Albums
Foo Fighters- Medicine at Midnight (RCA)
The tenth long-player from the Foo Fighters immediately sets a high bar for all rock albums to follow as 2021 unfolds. While they never completely abandon the grandiose intensity of their core sound, Medicine at Midnight finds the band sounding as loose and fun as they ever have. Tracks like the title song, “Making a Fire”, and “Love Dies Young” are an absolute blast, but the record also saves time for weightier meat as well with moments like “Shame, Shame”, “Waiting on a War”, and “Chasing Birds”.
Willie Nelson- That’s Life (Legacy)
The Red Headed Stranger continues his bid for the most prolific recording artist of any genre with his seventy-first (!) studio album, a second volume of Frank Sinatra covers that follows up 2018’s My Way. Nelson’s voice remains rich and multi-dimensional, a wonderful miracle given his 87 years of age and decades of relentless touring. He leans full-on into his signature jazz leanings with a batch of classics that includes “Luck Be A Lady”, “A Cottage for Sale”, “In the Wee Small Hours of the Morning”, and a wonderfully lush duet with Diana Krall on “I Won’t Dance”. The album art’s nod to 1955’s masterpiece, In the Wee Small Hours is an added bonus.
Carly Pearce- 29 (Big Machine)
Pearce follows up her stellar 2020 sophomore effort with this impressive EP, yet another clue that she is one of contemporary country’s true talents to watch. Boasting the tasteful 90s country production that has been a highlight of her work thus far, 29 also highlights her continually evolving voice as a songwriter, in the wake of year marked by professional highs and personal lows, including her divorce from fellow country star, Michael Ray. That split gets unfiltered examination on emotional cuts like “Messy”, “Day One”, and the profound title track.
Aaron Lee Tasjan- Tasjan! Tasjan! Tasjan! (New West)
I’ve been asleep at the wheel when it comes to Aaron Lee Tasjan, but I’m fully awake now thanks to the fantastically trippy Tom Petty throwback, “Up All Night”, and this thrilling home album. Tasjan’s influences are clearly rooted in the hallmark sounds and sentiments of the folk and roots rock traditions, but his overall sound, and without question his narrative viewpoints, are uniquely him. This entire record is grounded in the liberation one feels from connecting with the freedom and fluidity of their own individuality, and the refusal to ever conform to society’s conventional boundaries.
Weezer- OK Human (Atlantic)
The alt-rock veterans trade in their boisterous trademarks for a spell-binding, orchestral-based album that is both cinematic in sound and vast in narrative scope. The concept and aura of the record is not contagious on the surface, but you’ll be unabashedly hooked from “All My Favorite Songs” onward, and follow-up tracks like “Aloo Gobi” and “Here Comes the Rain” will carve out an equally unshakeable home in your brain. Meanwhile, deeper tracks like “Screens”, “Numbers”, and “Playing My Piano” will prompt the listener to look inward with thoughtful introspection. OK Human is a magnificently entertaining record, and a deep artistic statement as well.
Singles
Band of Heathers- “Dare” (Blue Rose)
Another solid slice of blues-inflected country-rock from these Americana favorites. The vocals are stellar, the production is crisp and clean, and the smooth guitar licks carry this one far past the finish line. This is a great jam band to check out if you haven’t done so yet.
Dierks Bentley- “Gone” (Capitol)
A slick yet scrappy tale that finds its narrator still very much in the slump he’s been suffering from, while offering the sort of self-awareness that suggests he’s at least ready to climb out of it. It’s self-deprecating rather than self-loathing, thanks to the reliably charming deliveries that Bentley has built his career upon. The production could stand to be a bit more The Mountain rather than Black, however that’s a minor complaint overall.
Justin Bieber- “Anyone” (Def Jam)
Hey, what can I say? I’ve got a soft spot for the increasingly mature and reflective side of Justin Bieber. Don’t judge me. This is refreshingly restrained in terms of the production, and puts Bieber’s earnest sincerity and adoration of his wife on display in ways that last year’s dreadfully dull Changes attempted to, but ultimately failed in doing so.
