Albums
Bleachers- Take the Sadness Out of Saturday Night (RCA)
The third Bleachers record has immediately earned its place as a summer highlight, and finds bandleader Jack Antonoff leading his troops through a colorful, multi-dimensional joyride that stays loyal to the unique spirit that has defined the band thus far, while also expanding its overall palate toward new soundscapes, narratives and vantage points. They balance their signature indie-pop joy and buoyancy on tracks like “Big Life” with the brooding, cinematic drama on moments like the Lana Del Rey feature, “Secret Life” and album closer “What Do I Do With All This Faith”. Meanwhile, “45” strips things back to a raw, bare-boned setting that unearths a heretofore unknown gritty folk side to the group. The heartbeat of the album however is its spirited celebration of the New Jersey rock sound, and of course The E-Street Band, which is paid infectious homage on singles “Stop Making This Hurt” and “How Dare You Want More”, and only further legitimized by Bruce Springsteen’s own guest spot on the swirling “Chinatown”.
Jackson Browne- Downhill from Everywhere (Inside)
Jackson Browne’s fifteenth album, and first since 2014, further secures his identity as one of today’s true living legends of rock & roll. His voice sounds just as strong and vital as ever, and his pen as sharp and insightful. Furthermore, each song is enveloped in warm, firm arrangements and stellar musicianship that’s as resonant as anything he released during the heights of his stardom. Cuts like the title track, “Until Justice Is Real”, and recent single “My Cleaveland Heart” sound like lost hits from the glory days of 70s radio, while “A Song for Barcelona” offers a tasty, skillful pivot to a jaunty and reverent Spanish sound. Elsewhere, soulful standouts like the Leslie Mendelson duet, “Human Touch” confirms that Browne’s magical ability to tackle life’s challenges with such tender humanity and aplomb has not waned an ounce over his fifty year career.
John Mayer- Sob Rock (Columbia)
John Mayer has always been an artistic chameleon, having explored everything from rock, pop and the blues to folk, country, and Americana, and all with consistently strong results. For his eighth album, the aptly titled Sob Rock, he makes an unabashed, committed deep dive into the smooth, synthesized sounds of 80s soft-rock. And it’s delivered his most engaging record in ages. His unique voice and lush, virtuosic guitar skills blend seamlessly with the glossy wall of sound surrounding it, creating a body of work that is undeniably vintage, but impressively modern. Singles like “Last Train Home”, “New Light”, and “Wild Blue” are infectious and alluring, with plenty of bite and contemplation to uncover. At its core, the album very much presents Mayer at a crossroads with his own romantic turmoil and what it means for the second half of his life if he never learns how to commit. Those troubling but fascinating conflicts are especially raw on guttural tracks like “Why You No Love Me”, and “Shouldn’t Matter But It Does”.
The Wallflowers- Exit Wounds (New West)
Jakob Dylan has always maintained a quality over quantity approach with all of his musical endeavors, and thus The Wallflowers’ seventh album arrives nearly nine years after its sixth. This strategy continues to yield positive results for Dylan and his band, as Exit Wounds proves to be more than worth the extended wait. After all, it’s those long periods of inactivity that make the initial sounds of Dylan’s soulful rasp and the band’s killer guitar riffs on a track like lead single “Roots & Wings” all the more of a celebratory revelation. It easily harkens back to the first time you heard “One Headlight” twenty five years ago. And the rest of the album upholds that excellence throughout, weaving a collection of songs that paint a timely tussle between emotions of doubt, hope, and perseverance. Country-soul chanteuse Shelby Lynne’s addition as a pseudo-band member with her appearance on four tracks, proves to add a subtly eloquent layer of newness and pathos to the proceedings, with the sweeping “Darlin’ Hold On”, and the urgent “Move the River” being the ultimate highlights. All in all, the Wallflowers continue to represent roots-rock at its absolute best.
Yola- Stand For Myself (Easy Eye Sound)
Stand For Myself is precisely what you hope and dream a promising new artist like Yola will achieve on their sophomore album, in the face of the insurmountable well of pressure that comes in the wake of a debut breakthrough on the level of 2019’s Walking Through Fire. Reuniting with The Black Keys’ Dan Auerbach in the producer’s helm, Yola further builds upon the vision set forth with that first record and adds even additional brushstrokes from various genres, eras, and topical inspirations. From the pure country phrasing of “Be My Friend” or honky twang of “Whatever Your Want”, to the biting folk commentary of “Diamond Studded Shoes”, to the luscious Brit-soul of “Great Divide” and the absolutely earthquaking rock abandon of “Starlight”, Yola’s second outing is as equally a rich bastion of American roots influences as her first, and her ability to sensationally master such a wide array of styles is a testament to her generation-defining voice. This record is a startling achievement, and an immediate favorite for the best album of 2021.
