Albums
Ryan Adams- Big Colors (PAX-AM)
Ryan Adams’ recent output has understandably received little fanfare due to his problematic personal issues that have surfaced in recent years. Nevertheless, there is no denying that both Big Colors, and its preceding release Wednesdays, are still excellent albums. This project in particular feels like a renaissance of his peak Cardinal years, hitting that sweet spot where his music settles in at the intersections of Heartland glory, rock swagger, alt-synth and country-folk reflection. The title track, “Do Not Disturb”, and “Manchester” are certifiable moody bangers, while “Middle of the Line” rides a tasty country-rock groove. Elsewhere, downers like “Showtime” and “In It For the Pleasure” unapologetically sting and burn in the most bitterly honest ways. If you listen to just one track however (which is a very bad idea), make it “Power” with its truly ravenous riffs.
Gary Allan- Ruthless (EMI)
The California-country crooner’s long overdue tenth album finds the rugged veteran still very much in possession of his signature rich, character-laden twang and cool, confident swagger. The record’s sound remains nestled in the more pop-friendly realm of his 2010s output. While this may disappoint some diehards given the return of several Smoke Rings In the Dark session musicians, and the hope it surely sparked for a return to his formative 90s sounds or even his 2000s rock-tinged classics, Ruthless is nevertheless a satisfying outing from one of the most reliable and under-appreciated country acts of his time. Slick, smooth tracks like “Temptation” and “Slide” go down easy and without complaint. “Waste of a Whiskey Drink” is catchy as hell, and an early candidate for the 2020s’ best drinking tune. And “SEX” is precisely the opposite of what you’d expect such a title to sound like in the post-bro-country era: dark, thoughtful and the kind of mysterious sonic captivation that only Allan can craft.
Hiss Golden Messenger- Quietly Blowing It (Merge)
Anchored by its tremendous finale and one of the year’s true sleeper hits, “Sanctuary”, Hiss Golden Messenger’s twelfth studio release unsurprisingly plays like a peaceful requiem for these turbulent social times. And MC Taylor and his bandmates are doing anything but blowing it. This eleven song collection is sprinkled with a warm blanket of rich sounds ranging from everything from folk-rock and funk to country-soul and R&B. At the center of it all is Taylor’s sly but soothing voice and his inspiring lyricism. The highlights are plenty, with the ultimate favorite changing on each listen, but most often alternating between the stirring title track, and the swampy, social hiss of “Mighty Dollar”.
Amythyst Kiah- Wary + Strange (Rounder)
The sophomore album of roots journeywoman Amythyst Kiah may prove to be the most gratifying breakthrough moment of 2021. Wary + Strange is a no-holds-barred examination of a woman who has garnered plenty of pain, strength, prejudice (for her race, sexuality, and gender), and inspiration on her way to this fine musical showcase. Informing this body of work just as much as her human experience is the deep well of musical influences. She pulls from a rattling hybrid of folk, rock, blues & soul one moment on standouts like “Hangover Blues”, “Tender Organs” or “Fancy Drones (Fracture Me)” and then ever naturally segues back an entire century back to primitive country-blues on “Ballad of Lost”. The centerpieces of the record however remain the liberating rock battlecry, “Black Myself”, and “Wild Turkey”, a raw eulogy to her mother that will positively haunt you in your sleep.
Modest Mouse- The Golden Casket (Epic)
The seventh full-length from alternative giants, Modest Mouse is a characteristically and gloriously obtuse and messy thrill ride through trippy grooves, blood-rushing performances, and deep reflection on the tumultuous times we’re living in. In other words, it’s a perfect setting to unbox all the chaos, loneliness and emotional wreckage that has defined the past eighteen months on planet Earth. What’s perhaps most enthralling and beautiful is how Isaac Brock and company manage to invoke all of this reflection with as much gratitude for life and hope for the future as they do anger and confusion, with tracks like hit single “We Are Between”, “We’re Lucky”, “Never Fuck A Spider on the Fly”, and “Leave A Light On” best encapsulating that wide range of conflicted emotions.