Cam- “The Otherside” (RCA)
Folks, this lady is one of my perennial dark-horse favorites in rotation these days. This title track to last fall’s marvelous sophomore album is a stunning piece of folk-pop splendor. Her sweet voice balances itself so well between the track’s urgency and well of deep emotions. And maybe it’s just me, but I’m getting some subtle “Kiss From A Rose” vibes in the grooves that frame each chorus.
Cannons- “Fire For You” (Columbia)
This is the definition of an “atmospheric” record, and it’s an astonishing, moody experience to lose yourself inside of. Lust, passion, loneliness, and so many other emotions fill the air via this radiant cloud of synth-soaked wonder. Lead singer Michelle Joy’s mysterious voice is an entire aural vibe all to itself.
Brandi Carlile- “Take Me Home Country Roads” (Elektra)
The wonders of Brandi Carlile never cease to amaze. She seamlessly transforms this eternally charming John Denver standard into thrillingly spooky horror soundtrack for the upcoming Clarice television series. It’s unapologetically dark and ghostly, but never any less beautiful or inspiring. An excellent bite to curb our hunger while we await Carlile’s anticipated studio album, due for release later this year.
Chapel Hart- “I Will Follow” (JT3D)
An uplifting jolt of modern country energy from a familial trio that deserves to be one of 2021’s breakout success stories. Everything about this record hits the mark, from the spirited harmonies to its thumping sonic beat to the inspired core of its message. It’s chalk-full of heart and authenticity, and it’s a joy to listen to.
Eric Church- “Heart on Fire” (Capitol)
The country superstar’s hot streak continues with the latest preview from his upcoming triple album, and it’s destined to be an undeniable summertime anthem for years to come. Church has provided plenty of passionate Heartland Rock moments throughout his career, but this may be his most impassioned and infectious one yet. It’s bathed in John Mellencamp influences, circa The Lonesome Jubilee era. Awesome stuff.
Ant Clemons featuring Justin Timberlake- “Better Days” (Legion)
A soothing, soulful turn from both Clemons and Timberlake that has managed to feel sincerely timely during the first few months of 2021, when it could have easily drifted into the background with the countless other COVID-era battle cries that have flooded the music scene over the past twelve months.
Dawes- “Free As We Wanna Be” (Rounder)
Dawes is a band that has always been impressively astute in the subtle social commentaries littered throughout their excellent catalog, thanks to the combination of bandleader Taylor Goldsmith’s sharp pen and tenderly unassuming vocals. This breezy second single from their most recent LP is further evidence. Case in point is this stinging cultural impeachment that we all shoulder some blame for: “I can’t see the ways they’re selling to me/I might miss something that I need/If I don’t look up from the mirror in my hands/I’m gonna miss what’s on TV.”
Lana Del Rey- “Chemtrails Over the Country Club” (Interscope)
Reuniting with producer Jack Antonoff, Lana Del Rey once again creates a dreary and haunted atmosphere that follows its narrator through the at-times depressing simplicity of domestic suburbia. This woman is both numb in her disconnect, yet passionately yearning for inspiration all the same, and that tension positively floats through the speakers.
Finneas- “American Cliche” (AWAL)
A snappy, stylish big-band turn from Billie Eilish’s producer and equally talented brother. Finneas continues to prove himself as a dynamically diverse artist capable of mastering a wide spectrum of both classic American sounds and experimental alternatives as well. It’s a performance that is brash, smooth, and utterly engaging.
Jon Foreman- “Education” (Foreman)
A stomping, swampy outing from the Switchfoot bandleader that rides a gritty yet celebratory thread from beginning to end. Foreman matches the gloriously rough, harmonica-laced textures of the production with a raspy delivery that is coated in a joyous sense of love and perseverance.
