The title is a mouthful, but Ray Wylie Hubbard’s new A. Enlightenment B. Endarkenment (Hint: There Is No C) takes glossolalia as one of its first principles. The Oklahoma-born singer has always possessed a novelistic eye for the underbelly of American life, but Enlightenment contains some of Hubbard’s most convincing music. Playing the blues and whooping some gospel, he piles slide guitar and background vocals over a series of stomping tracks. “Down Home Country Blues” takes the side of women who prefer Howlin’ Wolf to bluegrass, while “Opium” reduces blues to its basic elements. Hubbard writes terse narratives that combine incantation with colloquial turns of phrase--he’s nothing if not a conflicted America. This comes across most forcefully on the closing track, “The Four Horsemen of the Apocalypse,” which rides in with banjo and fiddle. It’s a very creepy experience — Hubbard sounds altogether too ready for the end.