Jennifer Nettles- Always Like New (Concord)
Jennifer Nettles long ago established herself as one of the most versatile vocalists of her generation, not just in country music, but in all corners of the American music landscape. She’s got the same theatric flare and dramatic performance tendencies of genre giants like Dolly and Reba before her, so recording an entire album of Broadway standards and show tunes seems hardly like a left-turn. It’s colorfully robust, dynamically entertaining, and above all else, proud and reverent of the material it showcases. A varied track list including “Oh, What a Beautiful Mornin'”, “Almost Like Being In Love”, “Sit Down You’re Rockin’ the Boat”, and “There’s a Sucker Born Ev’ry Moment” more than shines a light on Nettles’ expressive, gorgeous range. Brandi Carlile provides a sterling guest turn on “It All Fades Away”, a moment only upstaged by the tenderly, tear-inducing read of Annie’s “Tomorrow”, which brings the record to a soul-shaking finale.
Singles
The Aces- “Don’t Freak” (Red Bull)
This all-female, alt-pop quartet kicks some major ass on their latest release, a hyper-active and hyper-infectious bop framed by frenetic vocals, bouncy beats, and sensational guitar licks. It joyously bottles up inescapable feelings of anxiety and romantic tension, and makes it all sound positively celebratory. Therapeutic and endlessly entertaining all the same.
Bleachers- “Stop Making This Hurt” (RCA)
A good portion of America remains blissfully unaware that Jack Antonoff currently reigns as the perennial “it-man” of popular music, whether it be as a hot-ticket pop producer or as the frontman of rock music’s best kept secret. And it’s through his work with Bleachers where his unassuming and astute music magic flourishes most. This latest single from the band’s forthcoming third LP seamlessly captures a glorious bastion where Antonoff’s unique sonic visions, unmistakeable Springsteen influences, and quirky yet profound narratives collide masterfully. “But if we take the sadness out of Saturday night, I wonder what we’ll be left with, anything worth the fight? I wanna run from the darkness, wanna shout at the light!” That’s the essence of the human experience right there, hidden within an undeniable pop-rock hook.
Leah Blevins- “First Time Feeling” (Crabtree)
The arrival of Leah Blevins and her silky, buttery twang is one of the most rewarding musical emergences of 2021, harkening back to the alt-country heydays of vocalists such as Neko Case, Iris DeMent, and the like. This track would be uber-impressive at any point in one’s discography, but is truly a remarkable debut outing. It’s unquestionably one of my songs of the summer, thanks to a stacked arrangement of acoustic licks, stirring organ riffs, and a red-hot electric solo. But nothing tops the exquisite tone and phrasing of Blevins’ golden voice. Hot damn.
Suzy Bogguss- “Sunday Birmingham” (Loyal Duchess)
It’s been three decades since Suzy Bogguss became a dark-horse heavyweight among the 90s female country movement, and her voice remains one of the most pure, crystalline wonders to behold in all of music. Showcasing those stunning pipes against an acoustic folk arrangement, with subtle shades of blues lingering beneath, “Sunday Birmingham” is a sterling reminder of what a joy it is to simply hear Bogguss sing. Let’s hope we get to hear it on a new full-length very soon.
Rodney Crowell- “Something Has to Change” (Thirty Tigers)
Previewing the chiseled legend’s seventeenth proper solo album, “Something Has to Change” is another tantalizing display of Crowell’s inimitable gift for combining deep, harrowing lyrics with a rollicking, profound musical arrangement worthy of the message behind it. “It’s greed, it’s not money, through which evil works. The haves and the have-nots are just one of the perks.” This is a prophetic commentary on the current times, as only Rodney Crowell can deliver. Soulfully brassy and hauntingly raw. And oh, so timely.
Wesley Dean- “Gypsy” (Hall of Flames)
I love making unexpected musical discoveries like this single from a talent that was heretofore unknown in my musical sphere. There’s such a magnetically seductive aura to everything about this pulsating, swampy folk-rock romp, from the rustic guitar licks to the smooth sax spots and, most of all, Dean’s impressively expansive voice.
Anderson East- “Drugs” (Elektra)
Stylistic pivots like “Drugs” can carry a lot of risk for an established and critically acclaimed artist like Anderson East. But, damn are the rewards bewildering when they work as well as this latest single from the singer’s pending third major-label release. He trades in his signature raspy delivery and Americana bona fides for a hilarious disco throwback that succeeds because of how keenly self-aware it is of its own comedic camp. Who knew bad-ass flute solos could give me so much life?
Foo Fighters- “Making a Fire” (RCA)
The fighters of foo deliver another surefire smash with the fourth single culled from their smoking Medicine After Midnight album. It’s solid, straight-forward pop-rock, pure and simple. Tailor-made for incessant repeat spins. An excellent summer single.