Singles
Kelsea Ballerini and LANY- “I Quit Drinking” (Black River)
I’d always been particular lukewarm to Kelsea Ballerini’s output, but there’s no doubt that her material and overall artistic arc has become vibrantly more interesting in the past few years. She delivers yet another quality collaboration, this time with pop band LANY, and together they’ve crafted a modern day drinking tune that is both commercially palatable and emotionally on-point.
Gabby Barrett- “The Good Ones” (Warner)
It happens fewer and farther between these days, but there’s still a lingering soft spot within me for contemporary country radio hits. The second consecutive chart-topper from the American Idol alumni has steadily settled into that space. It’s a simple and sincere profession of love and appreciation for a loyal and devoted husband. Certainly not groundbreaking, but nonetheless effective thanks to a sweet, rushing chorus, and Barrett’s increased display of control over her bluesy register.
Dierks Bentley featuring The War & Treaty- “Pride (In the Name of Love) (Live)” (Capitol)
Bentley first transformed the legendary U2 anthem into a sparklingly grassy revelation back on 2010’s bluegrass-inspired album, Up on the Ridge, which remains an ultimate highlight in his healthy catalog. The addition of Americana stalwarts The War & Treaty proves to be a genius addition, with their soaring marital harmonies allowing Bentley’s rendition to take even further flight. A stand-out showcase of honest-to-goodness singing and musicianship. Is it time for the Up on the Ridge sequel yet, Dierks?
Black Pumas- “Sugar Man” (ATO)
Black Pumas has emerged as the epitome of musical therapy for me during the pandemic. They sing and play with the kind of tremendous soul and grace that seemed like an art long-ago lost to the golden days of music past. All of those qualities are on brimming display on this impressive curation of a cult-classic by underground rock hero, Rodriguez. Another dazzling delivery from this outstanding duo.
Bleachers- “How Dare You Want More” (RCA)
In case you didn’t gather it from the album excerpt up above, Bleachers fucking rule! This track is one of the most delirious bursts of joy and exuberance I’ve heard in a long time. The personality packed performance, red-hot instrumentation, charming sing-along hooks, and of course, the undeniable E-Street, Jersey homages. I can’t get enough of it. Seriously, I might not be able to finish the rest of this column…
Leon Bridges- “Motorbike” (Columbia)
“Motorbike” is yet another sweet piece of evidence, not that it was necessary, that Leon Bridges is indeed one of the modern day masters of classic soul sounds. Boasting vocal purity, smooth and tasteful production, and sensual romance in droves, Bridges continues to carry on the same time-honored hallmarks of the genre that made legends out of men like Sam Cooke, Marvin Gaye, and Al Green, to name only a few.
Jackson Browne- “My Cleveland Heart” (Inside)
A crisp, rollicking and energetic ride through classic Heartland Rock that sounds just as vital and engaging as any of the hits that defined Browne’s run of classic hits in the 70s and 80s. Hell, this would sound fresh and natural on the airwaves in any era. The man can still rock and pop with the very best of them.
Brandi Carlile- “Right On Time” (Elektra)
The lead single from what, for me, may be the most eagerly awaited album of 2021. “Right On Time” is one of those powerful, grandiose rock records that immediately feels like an important moment and an essential classic. Sort of like “The Joke” before it. And “The Eye”. And “The Story”, and so on. Carlile has been one of her generation’s most important voices, both physically and poetically, from the moment she emerged fifteen years ago. But we’re now finally living in that marvelous moment where she’s finally getting the recognition for it. This performance leaves an indelible mark on the soul of the listener. And, the captivating Bowie vibes are a delicious side dish as well.
Candi Carpenter featuring Brandi Carlile- “The River Knows Hows” (CTK)
Carlile lends subtle but much appreciated harmonies on this latest release from folky country upstart, Carpenter, who continues her recent run of rootsy and inspired gems. She’s got a uniquely resonant magic that’s deeply embedded in her rich vocals, and if she continues to accompany them with equally rousing songs such as “River”, she stands a strong chance of following in Carlile’s footsteps to Americana royalty.
