatural horror, Greek tragedy, or an epistolary short story nestled within the larger text. Underlying this, however, is a poetic tale of grief and loss, and of how it’s almost impossible to be free of the dead when they are still living (sometimes corporally) for the mourner.

Some country music cosies up as close as possible to pop, in hopes of dragging more listeners in, smoothing away the raw backwoods feel. The most famed exemplar of this route is, of course, Taylor Swift, at least in her early career. Other country music resonates with American folk history, emanating the vastness of the American south, its roots sounds and narratives.

2020 was a cruel year for everybody but in addition to the horrors of Covid which included the loss of her compadre John Prine to the virus, Lucinda Williams endured damage to her Nashville home in a tornado and then, in November 2020, she suffered a stroke, which left her with impaired motor skills on her left side. Playing the guitar was no longer as natural as breathing and that would in turn make songwriting difficult. She needed a cane to walk. But within a year, she was road-ready and back in front of an audience though not (yet) playing guitar.

"This album is almost like a recorded birthday party and birthday present to myself. I just invited all the singers that I greatly admire and always wanted to sing with." So says Rufus Wainwright, a brilliant and compelling performer – and one, you suspect, who brooks few challenges, be they from family, friends, or producers. And someone needed to tell him that Folkocracy is often a tad OTT. Rather more than a tad actually.

It’s 27 years since Gretchen Peters released her debut album, The Secret of Life, championed by Bob Harris and the late Terry Wogan, whose morning-tide enthusiasms also helped propel Eva Cassidy and Beth Neilsen Chapman to success - the term “Americana” hadn’t yet been invented!