Walker Hayes featuring Lori McKenna- “Briefcase” (Monument)
An impressively mature and sincere reemergence from a previously faceless artist I’d assumed would be forever forgotten and lost in the sea of bro-country obscurity. “Briefcase” is a charming and moving record, and paints its artist in a glowing light thanks to its tastefully acoustic arrangement, an always reliable sprinkle of Lori McKenna-dust, and a classic narrative that earns its place in the canon of country music’s finest father-son moments.
The Killers featuring Bruce Springsteen- “Dustland” (Island)
The Killers revisit their vastly under-appreciated 2009 single, “A Dustland Fairytale”, by naturally reworking it as a duet with none other than the Boss himself. It’s a surprise really that it’s taken this long for the two acts to collaborate, given the prominent Springsteen influence that is a constant thread throughout the band’s discography. In any event, it was well worth the wait. This record improves on the already outstanding original, thanks not only to the novelty of Springsteen’s appearance, but mostly due to the remarkable growth and depth that years have added to Brandon Flowers’ peerless voice. There’s such an emotional, cinematic arc to the song, thanks to its rise and fall pacing, and the fact that it’s among the most personal narratives of Flowers’ career. Here’s hoping this rebirth gives it the chance to transform from lost classic to signature smash.
Lady Gaga- “Alice” (Interscope)
Chromatica was such a fantastic pop record; I remain perplexed at how quickly its momentum and promotional efforts stalled after the peak of a smash like “Rain on Me”. The album is a stacked one, with many tracks like “Alice” forever relegated to be just international releases, promotional tracks and vingles, or standard album cuts. Nevertheless, this track oozes with mystery, insatiable 90s beats, powerhouse vocals, and a fun literary nod to boot.
Lil Nas X- “Montero (Call Me By My Name)” (Columbia)
The challenging and graphic content of its accompanying music video has been causing loads of chatter for months. The single itself is equally buzz worthy, not only for its unapologetically homosexual narrative, but for its infectious hip-hop stylings and X’s dynamic delivery. This is one of those records which will prove to be just as, if not more, pivotal as a cultural moment as it is a hit song. Any way you slice it, Lil Nas X continues to carve out his reputation as a leading figure both in his genre, and in queer culture.
Dua Lipa- “Love Again” (Warner)
“Love Again” is one of those moments that would have been perfectly suited as one of those old-school deep cuts that album collectors and vinyl die-hards live for. But, God damn, am I glad to see it given life as a late blooming single from Lipa’s extraordinary Future Nostalgia. The haunting combination of her velvet vocals, the undeniable dance beats, soaring disco strings, and of course the “My Woman” interpolation all collide in such sensational fashion. Yes, the latter has already been used in a latter-day pop record, but that fact makes it no less effective here. All hail the reigning queen of 2020s pop.
Lorde- “Solar Power” (Universal)
Like so many of Lorde’s hits, “Solar Power” is one of those songs that slowly but surely seeps its way into your consciousness. And that is of course by design. It should also come as no surprise that Lorde’s version of beachy summertime escapism is executed in the least obvious of ways. This is beyond breezy. It’s more than alluring. Its relaxation and empowerment reveals itself in the most surprising, and by default, the most rewarding of ways.
John Mayer with Maren Morris- “Last Train Home” (Columbia)
John Mayer returns and invites us on a trip back to the peak of 80s soft rock with “Last Train Home”, a performance that joyously recalls hits from that era from the likes of Eric Clapton, Don Henley, Phil Collins, and Peter Gabriel. Like past sonic segues into genres like country-rock and folk, he navigates these waters with seamless aplomb, delivering a cut that is endlessly nostalgic, but equally crisp and fresh. Maren Morris’ backing vocals add a nice touch, but are far too brief.
Modest Mouse- “We Are Between” (Epic)
As they’ve done so many times before, Modest Mouse delivers a single that is not only a burst of sonic tension, but a lyrical mind-fuck as well. It’s all gloriously fused through the blistering vocals of Isaac Brock, and his band’s unique narrative lens, one that at this point is probably only matched by a group like AWOLNATION. “We Are Between” is characteristically contagious, captivating and provocative all at once.