Mickey Guyton- “Black Like Me” (Capitol)
The superb vocalist provides a harrowing yet shimmering account of the prejudices that she’s had to overcome as a black woman, both in the music industry and throughout life in general. It deserves to be a monstrous song, not just given the continued social climate in America, but based on its merits as a piece of music. If the country music industry is serious about combating its reputation of racism, it would go a long way to shower this with airplay, rather than just reserving token spins for the latest party anthem from Darius Rucker.
Hiss Golden Messenger- “Sanctuary” (Merge)
This folk-rock favorite previews his forthcoming album with one of the most satisfying mid-tempos I’ve heard in quite some time on “Sanctuary”. The comforting piano keys and rich guitar riffs merge splendidly with MC Taylor’s soulfully bittersweet vocals.
Ashley McBryde- “Martha Divine” (Warner Brothers)
McBryde’s ability to transform into a bona-fide, fire-breathing country rock outlaw is on display in full force on this gripping and entertaining volcano of a single. This is an instantly worthy addition to country music’s storied lexicon of murder tales, and its unique position from the perspective of a vengeful daughter, not a lover, deliciously sets itself apart as well.
Parker Millsap- “The Real Thing” (Okrahoma)
The bluesy alt-country songwriter returns with a more stripped-down, folksy performance that shines a glowing spotlight on the smoother side of his versatile voice. It immediately ranks among one of Millsap’s breeziest, most illuminating releases to date.
Kip Moore- “Don’t Go Changing” (MCA)
This new track from the deluxe edition of last year’s solid Wild World is chalk full of all the entertaining qualities we’ve come to expect from Moore’s electrifying brand of country-rock: the rapturous charm of his twangy rasp, raw guitar energy, and an overall performance dripping with pure rock & roll personality.
Katie Pruitt- “Look the Other Way” (Rounder)
A powerfully thoughtful and compassionate single that stays true to the impressively poetic traits that Pruitt displayed in droves on her 2020 debut album. She bitingly tackles everything from poverty to politics to police brutality in one fell swoop, and does so with grace, conviction, and intelligence.
Royal Blood- “Typhoons” (Warner)
Another blistering cut from these intoxicating rockers. Their records sizzle so sensationally with unrelenting adrenaline and tension. It tackles the tricks our own minds can play on us, ultimately leaving us lost in our own heads. Drown those inner doubts out and cloud your mind with some Royal Blood instead.
JP Saxe and Maren Morris- “Line by Line” (Arista)
A sweet and tender duet rooted in singer-songwriter stylings that honors the emotional release provided by lyrical expression. Saxe and Morris nicely blend the best qualities of each other’s voices, and the understated production rightly gives all attention to the singers and the song.
Sturgill Simpson- “I Don’t Mind” (Thirty Tigers)
A bountiful bluegrass recreation of a standout track from Simpson’s pre-solo days with former band, Sunday Valley. The stirring mountain hollers, stunning fiddles, and superlative mandolin picking showcase the tender side of his voice, not to mention the inspiring heart of the song itself. This is truly emblematic of the treasures to be found within Sturgill’s recent bluegrass sessions.
Gwen Stefani- “Let Me Reintroduce Myself” (Interscope)
After a quiet stretch of years that saw her mostly playing second fiddle to fiance Blake Shelton on a pair of country hits, Stefani reconnects with her bold ska stylings, and it’s a peppy return to form. The lyrics insist that this is not a comeback record, but it certainly deserves to be. Fresh, fun and entertaining all around.
Weezer- “All My Favorite Songs” (Atlantic)
I’ve spilled plenty of digital ink on how much I enjoy this single, and the supporting album. Again, it’s frigging awesome, and you should listen. That is all.
Hailey Whitters featuring Little Big Town- “Fillin’ My Cup” (Big Loud)
This plucky country singer-songwriter comes to the table with loads of optimistic character and charm. All of that permeates brightly throughout this single thanks to the happy-go-lucky fiddles, smiling vocals, and trademark harmonies from Little Big Town, which serve as the cherry on this delightful sundae.
