Albums
Rodney Crowell- Triage (RC1)
One of American music’s most eloquent and prolific singer-songwriters returns with yet another chapter in his long-running library of outstanding records. On Triage, the country and folk poet’s seventeenth solo outing, Crowell unleashes another biting, enticing body of songs that grapples with all of the constants that continue to make life so complex: romance, relationships and of course, political and social unrest. His voice has aged like a fine wine, as has his ability to weave his songs through intoxicating melodies and compelling arrangements. Best of all however has proven to be his ability to avoid the common trap many of his peers have succumbed to; he manages to maintain the pointed conviction of his narratives, without ever becoming a bitter curmudgeon. Triage is all-around intelligent, challenging, and musically entertaining, with tracks like “Don’t Leave Me Now”, “Girl on the Street”, “I’m All About Love”, “Something Has to Change” and the title track among the most potent highlights.
Anderson East- Maybe We Never Die (Elektra)
Anderson East’s third major label release finds the revered Americana soul man balancing his well-established collision course of roots rock, country, and R&B with newly chartered waters that expand his palate into realms of trippy psychedelics, flirty funk stylings, shimmering jazz, and electro-pop flourishes. The unflinching compass that continues to ground his musical identity and lend legitimacy to all of this dazzling experimentation remains his gutsy, blue-eyed vocal chops, as evidenced on cuts like the alluring single “Madelyn”, the seductive “Lights On”, and the lush balladry of “Like Nothing Ever Happened” and “If You Really Love Me”.
Halsey- If I Can’t Have Love, I Want Power (Capitol)
The fourth album from pop darling Halsey may just prove to be the most left-of-center surprise of 2021. Birthed within the darkest depths and most complicated emotions of her recent pregnancy, she bestows upon the listener a completely unfiltered, naked account of it all without apology. Collaborating with Nine Inch Nails’ Trent Reznor and Atticus Ross from the producer’s chair, she lures you in with the moody, spooky theatrics of opening tracks “The Tradition” and “Belles of Santa Fe”, before ferociously unleashing into an unrelenting fury of alt-rock, grunge and metal influences on the revelatory “Easier Than Lying”. It proves to be a shockingly seamless transformation; what she lacks in pure vocal power is more than compensated for with gritty, growling confidence and grandiose sonic blasts. Sharp, snappy cuts like “Lilith”, “You Asked For This, and “Honey” feel destined to become alt-radio anthems. Most impressive however may be her insertion of the wistful country-folk of “Darling” smack-dab in the middle of all the chaos, without batting an eye. An impressive, potentially career-altering album.
The Killers- Pressure Machine (Island)
If moments like last year’s Imploding the Mirage and the recent Boss-collaboration, “Dustland” have only further exemplified The Killers’ stylistic indebtedness to Bruce Springsteen’s classic E-Street sound, then the band’s newest studio effort is most certainly their Nebraska. A concept collection of quarantine-penned songs that finds lead vocalist Brandon Flowers exploring the identity and small town experiences of his childhood home, Nephi, Utah, it’s unlike anything to be found in the band’s vast catalog. In their most stripped setting, with folky arrangements built around harmonica, fiddle and acoustic guitar, they set the table for a gripping travelogue through small town America, and all the humble yet profound moments and people that define it. All of the dramatic emotion that has defined the band’s career remains in tact, but is displayed through a new, gritty lense that takes their captivating storytelling to brand new heights. The recorded accounts of actual Nephi citizens that serve as the transition between songs adds a tremendous element of captivating intimacy and realism that proves just as essential to the record as the songs themselves. Pressure Machine emerges as an immediate standard in the annals of Heartland Rock.
Maggie Rose- Have a Seat (Starstruck)
Maggie Rose first emerged in Nashville in 2009 as an aspiring country chanteuse, whose considerable talents would unsurprisingly be lost on the minds behind the Music Row machine. Since then, she’s slowly evolved into a palpitating blues-rock dynamo powered by the most soaring blue eyed soul chops this side of Adele. Over a decade later, she has achieved her crowning breakthrough with Have a Seat, a supremely strong set of songs stacked with emotion, smarts, brass and sass. Anthemic displays like “Do It” and the Marcus King feature, “What Makes You Tick” joyously reveal her as a sultry disciple of Dusty Springfield 60s gold, but thoughtful and topical singles like “For Your Consideration”, “Saint”, and “What Are We Fighting For” emphatically illustrate that this is a relevant and important voice for the present moment we’re living in. Have a Seat is a sweltering slice of gorgeous, rapturous soul. It proves to be a stunning summer finale that will resonate long after the leaves have fallen.
