Every so often one can sense an artist or group about to make a big stride artistically and commercially to the next level. Grace Potter & The Nocturnals might not be headed for superstardom, but with a new album this month the group appears to be breaking through in popularity and artistic achievement as it hasn’t before.

With their self-titled CD on Hollywood Records produced by Matt Batson, Potter has her second record on the label, a new producer with a proven track record and some nationwide publicity to go with what has been a relentless touring schedule since the early 2000s. We caught the group in January at the Infinity Hall in Norfolk, Connecticut, and some of the same magic that drew us to the music from Potter’s extraordinary live performance is evident in the group’s new recorded work.

This is Potter’s fourth album, the first two self-released. She is in all ways the focus of the group as a singer with memorable chops — a voice that flows from sugar sweet to raunchy rasp coupled with an impressive range — as a musician, on guitar and Hammond B-3, and most important as a songwriter. All the material is hers or co-written with group members or Batson (six songs) on the album.

Her group is a solid collection of players, too, that is far greater than the sum of its parts, as I have written before. Scott Tournet on lead guitar is the driving force of the band, Matt Burr provides steady and groove-oriented drum patterns and new members Catherine Popper on bass and Benny Yurco on rhythm guitar fill out the sound with quality work of what was a four-piece until about a year ago.

In most cases on the album what you get live is what you get on record. There are few embellishments, except those provided by the group through overdubs. There’s no filler on the album, but the group is definitely at its best on all-out rockers or tunes that develop from moderate-paced to blazing.

Potter possesses an innate sense of melody. Each tune is pinned to a well-constructed and pleasing melodic structure that always complements her vocal style and the musical abilities of her group. I couldn’t wait to hear Medicine, the song Potter opened with at The Infinity, and the album version is an excellent rendition. The song, a co-write with Tournet and Burr, has an intense rhythmic guitar riff, funky groove and captivating lyrics about a mystical woman who mesmerizes men.

The opening track, Paris, which she also played in Norfolk, is a scorcher with provocative lyrics and a cool hook that has been part of the band’s live show for a while. The song can be said also to indicate a direction Potter has been driving toward for a while. Not necessarily musically but in her persona. You could say Potter’s aura and visual presentation have gone from natural New England hippie beauty to a much more alluring, sexy-styled fashionista, all of which has occasionally drawn some criticism from longtime fans. Rubbish. Potter looks great and why can’t a woman be sexy and still a great singer, musician and songwriter.

Other uptempo tunes include Only Love, Money, That Phone,  Hot Summer Night and the country-flavored One Short Night. Only Love, co-written with Baston,  is a rhythmic brew, leaning heavily on the two guitars, with a catchy and heartfelt chorus. Tournet helps propel the track with his lead lines against the churning rhythm parts in back of the vocal.

Money has a sort-of Baby It’s You feel, funky and soulful with one of Potter’s most R&B inflected vocals. The band gives the track a soul interpretation while retaining a hard rock base. On One Short Night, Potter’s voice is reminiscent of Bonnie Raitt, a singer she has been favorably compared to. The track benefits from nicely executed background vocals, a compelling chorus and Tournet’s lap steel.

That Phone, the best co-write with Baston and one of the many highlights on the album, again shows off the group’s R&B leanings. Potter navigates the verse melody with soul and precision and the chorus is one of the best on the record. Potter’s vocal on the tag is of special note, and Baston adds piano to the track. Hot Summer Night is a straight-ahead rocker that captures what the band often sounds like live. Grinding groove, tasty guitar parts and Potter’s bluesy, impeccable voice.

Goodbye Kiss is a nice change-of-pace tune in a reggae style and Tiny Light, the album’s single, is a strong moderate rocker that shows off Potter’s vocal range and builds at the end to a fury with Tournet’s guitar and a fiery vocal.

Low Road is an R&B flavored song with shoop-shoop style background vocals. The melody sounds straight out of Motown and track grooves along with a chink-chink guitar that opens to a soulful chorus. Oasis, Colors and Things I Never Needed show off the group’s softer side and Potter’s more poignant way with a melody and lyrics. These are all executed nicely and all are solid compositions. Although I enjoy them, it’s not what draws me the most to the group. The Nocturnals’ burning rockers and groove oriented tunes whether reggae or R&B are the songs that burn brightest and attract this listener the most.

The most successful of these slow-tempo numbers is the album closer Things I Never Needed with a lilting country flavor, augmented by Tournet’s lap steel, and some of Potter’s best lyrics on the record. Colors is the only track with strings. Even without the strings, which are by no means obtrusive, the melody has a majestic quality to it. Oasis shows off some very nice lead and rhythm work by Yurco and Tournet.

It appears Hollywood has expended a great deal of resources and energy trying to break The Nocturnals with this release. It’s a worthwhile effort as the group is deserving of a wider audience. If you haven’t seen them, run the next time Potter & The Nocturnals are in your area. If you haven’t heard them, pick up the latest CD and then work your way back through their catalogue. You won’t be disappointed.

Two versions of Paris, one technically rough but with an inspired performance. The second cleaner but less energy in a daytime festival environment