In makeup, purpose, and/or supporting personnel -- though certainly not in lyrical content -- each album since has been considerably different from the one that preceded it. That holds true with , on which the singer's enlisted cast is almost entirely dissimilar from that of 2017's . A quick glance at the credits reveals that is the only holdover from the previous album, and he's involved again with only one cut, doing the thing on "Amazing," a blaring celebratory jam out of place here. does bring back some ever-compatible writers and producers with whom she worked earlier, such as , , and . Out of those who are contributing to their first album, stand out most. sets the tone with three of the craftiest, most intricate productions, enabling to stunt, vent, and ruminate in top form. , on his best deferential behavior, contributes to two of those, plus a later cut brilliantly laced by ace bassist . follows that by serving up a ballad that coasts -- another highlight with a knockout bassline -- where is so frustrated with a lover that she thinks about setting fire to his house. All the self-doubt, romantic aggravation, and self-healing might seem overdone in a catalog chock-full of it across three decades. Few have covered the subjects with such detail and conviction as , and the bottom line is that this 14th proper album of hers combines nuanced performances and succinct writing like none other. ~ Andy Kellman