The album initially made headlines for its final track, “Infrared,” which sparked Pusha’s increasingly nasty, months-long feud with Drake. The only true keeper from Kanye West’s misbegotten album-release binge last spring (which saw five West-helmed full-lengths dropping in five weeks), “Daytona” is a lean, mean showcase for one of hip-hop’s preeminent lyrical stylists, whose cold-blooded cleverness hasn’t been this sharp since his glory days as one half of Clipse. Yet that’s exactly what Washington accomplished with “Heaven and Earth,” his full-length follow-up to 2015’s “The Epic.” From its majestic orchestral flourishes to its more earthbound choral arrangements, sweaty instrumental duels to extraterrestrial soundscapes and hip-hop-informed deep funk, “Heaven and Earth” is yet another boundary-crossing opus from one of the most fearless and imaginative musical innovators working today, in jazz or elsewhere. And it’s almost unfathomable to imagine doing it twice. It’s quite another to entice a crossover audience to actually listen to it in the digital age. It’s one thing to record a maximalist, mind-expanding masterpiece of cosmic jazz that stretches to well over two hours without a single wasted moment. In a fairer world, she’d be notching Shania Twain numbers. Even the more formula-bound tracks (“Space Cowboy,” “Velvet Elvis”) manage to smirkingly subvert convention while still delivering arena-sized hooks with ruthless precision. Single “High Horse” is the Gloria Gaynor/Dolly Parton mashup that we never knew we needed, and the one-two punch of robo-hippie anthem “Oh What a World” and acid-trip ballad “Mother” may represent her boldest experiments. We all knew Musgraves was capable of turning a choice phrase and unwinding a plush melody, but what’s most remarkable here is her ability to push against the strictures of country radio without ever showing the least bit of strain. And the fact that it’s the only album that matches that description shouldn’t diminish the accomplishment – it simply shows how, three albums into her career, Musgraves is following her arrow further away from Nashville’s comfort zone than anyone would have reasonably expected. “Golden Hour” is, hands-down, the greatest stoner-pop-country-folk-disco album ever recorded.