Albums
Eric Church- Heart & Soul (EMI)
Spanning three discs, Heart & Soul is a marathon similar to the country superstar’s signature concerts, and every single moment potently contributes to what is an exhilarating joyride through an expansive well of sounds and sub-genres. From blood-pumping Heartland anthems like “Heart on Fire” and “Heart of the Night”, to sweltering soul numbers such as “Look Good & Know It” and “Where I Wanna Be”, to humble country narratives like “Hell of a View” and “People Break”, Church emphatically proves what a special league of entertainers and songwriters he has ascended to over the past decade and a half. It’s bound to be a country smash, but it’s also destined to become a prominent mile marker in the annals of modern rock & roll as well.
Demi Lovato- Dancing with the Devil…the Art of Starting Over (Island)
The former teen pop-tart rises from the ashes of a near fatal battle with drugs and depression to unleash what is unquestionably her most diverse and personal album to date. The set combines viscous pop hooks and slithering R&B grooves with dark confessionals that leave no stone unturned in addressing the singer’s demons. As a result, it showcases Lovato’s considerable growth as a songwriter, while also showing continued progress in her ability to channel her dynamo vocal range into a truly powerful and personal weapon of expression, best showcased in piano tracks like the powerhouse opening cut, “Anyone”, and the strikingly tender “ICU(Madison’s Lullaby).
Parker Millsap- Be Here Instead (Okrahoma)
The passionate singer-songwriter and roots fan favorite considerably pares down the amped-up sound that defined 2018’s Other Arrangements and instead follows a more wistful, folk-tinged regimen on his fourth studio release. The results prove to be a glowing showcase of the softer and higher tones within his impressive, raspy range, without ever once sacrificing the soulful gravitas and power that has defined his catalog thus far. That’s not to suggest he doesn’t continue his fabled knack for experimenting with varied sonic textures, often-times within one song as evidenced on the spell-binding “It Was You”. For me, it’s second single “Vulnerable” that most impressively encapsulates all of the diverse, magical elements of Millsap’s vocal, lyrical and sonic power.
Ashley Monroe- Rosegold (Mountainrose Sparrow)
Ashley Monroe is today’s equivalent of a progressive country music traditionalist. The founding pillars of her music will always be her pure mountain vocals and piercingly poetic lyrics, but she continues to uncover new, fascinating musical settings that allow her to breathe unique magic into both of those timeless qualities. Her fifth studio release takes her most drastic left-turn yet with a full-on dive into colorful alt-pop. Hypnotic confections such as “Siren”, “Silk”, and “Groove” are as alluring as anything else she’s ever recorded, while “Gold” is an earworm in sheep’s clothing and “Flying” indeed takes impressive flight. The most rewarding composition she offers here however proves to be “Til It Breaks”, a survivor’s anthem we can all cling during tough times.
Royal Blood- Typhoons (Warner)
The third album from these English rock faves carries forward the fierce, confident sound they’ve built their reputation on thus far, with vocalist Mike Kerr’s commanding vocals and roaring bass riffs remaining the foundation behind their banging alt sound. That sound is so engulfing that it’s easy to overlook how nimble and capable the duo continues to become with big pop hooks and dance-driven beats. With raucous but utterly infectious hits like the title track, “Trouble Coming”, and “Oblivion”, this record is as deserving of becoming a club staple as it is a head-banging stadium packer. They also unveil an impressive new layer to their range with the pared down reflection on the piano-backed finale “All We Have Is Now”, which was inspired by Kerr’s recent triumph over alcoholism.
Singles
Blackberry Smoke- “You Hear Georgia” (Thirty Tigers)
The Atlanta natives continue to keep the smooth, surging sounds of Southern Rock alive with the lead single from their pending seventh long-player. “You Hear Georgia” plays like a signature calling card for the group, boasting unapologetic Southern growl with each drawling vocal and slithering guitar lick, without ever relegating themselves to a mere revivalist group of a sound long since past. Like all of their previous work, it’s fresh and vintage all the same.
The Black Keys- “Crawling Kingsnake” (Nonesuch)
The rock badasses preview their upcoming album of hill country blues standards with this splendid read of an old-time classic that has defined the catalogs of formative blues men including John Lee Hooker, Big Joe Williams, and Junior Kimbrough. It’s safe to say that the Keys’ rendition earns its place among those sterling ranks. This is a steamy stand-out that glowingly connects the duo back to their early blues roots, and creates great anticipation for the forthcoming LP.
