MAVIS STAPLES, We Get By (Anti): 3½

Among Staples’ most potent, cohesive albums, these 11 songs were composed and produced by Ben Harper, an insightfully inspired musical partner. Backed with formidable finesse by longtime guitarist/bandleader Rick Holmstrom, drummer Stephen Hodges and bassist Jeff Turmes, the hard-touring gospel/soul icon is in tremendous form, addressing darkness she’s rallied against for six decades in the unusually intimate “Heavy on My Mind”; that and the mortality-acknowledging “Hard to Leave” add grounded dimension to surrounding calls for justice she robustly voices like “Brothers and Sisters,” “Stronger” and “Change.” In today’s American chaos, this is the determined, spirit-boosting music and message — and voice — we need.

THE MORNING YELLS, On the Lash (Golden Boy): 4

Shimmering with harmonies and buoyant hooks, the Westside quartet evokes the 1960s-’70s heyday of Laurel Canyon pop and the Mamas & the Papas, while remaining true to its own time. Anchored by frontman/songwriter Phil Stancil and guitarist sister Laura (whose winning vocal on the country-hazed “Off the Rails” calls for more of same), the Yells deliver psychedelic-dipped pop treats like “Oh My My” and the dreamy “Half Speak” that remind just how refreshing sturdy melodies can be. RIYL Beachwood Sparks, GospelbeacH, and driving up PCH with windows down.

SINKANE, Dépaysé (City Slang): 3

“I’m singing for the day we realize that we all relate,” Sudanese-American frontman Ahmed Gallab exults over synths, horns and harmonies on the title track, named after a French term for disorientation, like you’re in another world. Sudan’s diversity and recent uprisings inspired the rubbery “Ya Sudan”; “Everybody” and “The Searching” unite inclusive convictions with urgent rhythms. Lyrically, it’s more earnest than poetic. Musically, it melds funk, R&B, Afro-pop and dancehall, though less magnetically than 2014’s “Mean Love” or 2017’s “Life Livin’ It,” but slinky grooves are not its raison d’etre.

JIMMIE VAUGHAN, Baby, Please Come Home (Last Music Co.): 4

The veteran Texas blues guitarist tosses off tasty note clusters, shuffles and greasy grooves like a master storyteller rubbing words together to audience-charming effect, backed by a horn section that intensifies the flavor of discerning material from the songbags of Richard Berry (“Be My Lovey Dovey” is a savory delight), Fats Domino, Lefty Frizzell, and T-Bone Walker, among others. Vaughan’s in brandy-smooth vocal form, and his playing’s a masterclass on “less is more” from the top of Lloyd Price’s romping title track to the gut-satisfying close of Jimmy Reed’s “Baby, What’s Wrong.” Carry on, sir.