Dawes featuring Mike Viola- “Walls” (Hub)
An excellent band covering an excellent song from a timeless artist naturally makes for a great cut. The smooth harmonic sounds of Dawes and the Laurel Canyon-tinged vocal character of lead singer Taylor Goldsmith add an illuminating, polished update of Tom Petty’s 1996 classic that has been overdue for some retrospective love and attention. “You’ve got a heart so big; it could crush this town.” remains one of my favorite Petty lyrics.
Lana Del Rey- “Blue Banisters” (Interscope)
Lana’s music has the capability to take your soul to a gloomy yet beautiful place that you didn’t even know that you possessed. It can be painful, but also incredibly rewarding and inspiring. Like so many of her songs, “Blue Banisters” has so much vivid imagery and sonic ache to take in, that it will likely take a plethora of listens to even scratch the surface of the whole scope of the song. One thing’s always constant however: Del Rey’s voice is beautiful, her lyrics profound, and both are deeply haunting: “The power of us three can bring absolutely anything/Except that one thing, the diamonds, the rust and the rain/The thing that washes away the pain.”
Green Day- “Pollyanna” (Reprise)
A deep dive into full-on pop-rock fluff that is easily the most deliriously happy, escapist track that Green Day has ever released? Alright, I’m for it. Because contrary to popular belief, not everything has to be deep and brooding and serious. This plays like a carefree reawakening of our own joy in the late days of the worldwide crisis we’re all desperate to crawl out of. That may still feel like a bit of denial at this stage, but also a welcome moment of relief and release.
Kings of Leon- “Echoing” (RCA)
The success of “The Bandit” helped coronate Kings of Leon as one of the true comeback stories of the year, and follow up “Echoing” possesses all of the same qualities that make it equally deserving of mass appeal. Lead vocalist Caleb Followill remains in ownership of one of rock’s truly identifiable voices, and he rides this breezy gust of guitar jangle and a spirited pledge of perseverance to a rewarding finish line.
Jim Lauderdale- “The Opportunity to Help Somebody Through It” (Yep Roc)
A riveting release from one of Americana’s leading giants, and one of the best damn songwriters to come out of the Texas country scene. Lauderdale injects this compassionate anthem with muscular country-blues riffs, pure Texas twang, and the kind of humanity and humility that is far too lacking in the way we interact with each other in today’s complicated world.
Marshmello and Jonas Brothers- “Leave Before You Love Me” (Republic)
There’s no denying that the reunion arc of the Jonas Brothers’ career has effectively elevated them from the typical boy-band damnation of their early days to the status of an enduring, bona-fide pop hit-factory. This latest collab’ with the enigmatic Marshmello is killer ear-candy, pure and simple, and ever-worthy of its summer-smash royalty.
Paul McCartney featuring Beck- “Find My Way” (Capitol)
III was a great record all on its own, and certainly not requiring any participation in today’s hyperactive craze to reimagine and remix very single song that sees the light of day. With that being said, this new version of the intoxicating “Find My Way” will quickly dull any complaints you may have with such a concept. It goes without saying that a McCartney-Beck union is the meeting of two rock scientists, and that magic potential comes to thrilling life here. It’s dynamically funky and effortlessly cool, and if there’s any justice in the world, Beck may have just given Paul freaking McCartney an undeniable dance floor classic.
Milky Chance- “Colorado” (Muggelig)
An infectious three minutes of tasty stylistic dichotomies, combining elements of folk, reggae, and electronica to create a track that is chill, groovy, nervy, and intense all at once.
Kylie Minogue- “Marry the Night” (Interscope)
Thus far, the tenth anniversary reimagining of Lady Gaga’s classic Born This Way has generated intriguing left-turn reinventions with Orville Peck’s countryfied “Born This Way”, and Ben Platt’s melodramatic “You and I”. It should come as no surprise that Minogue’s interpretation of “Marry the Night” is the most original-loyal of the bunch, and it may also be the most satisfying. After all, Minogue had been crafting the sort of dazzling dance sparkle that paved the way for this music since Gaga herself was in diapers. A simply irresistible cover track.
Margo Price featuring Adia Victoria, Allison Russell, Kam Franklin & Kyshona Armstrong- “Help (Live)” (Loma Vista)
Like so many of The Beatles’ classics, “Help!” has been covered by a wide spectrum of artists, including Tina Turner, Dolly Parton, Roxette, and yes, Bananarama. Culled from her recent live EP, country-soul powerhouse Margo Price assembles a mighty potent batch of supreme vocalists to deliver a rendition that achingly drips with all the angst, desperation and vulnerability that was always lurking underneath the urgent pep of the original.