Brothers Osborne- “Younger Me” (EMI)
It’s so damn refreshing to hear a contemporary country single aimed at the adult experience that the genre was once such a pivotal soundtrack for. The format, and both society and human beings in general, spend so much time glorifying youth. But adulthood can be pretty damn fulfilling as well, offering the rewards of self-discovery, acceptance, and peaceful contentment that arrive once we’ve put in the work and years that can only come with the passage of time. “Youth ain’t wasted on the young, these trips around the sun, I needed every one, to get where I’m standing now”. Those words carry particular weight given TJ Osborne’s recent coming out, but can apply to a universal wealth of human journeys.
Rosanne Cash featuring Jon Levanthal- “The Killing Fields” (Blue Note)
It goes without saying that Rosanne Cash long ago established herself outside of the looming shadow cast by her family’s legacy to become one of America’s unique musical poets. With that being said, it’s continually remarkable to see how naturally she has inherited her father’s throne as a preeminent social voice and narrator of the downtrodden tales of American culture. “Fields” sheds a harrowing, important light on the horrific history of lynchings of black Americans, and painfully connects it to the continued racial injustices haunting our nation. It immediately announces itself as one of Cash’s most pivotal recordings, and an instant folk classic.
Kenny Chesney- “Knowing You” (Warner)
The ultimate legacy of Kenny Chesney’s discography will be his ability to establish himself, for better or worse, as a symbol of nostalgia. Most of his perspective was far too often blinded by a sunny, overdone beach bum lens. But cuts like “Knowing You” really remind us how effectively he can emote such bittersweet memories when he trades in the beach balls and the sunblock for the emotions and mature romance of times gone by. His career is littered with strikingly adult moments like this, and let’s hope that frequency increases as he enters the fourth decade as a recording artist.
Terri Clark- “The Highway” (BareTrack)
Terri Clark is one of those nineties artists that became easy to take for granted, and she has continued to build an impressive catalog since exiting the mainstream. Her solid ear for material clearly remains in tact, which is evident any time one has the taste to cover a Holly Williams track. This yearning tune takes on new layers of meaning given the events of the past year, with musicians longing to return to their lives on the road. Clark does this excellent song great justice, and leaves us further longing for Williams’ long awaited to her 2013 masterpiece of the same name.
A.J. Croce featuring Robben Ford- “Better Day” (Compass)
This cover of a Sonny Terry & Brownie McGhee blues nugget plays like a warm, relaxing blanket of comfort and peace in a world that too often moves too rapidly, and the same can be said for the rest of the second generation singer’s covers album that it’s culled from. Raspy, inviting vocals. Smooth, warm guitar licks. Breezy, happy melodies. It’s tailor made for your lazy Sunday afternoons.
FITZ- “Head Up High” (Elektra)
I’ve got a sweet tooth for big, brassy horn solos. Slap them on most any record and you can probably consider me sold. The debut solo release from the funky leader of Fitz & the Tantrums is no exception. It’s a pure, straight-forward pop delight. Nothing more, nothing less. Sometimes that’s all you need to give you the musical joy and sustenance you’re seeking.
Foo Fighters- “Waiting on a War” (RCA)
With that celebration of pop escapism being said, we’re also in just as essential need for prophetic, timely records like this latest Foo Fighters single. It finds Dave Grohl contemplating the tone of division and anger which currently defines our modern times, comparing it to the unique challenges that defined the headlines in his youth, and then reconciling them both with what it means for the future of his children. The classic Foo climax that the track ends on feels like a desperate plea for peace and understanding, and it makes for not only a new standard in their catalog, but one of 2021’s most powerful singles to date.
Great Peacock- “High Wind” (Great Peacock)
I just discovered this band while recently browsing the current playlists at Americana radio, and I can’t get enough of this atmospheric blend of country, rock and folk. The hook line (“I ain’t afraid of dying….I’m afraid of never being alive.”) is so simple yet so soul stirring, and magnified beautifully by the fantastic vocals and the haunting urgency of the cascading arrangements. A thrilling encounter with mortality.
John Hiatt and The Jerry Douglas Band- “All the Lilacs in Ohio” (New West)
Hiatt’s legendarily ragged twang is unsurprisingly a winning combination with Douglas’ inimitable dobro playing on this joyous roots romp that previews the two acts’ upcoming full-length collaborative project. Hiatt’s voice has understandably weathered with age, but it’s perfectly paired with this jaunty, grassy setting.
Alan Jackson- “Where Have You Gone” (EMI)
The modern country legend’s return after the longest absence of his career is surely cause for celebration, but that’s not what you’ll find on this lead single from his first LP since 2015. This is a mournful affair, drenched in the teardrop stained steel and fiddle that have always paired so marvelously with Jackson’s honky tonk pipes. The dearly departed in this song is the country genre itself (at least on a mainstream level), and while one hopes that the entire album is not this gloomy, there’s no denying the power of hearing Jackson yearn for the format that he once helped revitalize.