Alanis Morrissette and Willie Nelson- “On the Road Again” (Thirty Tigers)
A gorgeous, soulful rendering of an all-time classic that takes on raw and emotional new meaning in the wake of the past year. The slowed down tempo perfectly captures that sentiment, while retaining every layer of the communal joy that was the cornerstone of the original. It’s Alanis’ most tender vocal in ages, perfectly suited cozied up against Nelson’s rugged harmonies. These two would be well advised to full-on duet on some original material in the near future.
Lukas Nelson & Promise of the Real- “Leave ‘Em Behind” (Fantasy)
There’s no denying the surreal resemblance in vocal tone and character that Lukas Nelson is fortunate enough to share with his legendary father, but above else, the second generation singer-songwriter continues to establish himself as an artist with his own singular voice and POV. Here, his reedy twang anchors a folk-rock outing that equally showcases the diversity of his band, as well as the raw, profound nature of his narratives. Sometimes the very best way to show love for another, and more importantly yourself, is to let someone go.
Brad Paisley- “City of Music” (Sony)
This is, without question, Brad Paisley’s first great single in many years. A euphoric, rapturous celebration of Music City and all the scrappy journeymen and women that venture there each year, with dreams of joining the ranks of legendary singers and songwriters who preceded them. Paisley strikes the perfect balance between spotlighting the heritage of the country genre, evoking the unique spirit of Nashville, and keeping the central focus on those dreams that are yet to be fulfilled, and the intimate stories surrounding them: “This ain’t no Big Apple, or La La Land, Harlan drank right where you stand.” Songs about Nashville often tend to focus on the broken hearts littering its streets, but there’s plenty of anthemic magic and glory to be found as well. Paisley taps into it wonderfully here, because he’s lived it himself.
Orville Peck- “Born This Way (The Country Road Version)” (Columbia)
Culled from the upcoming reimagination of Lady Gaga’s classic album of the same name, Orville Peck unsurprisingly proves to be a natural fit to deliver the song’s iconic message of self-pride and unapologetic individuality. Behind his booming twang and a steel-driven arrangement, the song proves to be just as fitting for a rustic honky tonk as it is a pulsating dance floor.
Maggie Rose- “What Are We Fighting For” (Maggie Rose)
Holy soul! It’s safe to say that Maggie Rose has emphatically found her voice on the latest rounds of preview material from her upcoming LP, For Your Consideration. “What Are We Fighting For” is a titanic performance from a fully-realized artist and singer with plenty to say. This would be a powerful message in any era, but feels all the more critical in the aftermath of the last five-plus years, with our nation seemingly on the brink of ideological implosion. A career making performance that should instantly put her album on everyone’s list of most anticipated summer 2021 projects.
Ed Sheeran- “Bad Habits” (Asylum)
The lead single from the pop superstar’s forthcoming fifth record makes it very clear that he’s been closely watching the chart trends during his recent hiatus. “Bad Habits” welcomes a plethora of comparisons to The Weeknd’s most prominent After Hours moments, but it’s not like that’s a bad thing. If anything, it finds Sheeran in his most captivatingly infectious realm to date. A bit derivative perhaps? Yes, so goes the nature of the pop music business. When it’s following such a satisfying sound so effectively, it’s hard to argue with the results.
Tedeschi Trucks Band featuring Trey Anastasio- “Why Does Love Got To Be So Sad (Live)” (Fantasy)
Derek Trucks and Susan Tedeschi are indisputably the royal couple of modern blues-rock. So, the concept of their band covering the greatest album in history to ever fuse the two sounds, in a rollicking live setting no less, is undeniably going to yield remarkably rewarding results. Performances like this will restore your faith in excellent, modern-day musicianship.
Keith Urban featuring Breland and Nile Rodgers- “Out the Cage” (Capitol)
Hey, if Keith Urban is going to remain hell-bent on forging further down the paths of banjo-pop and electronica rather that return to the more organic stylings of his peak period, it might as well be with red-hot ear candy like “Out the Cage”. Urban and Breland’s chemistry is palpable, Rodgers provides a scintillating sonic backdrop, and the rapid-fire chorus ranks among the Aussie superstar’s most dynamic pop hooks.
Yola- “Stand For Myself” (Easy Eye)
Between its soaring rock & soul production, a stirring message and Yola’s once-in-a-generation vocal power, “Stand For Myself” is the type of record that will hit you like a freight train, in all the very best ways of course. She digs down deep into the souls of those of us who constantly think it’s best to stay quiet in an increasingly noisy world, and inspires us to claim our truths without a single ounce of shame or remorse. The way her vocals absolutely unleash on that final chorus are nothing short of life-affirming.