Prince- “Hot Summer” (NPG)
The second single released from the new posthumous Prince record buoyantly proves that the pop God’s otherworldly knack for ear candy will indeed live forever. At its core, it’s a very basic piece of pop summer fare that’s further elevated when dipped in Prince’s inimitable brand of funky goodness. The backing vocals drip with an immediate sense of sweat and humidity, while the percussive arrangements are breezy and bopping in the all the best ways.
Diana Ross- “Thank You” (Decca)
Simply knowing that a golden-era legend like Diana Ross still graces the Earth with her presence, and is also able to create new music, is enough to make you feel a little bit better about the world we’re living in. Her voice may be weathered a bit by time, but the additional wisdom and gravitas that brings blissfully compliments the fact that she still sounds as effervescently graceful, energetic and inspiring as ever.
RuPaul- “New Friends Silver, Old Friends Gold” (RuCo)
RuPaul’s latest single is a killer combination of red-hot dance beats, bouncy grooves and an uplifting mantra that speaks a universal truth. Friendship is one of the greatest gifts that life has to offer, and there’s tremendous value and reward to be found in those relationships, regardless of which life stage they originate from.
Allison Russell- “Nightflyer” (Fantasy)
My God, what a pure, flawless vocal. This gorgeous record is the very definition of soul-stirring. I’m ashamed that it’s taken me this long to become acquainted with this performance, and the accompanying album. Allison Russell is without question the best kept secret of 2021. Beautifully and emotionally elegant.
Silk Sonic- “Skate” (Atlantic)- roller pop
The duo’s second single is another vibrant, vintage piece of 70s era gold. Fittingly titled, “Skate” is indeed a delicious slice of roller-pop that is absolutely stacked with superb vocals, personality, and pure fun. Seriously already, how long are they going to make us yearn for this damn album? We’re waiting, boys.
Sturgill Simpson- “Paradise” (Elektra)
A timeless John Prine standard. A modern great providing an unsurprisingly reverent interpretation, rich with rousing vocals and exquisite musicianship. The fact that it’s an early preview from a second volume of like-minded Prine tributes. Is there anything else needed to put a lover of American roots music in their own state of paradise? Didn’t think so.
Sleater-Kinney- “Worry With You” (Mom + Pop)
The lead single from the duo’s tenth LP finds the indie-rock queens in superb form. The vocals, production, and lyrical content are characteristically dizzying, zigging and zagging through a relationship that is undeniably celebratory in all of its dangerous, yet sturdy complication.
Connie Smith- “Look Out Heart” (Fat Possum)
Though she hardly gets the amount of recognition she deserves among the class of today’s living country legends, Connie Smith will forever be one of the greatest country vocalists to ever live. And nearly six decades since she first captured America’s heart, her unapologetic twang still packs as powerful a wallop as it ever has. The sensational Bakersfield guitar licks give her a run for her money, but Smith’s voice, as always, remains the ultimate honky tonk treasure of this track.
Twenty One Pilots- “Saturday” (Fueled by Ramen)
There are so many rock bands scoring banner years in 2021, but none are living in one of those undeniable hot periods quite like Twenty One Pilots. I can’t stop spinning Scaled & Icy, and “Saturday” was one of my immediate favorites, so I’m thrilled it’s seeing life as a big single release. One can never have enough weekend anthems, and this one is an instant adrenaline rush of swagger, humor and flat out fun.
Walk the Moon- “Can You Handle My Love” (RCA)
And to add even more star power to this year’s slate of rock releases, cue up new music from Walk the Moon. Sign me up. After navigating into heavier sonic waters with 2017’s What If Nothing, the band (now a trio) returns to the sunnier tone of earlier material. While this doesn’t necessarily grab you as instantly as material on Talking Is Hard, just give it a few listens and you’ll be feverishly hooked on the light-as-air vocals and illuminating keyboards in no time.
Yola- “Starlight” (Easy Eye Sound)
What a triumph this performance is. What an experience the sound of her voice is. The emotional layers and sonic textures to this single appear to be endless. It’s so masterfully performed and produced, on every single level. And it’s also unimaginably contagious to boot. The anticipation and longing she sings of throughout the verses is so raw and palpable, and the radiant crescendo that awaits on the explosive chorus is nothing short of hair raising. “Starlight” is quite arguably the year’s best soul, country, rock and pop song, all in one. And if you do feel so inclined to argue such a claim, I’ll be here waiting to vehemently fight you on it. A flawless record.