Amythyst Kiah- “Black Myself” (Rounder)
This powerhouse member of the Rhiannon Giddens-led side-group, Songs of Our Native Daughters, is surely one of the key artists to watch as 2021 continues. Kiah’s rich pipes are an undeniable force, as is the blues drenched folk-rock sound she’s boasting here, but none are as powerful and show-stopping as the message itself. She attacks the evil of racism with a ferocity that is both glorious and devastating, and with the celebratory final verse, leaves nowhere for it to hide like the coward it is. This record is a triumph.
Mac Leaphart- “That Train” (Leaphart)
Another excellent recent discovery for me thanks to the Americana Music Association’s radio charts. Leaphart’s voice feels like a welcoming, comforting friend and he imbues this unabashed rootsy performance with an ample dosage of joy, sincerity and self-deprecating charm.
Demi Lovato and Sam Fischer- “What Other People Say” (Island)
Lovato’s aforementioned new album offers an onslaught of intriguing pop collabs, including those with Ariana Grande, Saweetie, and Noah Cyrus. The most rewarding for me however proved to be this current single with Aussie soul-man, Fischer. Their dramatic voices blend marvelously and swell to the perfect fever pitch, at the sweet spot just before a record falls off a cliff into the land of the overblown. The song’s message is an unquestionably universal reminder to avoid our humanistic tendencies to place greater value on public opinion over those few, truly special people who love us unconditionally.
Lucero- “Back in Ohio” (Liberty & Lament)
Consistent with Lucero’s long-standing reputation, this deliriously raucous jam is a thrilling melting pot of the many great sounds associated with the heart and soul of American music, from the blistering country rock guitars to the soul-soothing piano keys and the blazing sax solo. Through it all, lead vocalist Ben Nichols navigates each rousing moment with a confident swagger and a loose, fun passion. Outstanding stuff.
Mipso- “Hourglass” (Rounder)
Some records are just so apt in accomplishing so much with so little. Mipso’s “Hourglass” is one of those records. Combining alluring, soft-spoken vocals with a simple yet mysterious melody and hushed acoustic strumming, this is one of those cuts that absolutely sneaks up on you. Before you know it, you’re completely lost in it, and loving every moment.
Mando Saenz- “The Deep End” (Carnival)
Music lovers drawn to great Red Dirt artists like Robert Earl Keen, Chris Knight, et. al. should give Mando Saenz a listen pronto. This current single does a fantastic job highlighting his rich, sandy vocals and knack for cutting lyrics and flavorful sounds. The bluesy backing vocals that finish the track are a much appreciated bonus.
Saint Motel- “Feel Good” (Elektra)
Some tracks we fall in love with simply because they make us feel happy and energized. Nothing more, nothing less. This aptly titled soundtrack release from Saint Motel is just that. A catchy beat? Check. Hand claps? Check. An infectious horn solo? Check. I’m sold.
Sturgill Simpson- “Oh, Sarah” (High Top Mountain)
Simpson’s two volumes of bluegrass recitations of previous tunes continues to offer a treasure trove of lovely riches. “Oh, Sarah” has already received two previous incarnations, first with Simpson’s former band Sunday Valley, and then next on his 2016 masterpiece A Sailor’s Guide to Earth. Both versions were great, and this latest rendition more than earns its own high praise thanks to its exquisite vocals and musicianship.
Marty Stuart- “I’ve Been Around” (Legacy)
Few contemporary artists ever exhibited the kind of love and reverence for classic country music of Marty Stuart, so it comes as no surprise that he performs with such noble pride and conviction on this cut, culled from the recent expansion of the 2018 album that turned Johnny Cash’s personal poetry into stunning country songs. It’s an intriguing and well-executed concept that’s worth exploring if you missed it the first time.
Twenty One Pilots- “Shy Away” (Elektra)
The lead release from the highly anticipated 21P album due this spring carries forward the band’s signature tradition of melding anxious vocals, sharp, intelligent lyrics and frenetically contagious hooks and sonic tricks. The track moves at a rapid-fire pace and is worth every effort made to keep up with it. They’ve got another smash on their hands.
The Wallflowers- “Roots and Wings” (Interscope)
The Wallflowers may no longer record albums consistently, but they sure as hell remain one of the most consistently reliable purveyors of modern rock, even if another entire decade has passed between their last release and now. “Roots and Wings” offers all of the sturdy qualities that have become band staples: passionate song craft, commanding guitar hooks and Jakob Dylan’s voice, which remains peerless in terms of warmth and character. Their return promises to be one of the summer’s highlights.
