Summertime and the living is, well, complex, and dark, and also bright and joyous. So why not spin two new LPs to match the many moods of the season?

“Good Together,” Lake Street Dive

Yacht rock is made by earnest artists who can do sophisticated, jazzy rock but would rather make sunny, summery, buoyant pop in the vein of Motown, the Brill Building, and the pre-1966 Beatles. Lake Street Dive isn’t yacht rock, but the band plays with those same elements: sincere songwriting made by musicians with jazz chops and a delicious pop bounce.

The difference — and you can hear this all over new album “Good Together” — is that Lake Street Dive aren’t falsely sunny. The quintet’s sunshine is earned by climbing over pain, chaos, and our maddening modern moment.

The ex-Boston band hasn’t lost a step since lineup shuffles brought singer-songwriter-keyboardist Akie Bermiss in 2017 and guitarist James Cornelison into the fold. In many ways, the group is tighter: see a title track that could be the Jackson 5 at its “I Want You Back” best. Actually, the whole first side bumps with soulful, funky, stomping Top 40, even when the lyrics are more introspective than triumphant.

The flip side bumps too, but Lake Street Dive shows its depth as it slows down. In “Seats at the Bar,” the band has written the world’s first great love song about skipping sitting at a two top. “Twenty Five” presents a lost relationship not as tragedy but as happy memory.

The album closes with its one grand song, maybe just to prove this band can do it all: “Set Sail (Prometheus & Eros)” is an epic duet like something that could end an arty blockbuster musical, or end any dark and bright summer.

“Born in the USA,” Bruce Springsteen

Bruce Springsteen crashed the summer of ’84 40 years ago with an album that split the difference between America’s deep anxieties and its simple pleasures. Like Stevie Wonder’s “Songs in the Key of Life” and Bob Marley’s “Exodus” before it, “Born in the USA” runs through a staggering range of electric emotions and big ideas that, when totaled, document a time and place.

The recently reissued LP is bookended by the chronically misunderstood title track about Vietnam vets abandoned by their country and “My Hometown,” about a town with a legacy of racial violence and a future of dying economic prospects. Between the anger and gloom, Springsteen presents narrators burning for love — one desperate to reclaim a relationship that ain’t coming back (“Downbound Train”), another looking for a respite from pain through sexual salvation (“I’m on Fire”).

But along with disappointment and desperation, these small-town (and so often, small-time) men often come with gleeful-if-misplaced optimism. In the goofy, hooky, endless fun of “Darlington County,” there’s “me and Wayne on the Fourth of July” looking to use $200 and promises that their dad owns the World Trade Center to score dates. No song has lyrics that scream middle-aged angst with music that shouts louder that life is a blast like “Glory Days.” And “Dancing in the Dark” is such a perfect pop song it put a 35-year-old into the charts next to 20-somethings like Madonna and Prince.

“Born in the USA” is the sound of the summer for those who can dance even as they admit their lives and their country is a mess.