Album Cuts
Eric Church- “Look Good & You Know It” (EMI)
A thrilling showcase of the depth of Eric Church’s talent, and the scope of sounds he’s capable of dabbling with so deliciously. “Look Good & Know It” blends an amalgam of roots ranging from country, rock, funk and soul and the results are nothing short of sweltering and sensational. I cannot wait to see him perform this new batch of tunes in a live environment.
Lana Del Rey and Nikki Lane- “Breaking Up Slowly” (Interscope)
This killer collab with the vastly underrated Nikki Lane is among the highlights off LDR’s most recent release. It also slaps you in the face as to how obvious and natural a detour into full-on alt-country would be if she ever decides to indulge in such a style. It’s unflinchingly morose and guttural, like any true divorce ballad should be. The sly George & Tammy references are the veritable cherries on the top.
HAIM- “Los Angeles” (Columbia)
“Los Angeles” is one of those instances that illustrates just how crucial the opening track is to the greatness of an overall album. This one dutifully set the stage for the excellent music awaiting as last year’s Women In Music, Part III unfolded. The sisterly trio skillfully weave their soft-rock roots with sharp and confident jazz and hip-hop samplings throughout, while crafting a performance that is is equally assertive and nonchalant in its ode to a city that is simultaneously a dreamer’s paradise and death trap.
Will Hoge- “Midway Motel” (Thirty Tigers)
Tiny Little Movies was one of my favorite releases from last summer, and therefore has earned its distinction as a perennial rotation album for every summer from here on out. “Midway Motel” ranks among my ultimate tracks, with its vivid imagery and accessible, hard-scrabble ethos. Heartland Rock is indeed alive and well, and Will Hoge is one of its most skilled modern purveyors.
Margo Price- “I’d Die For You” (Loma Vista)
That’s How Rumors Get Started is one of those albums that is so stacked from top to bottom that my favorite selection is constantly changing. Lately, I’ve been gravitating most to this hauntingly bare-boned declaration of unconditional love and loyalty. The emotions of the performance escalate so steadily and in such methodical fashion, in turn making Price’s crescendo at the song’s climax all the more spine-tinglingly powerful.
Flashback Tracks
Tom Petty & The Heartbreakers- “The Waiting”, 1981
Like all the true rock & roll classics, Petty’s timeless chart topper taps into the most restless depths of one of the human experience’s most complicated aspects, and matches it with an irresistible, jangly heartbeat that remains fresh and inviting thousands of listens later.
John Prine- “Sweet Revenge”, 1973
It’s hard to top prime 70s Prine, and the album that this tune is the namesake for remains one of his best. I love the stylistic juxtaposition of Prine’s country-fed voice and the soulful R&B vocals that provide the call & response interplay on the chorus. Tracks like this illustrated that Prine could trade in his sprawling folk conquests for a straight-ahead rock style on the drop of a dime.
Queen- “Bohemian Rhapsody”, 1976, 1992
“Bohemian Rhapsody” has become so embedded in our popular music fabric that it’s become damn near cliche to take its remarkable achievements for granted. This is one of those radio staples that listeners should periodically sit down and listen to with their full and undivided attention, instead of relegating it to familiar background noise. There’s a reason it’s just as important as a foundational piece of rock opera, as it is a classic single. It produced a rarified theatrical quality in popular music that no other record ever has, or ever will again.
Shania Twain- “Forever and For Always”, 2003
This is the definitive vocal performance of Shania Twain’s career; tremendously showcasing the rich, tender heights of her vastly underrated voice, before unfortunate life circumstances altered its natural character forever. Ultimately, it was the final smash of her career, but isn’t remembered quite as prominently as her other mega-hits. It certainly deserves to be though. A beautiful, timeless expression of ever-lasting love.
Walk the Moon- “Shiver, Shiver”, 2012
Though it would still be two years before Walk the Moon exploded with “Shut Up and Dance” and effectively cornered the market on unmitigated power-pop joy, early tracks like this suggest that it was only a matter of time before it happened. It overflows with plucky charm and candy coated hook lines. “Can we get intimate again?”. Who could ever turn down such a proposal under these musical circumstances?
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