Hearts at Home is their sophomore release, and the soulful mix of folk, blues and jazz is sure to entice new fans. The record features six- and 12-string guitars, harmonica and Dobro, as well as seamless vocal harmonies.

“I Surrender” is reminiscent of the Ike and Tina Turner “Proud Mary” intro, with a relaxed tempo and deep baritone vocals. “On My Way” is an uptempo traveling song with a lead slide guitar that calls to mind a chugging freight train. Other highlights are the tender “Make Me a Pallet On Your Floor” and the inspirational “I Heard Gabriel Singing.” If you’re a traditional blues fan, you need to give Hearts at Home a home on your shelf.

One listen to Ignoring All the Warning Signs and you’ll understand what the fuss is all about. Berardo crafts catchy, roots-rock tunes about small towns, barstools and hope. Blues-flavored guitar leads are prevalent, as are hooky mandolin lines and stomping drum beats. And if the music doesn’t catch your attention, Berardo’s lyrics surely will. “I guess if you’re counting, I have lost more than I’ve found / But I still hold my head up in this town,” he sings in the poignant “Forty Years.”

Berardo & the DesBerardos follow all the right signs with an album that you can’t ignore.

But Severland has a carefree side, as well. You’ll love the accordion-fueled swing of “Moth to a Flame” or the rowdy country-blues of “Trouble.” The title track features Celtic melodies, tribal percussion and chanting, and the band’s four-part harmonies should not be missed. Don’t blame us if you’re the last on your block to check out Blame Sally.

Lucky 7 marks Denhert’s fifth release, and her experience and musical maturity are as evident as her joy. “Little Problems” serves up a strong funk groove as Denhert’s husky vocals bounce around a story of making the best of life. The title track features a walking bass line, impressive backing vocals and a fun story about a risk-taking gal who’s “on the money tonight.” There’s even a cover of Harold Arlen’s classic “Somewhere Over the Rainbow” that will knock off your socks ... or your red slippers.

She sang a duet with Tiny Tim at 10 and wrote her first song at 12. But don’t write her off as an overgrown wunderkind. Topics on No Disguise range from overcoming bad relationships (“Heat’s to Blame”), to kicking addiction (“Feel Any Better”), to a gorgeous anthem praising the heroics of environmental activist Julia Butterfly Hill, who lived in a Redwood for 738 days to prevent its destruction. Desmond’s rock chops, social awareness and amazingly versatile voice keep you listening.

Her thoughtful lyrics have universal appeal. “There’s a great divide across your bed / You hold tight to the right, I hold tight to the left,” the Boston-based artist sings in “I Choose Me.” Aided by producer Crit Harmon, Klim has looked into her soul and unearthed a gem with Up and Down. She explores the highs and lows of human emotions, and takes you on an emotional rollercoaster that’s worth the ride again and again.

Head Full of Pictures includes commentary on Abu Ghraib and our TV-addicted culture, but also includes a lighter jab at the puritan within us all (“You’re Naked Underneath Your Clothes”), a musing on Jesus meeting Buddha (“Jesus and the Laughing Deity”) and the sentimental “If I Fall in Love With You Again.” Page’s vocals and melodies have a Dylan-esque lilt that falls softly on your ears, even as his words leave your head full of revelations and vibrant images.

“Angie’s Tavern” features a baritone guitar line straight out of a Sergio Leone spaghetti Western, while Pernick sings of how long it’s been “since I’ve felt a weakness this strong.” The pseudo-destructive imagery continues in “Brightest Blaze”: “If I could, you know I’d fly away / Up above the smoke and ruin.” “One Way Ticket” chronicles the paths our lives take, while the moody title track advises the listener to come hither only “with a good warm jacket and a scarf.” An extra twangy cover of the Rolling Stones’ “Wild Horses” feels right at home on the album. Whether you’re a fan of roots rock or country blues, the forecast calls for Two Kinds of Weather.

File Ryder between Sheryl Crow and the Pretenders, but don’t miss out on Til the End of Counting.

The title track kicks things off with a laid-back Latin-flavored groove. Things get funkier with “Not Me Without You,” a mid-tempo piece in which Small channels the Queen of Soul herself. “Miss You Bad Tonight” practically drips with longing, while the forbidden affair in “Not Supposed to Love You” makes being bad sound oh so good.

Small will woo your ears with stratospheric vocal runs and then dive down to sexy, Earth-mama lows. She may be loving in a dangerous world, but she’s certainly giving it a seductive soundtrack.

The highlight of the record is “You Left Me With No Choice.” “My heart still beats your number every evening,” sings Weddell, giving loneliness a new rhythm.

Instrumentation is sparse, mostly acoustic guitar, bass and brushes on a snare, while banjo, fiddle and Hammond organ are friendly neighbors who peek their heads over the fence from time to time. If you’re looking for a folksinger for your road-tripping, take Wes Weddell along for the ride.

This translates directly to her music. Arrangements build organically and never stray too far from Young’s voice. Room to Grow is also the first record that Young produced by herself, an experience she calls stressful, interesting and authentic. “My first two CDs were produced by Will Kimbrough and myself, and I just figured this would be the same,” she explains. “However, with both of us on the road full-time, we couldn’t find time to focus on the record.” Young spoke with a few potential producers but couldn’t find one interested in co-production. “It would have been an all-or-nothing scenario,” she says. “I felt in my gut that perhaps it was the universe encouraging me to take the helm, so I did.”

Room to Grow is ripe with longing, sweet with joy and heavy with real life, and Young beams with pride at the final outcome. “I know in my heart of hearts that I did the best job I could,” she says. “That awareness is sufficient to override all criticism or flattery.”