Wynonna- “Everything I Wanted” (Anti)
The other-worldly pipes of Wynonna have always been just as formidable in a stripped down, coffee house setting as they have been singing to the heavens. The fiery icon reminds us of this fact on this left-of-center Billie Eilish cover, and it turns out that this version of “Everything I Wanted” was everything we needed.
Yola- “Diamond Studded Shoes” (Easy Eye Sound)
The roots sensation launches her eagerly awaited sophomore album with this colorful splash of folk, soul, and pop. Her performance and the stellar musicianship that surrounds her here is brimming with a sweet, infectious energy that you’d almost be forgiven to overlook the fact that she’s delivering one of the most stinging political and cultural messages pop music will see all year: “We aren’t the rich ones, some of us will barely get by. They buy diamond studded shoes with our taxes, anything to keep us divided.” Yola is one of the most important new voices in music, and yes, she’s here to stay.
Album Cuts
The Avett Brothers- “Prison to Heaven” (Republic)
My favorite cut from The Third Gleam. Who else but the Avetts could so seamlessly craft such a simultaneously rambling, humorous, twisted, sad and redemptive tale about a life-sentenced prisoner pleading his case with the angels for entrance into the pearly gates? Nobody, that’s who. A modern folk delight.
Fleet Foxes- “The Featherweight” (Anti)
There’s seemingly no limitations to the gorgeous sound that Robin Pecknold and company are capable of producing, with this gorgeous piece as evident of that fact as anything they’ve recorded to date. There’s something about the harmonies and musicianship here that reminds me of the early rock era, when such grand productions were recorded with the perfect amount of restraint, drama and precision.
Neon Trees- “Nights” (Thrill Forever)
It’s a mystery to me as to why Neon Trees haven’t achieved the sort of chart domination that their early smashes suggested, but it’s not because they stopped remembering how to concoct catchy and engaging records. The sheer brightness of daylight can breathe such false optimism into troubled times. The nights on the other hand can be flat out brutal on our psyches. Tyler Glenn captures this somber reality with all the charismatic emotion he can possibly muster.
The War and Treaty- “Take Me In” (Rounder)
On sheer vocals alone, this couple is unquestionably one of the most stirring musical acts recording music today. Add in the emotional pathos and soulful arrangements they accompany their powerhouse pipes with and it’s game over. This is one of many War & Treaty performances that is an experience to behold, and the kind that we’re just not that accustomed to in modern day music. Moving and fantastic.
The Weeknd- “Scared to Live” (Republic)
The emotional anchor of After Hours. This may not meet the typical prerequisites for a summer smash, but it is my pick for the next single from the album, should there be one. The narrator speaks to his departed lover with such shame, humility and encouragement for her to move on, and it’s a positively heart-wrenching rendering from Tesfaye. A slight nod to my favorite love song of all time (Elton John’s “Your Song”) is a nice, added touch.
Flashback Tracks
Beck- “E-Pro”, 2005
Beck has been such a steady presence and adventurous musical chameleon for so long, and one whose legacy has had so little to do with actual airplay, that it’s easy to overlook what an achievement “E-Pro” was in terms of a chart resurgence. It closed an eleven year gap in trips to No. 1 for the rock scientist, thanks to a chugging vocal and a subtle Beastie Boys sample for good measure.
Buffalo Springfield- “For What It’s Worth”, 1966
One of folk-rock’s crowning moments, and a defining counter-culture anthem during the increasingly turbulent 60s. Certainly one of Stephen Stills’ most iconic vocal deliveries, punctuated by one of the most sly yet recognizably trippy guitar riffs of the entire psychedelic era. What’s that sound, you say? Great and timeless music, my friends.
Aretha Franklin and George Michael- “I Knew You Were Waiting (For Me)”, 1987
Sure, even Aretha’s 80s pop streak had as many cheesy and campy moments as anybody, but it also reminds us that she was always as much an astute pop queen as she was a sultry soul songstress. Her chemistry here with Michael remains one of the 80s’ most surprising and insatiable surprises, and makes for one of the era’s most memorable duets.
Ray LaMontagne- “You Are the Best Thing”, 2008
One of the 2000s’ most overlooked musical pleasures. It’s been more than a decade since this stunning and gutsy soul gem cut through all the shallow commercial sounds of its time, and LaMontagne’s bygone-sounding vocals and those golden brass solos remain as musically cleansing as they did back in ’08.
Bill Withers- “Ain’t No Sunshine”, 1971
An absolute masterclass in emotive, heartfelt singing. Withers’ pure vocals are layered in so many dimensions of longing, loneliness and romance. He and producer, the legendary Booker T. Jones, could have easily slathered the song in sonic melodrama, but knew very well that a simple rhythm section and a pinch of orchestral lush was all the support that Withers’ timeless vocal and the brilliantly simple lyric needed. One of popular music’s truly flawless moments.
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