Album Cuts
Brandy Clark- “Apologies” (Warner Brothers)
Clark is certainly one of the modern day masters when it comes to regret-ridden break up tunes, and “Apologies” is as slicing in its honesty and remorse as any she has ever recorded. Her pure country pipes sound particularly outstanding against the left-turn, symphonic-pop backdrop provided here by producer Jay Joyce.
Dawes- “Didn’t Fix Me” (Rounder)
Essential listening for all of us, no matter where we may be at in life’s journey. As humans, we’re constantly chasing for that next elusive item that we believe will fill any of the remaining voids in our soul, and ultimately make us whole. This song perfectly sums up how we continuously get the whole process severely wrong, by looking outward instead of inward.
Foo Fighters- “Making a Fire” (RCA)
This is the kind of pure, unadulterated rock fun that simply doesn’t get made nearly enough in modern music. The perfect track to launch your spring drives and summer road trips. The Foos bring all the upbeat, energetic heat they can muster here, and the bluesy backing vocals seal the deal sensationally.
Jason Isbell & The 400 Unit- “It Gets Easier” (Southeastern)
At the risk of sounding cliche, this sobriety tale is quite literally one of the most sobering moments in Jason Isbell’s expansive library of songs. Ultimately, it’s still a song of triumph, but its true beauty lies in its honest acknowledgement of the fact that you never completely eliminate an addiction or a demon. You simply learn ways to rise above it, and it remains a daily battle on some level for the rest of your life.
Dua Lipa- “Boys Will Be Boys” (Warner)
There’s no denying the fact that Future Nostalgia is a modern day pop classic. But as proven on “Boys Will Be Boys”, Lipa’s voice and artistic identity go beyond her infectious dance wizardry. She’s got plenty of smarts and pathos hiding underneath all the glorious sheen, and that’s no better exemplified than by this powerful rally against misogynistic culture.
Flashback Tracks
Blondie- “Call Me”, 1980
One of the sure-fire finalists for the crown as New Wave’s ultimate moment, “Call Me” remains as fresh and invigorating today, regardless of the four decades and zillion radio spins that have passed since its release. Frontwoman Debby Harry has delivered plenty of iconically fiery performances, but “Call Me” arguably stands tall as the greatest showcase of her unique vocal powers.
Johnny Cash- “Don’t Think Twice, It’s Alright”, 1965
As one of Bob Dylan’s most enduring standards, “Don’t Think Twice, It’s Alright” was covered by an innumerable amount of artists. Housed on one of my all-time favorite Johnny Cash albums, his version is also the tops in my book. The whole structure of the song just lent itself so naturally to Cash’s signature boom-chicka-boom sound with The Tennessee Three, and the country legend puts his own deadpan spin on the tune with unsurprising aplomb.
Michael Jackson- “Smooth Criminal”, 1988
Save for “Beat It”, “Smooth Criminal” represents the purest rock moment that the King of Pop ever recorded, and it remains as enthralling and addictive today as it ever has. From the swirling production to Jackson’s committed indulgence in the cinematic, crime-themed storyline, it celebrates all the dramatic excesses that made Jackson’s hit streak, and 80s pop in general, so irresistible.
Bonnie Raitt- “Marriage Made In Hollywood”, 2012
For me, Slipstream represented the latter day return to form that I’d be waiting on from Bonnie Raitt. This is one of the centerpiece moments of that fantastic album, with Raitt supplying a soul-stirring narration of an addict’s tragic self-destruction, and the media’s sick, on-cue fascination with it all. Travis Tritt and Jerry Douglas also recorded a great version of the song four years earlier on Douglas’ album, Glide.
Santana featuring Rob Thomas- “Smooth”, 1999
The 90s saved one of its most thrilling moments for the very end with this sweltering collision of Latin and alt-rock that propelled the legendary guitarist and Matchbox Twenty frontman to the absolute pinnacle of pop music. Some records transform into true moments, and “Smooth” will forever remain one of those.
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