Album Cuts
Dee Gees- “You Should Be Dancing” (RCA)
There is no doubt a large contingent of hardcore purists and grunge gatekeepers all over the Net bemoaning the fact that Foo Fighters have reincarnated themselves as a second coming of The Bee Gees for a disco side-project. Let them bitch, while the rest of us dance along deliriously. After all, the fact that the band can pull this off with such unfettered authenticity only speaks more to the level of bad-assery they’ve achieved at this point in their career. Sometimes, popular music is meant to be carefree and ridiculous. This is all of that and more, and we’re all the better for it.
Billie Eilish- “Billie Bossa Nova” (Interscope)
A satisfying sonic segue on the new Eilish album that makes sublime use of the singer’s hushed, hypnotic vocal inflections, and brother Finneas’ clever studio instincts. The track constantly feels like it’s about to explode into a saucy, salsa affair. The fact that it blue-balls you and never does so, strangely makes it all the more successful.
Jennifer Nettles- “Tomorrow” (Concord)
I love her recent Broadway foray because it joyfully indulges in the all the showmanship and dramatic bravado of you know, Broadway. With that said, my favorite moment does prove to be this, the album’s tender and restrained swan song, which I first fell in love with after she released it at the dawn of COVID. It perfectly showcases all the magical gifts that Jennifer Nettles possesses as a singer.
Royal Blood- “All We Have Is Now” (Warner)
A moving outlier on the band’s recent third release that was inspired by bandleader Mike Kerr’s conquering of alcoholism, and which serves as a chillingly frank acceptance of one’s finite existence: “All we have is now/So just let it go/When your number’s called/And it’s time to disappear.” The original is great, but it’s also worth your time to seek out the orchestral version as well.
Yola- “If I Had To Do It All Again” (Easy Eye Sound)
Tired of the Yola love yet? Too bad. In fact, you should probably expect to see the bulk of Stand For Myself appear here in the upcoming months. This track hooks me initially thanks to both the haunting tones of her upper register and the tantalizing arrangement, which offers everything from lush strings and tasty acoustic licks to booming bass and pulsating piano. Anchoring it all is a powerful testament to just how essential companionship is to the overall life experience.
Flashback Tracks
James Brown- “Papa’s Got a Brand New Bag”, 1965
What a thrilling, stylish classic this is. The 60s were such a magical and diverse time in American music, and this undeniable soul classic, and the entire Brown catalog plays such a pivotal and vital role in telling that overall story. Culturally significant, but also just an endlessly entertaining hit radio gem. It will forever remain fresh and revelatory, no matter how many times one hears it.
The Foundations- “Build Me Up Buttercup”, 1968
The definition of a golden oldie, yet you can still imagine it coming out today and likewise garnering the airwave domination it so rightfully deserves. The Foundations were firing on all cylinders the day they recorded this one; getting each and every magical ingredient so joyously right. It’s unadulterated musical joy.
Whitney Houston- “So Emotional”, 1987
One of Houston’s very best juggernauts. It’s amazing how the time-trapped 80s sounds that are prominently at the core of her biggest hits sound so utterly dated on the work of other acts, yet somehow sound so beguiling and fresh on hers. Credit that voice and the charismatic power she soaks each and every note with. When she hits that soaring hook at the chorus, it’s truly the ultimate pop ear-candy.
Alison Krauss & Union Station- “The Lucky One”, 2001
My all-time favorite track from one of my all-time favorite ensembles. The melody is so gorgeously comforting, and haunting all the same, which basically sums up the magic of Alison Krauss’ entire catalog. Her voice is so pure and exquisite, and the astute Union Station musicians she surrounds herself with match that high bar each and every step of the way. New Favorite is without question, one of the greatest albums of the 21st century thus far.
Mumford & Sons- “Winter Winds”, 2009
For me, this single ranks right up there with the Sigh No More classics (“Little Lion Man and “The Cave”) that it had the unenviable task of being sandwiched between in the album’s release chronology. The rich vibrancy of the horn arrangements frame such a pivotal moment in their early career, with a full-bodied warmth that pierces through all the icy conflict depicted in the lyrics and in Marcus Mumford’s tense, gravely delivery of them. A dark horse classic to be sure.
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