Sturgill Simpson- The Ballad of Dood & Juanita (High Top Mountain)
Sturgill Simpson is, without question, the ultimate musical chameleon of his generation. In his brief but sterling career, he’s now navigated through everything from mountain country and honky tonk to Outlaw psychedelia and bluegrass to hard rock and soul. Now with The Dood & Juanita, heavily hinted to be his final solo record, Simpson has delivered an unapologetically Western concept album, the 2021 equivalent of classic works like Red Headed Stranger and Gunfighter Ballads & Trail Songs. And it should come as no surprise that it’s freaking awesome. Simpson’s booming voice and the Appalachian-tinged backdrop proves to be the perfect setting for the frontier-laden story that unfolds. Like any great story, it runs the gamut of adventure, romance, comedy, friendship, and tragedy. In one fell swoop, Simpson reunites the fabled partners known as country and western, and resurrects all the storytelling magic that the art form was built upon.
Singles
Tony Bennett and Lady Gaga- “I Get a Kick Out of You” (Columbia)
A superb preview of the pair’s upcoming duets album of Cole Porter standards, which will serve as both the sequel to their 2014 delight, Cheek to Cheek, as well as the 91 years young Bennett’s farewell album. The track picks up right where they left off, with a performance brimming with sensational vocals, sublime jazz production, and genuine, lovable chemistry.
Big Red Machine featuring Taylor Swift- “Renegade” (Jagjaguwar)
The pop princess repays the favors paid to her by Aaron Dessner and Justin Vernon on her epic 2020 quarantine records by lending the very best coffeehouse-folk qualities of her voice to this lead single from Big Red Machine’s new sophomore effort. Similar to the Bennett-Gaga pairing above, Swift’s unions with the Bon Iver and National frontmen proves once again that the most surprising combinations often net the sweetest results. This more than carries forward the moody, magic that defined both folklore and evermore.
Hayes Carll- “You Get It All” (Dualtone)
The ever-welcome twangy warble of Red Dirt troubadour Hayes Carll is back and in all its glory on the lead single of his forthcoming seventh album. He remains one of the sharpest John Prine disciples, delivering another sawdusted, sardonic exercise in country-folk that is positively dripping with his trademark wit and sly turn of phrase.
Sheryl Crow featuring Lucius- “Strong Enough (Live)” (BMLG)
A sparkling highlight from Crow’s pre-pandemic set at the venerable Nashville venue that finds her revisiting the chemistry she unearthed with the band, Lucius (seriously, one of the best kept secrets in music today) on her 2019 duets album. It’s a gorgeously understated rendering of what remains one of Crow’s very best pieces, and a definitive 90s standard.
Miley Cyrus- “Plastic Hearts” (RCA)
Seriously y’all, if you’re still asleep regarding Miley Cyrus’ most recent record, you’re missing out on some truly intoxicating pop-rock. The title track and latest single from the project is a viscously infectious bop highlighted by a bouncy chorus, red-hot guitar licks, growly vocals, and no shortage of conga drums.
Halsey- “I Am Not A Woman, I’m A God” (Capitol)
The title itself may seem like a pretentious declaration, but the song that unfolds underneath it is a gripping grapple between a woman, her identity and purpose in life; suddenly facing a crossroads where her roles as a celebrity, new mother, and human being are on a collision course. It’s interesting that such a conflict coincides with an aggressive stylistic evolution. Perhaps she’s also not a pop star, but a natural alt-rocker instead….
Walker Hayes- “Fancy Like” (Monument)
Okay, I gave in. After a couple months of resistance, the obligatory country ear-worm of the summer finally etched a spot on the monthly Digest. And while yes, I lose a zillion brain cells every time I hear “Don’t need a Tesla to impress her“, this is undoubtedly just some good, charming, mindless fun. Tracks like these only succeed if the artist behind them is in on the joke, and Hayes certainly is. Good on him for earning an unexpected pop culture moment. I just hope it doesn’t ultimately pigeonhole him, because the dude’s got some layers (see “Briefcase” from June’s Digest).
Natalie Hemby- “Heroes” (Fantasy)
Now here’s some sharp and incisive country music to restore those previously mentioned lost brain cells. A biting, swampy cautionary tale about the dangers in putting too much stock in meeting those iconic figures that you’ve looked up to, The Highwomen member and ace Nashville tunesmith is giving me all sorts of glorious Matraca Berg vibes here. Her pending album is high on my list of anticipated fall releases.
Jennifer Hudson- “Here I Am (Singing My Way Home)” (MGM)
The new Aretha Franklin biopic, Respect is an excellent film. It’s difficult to imagine another artist being able to pay the kind of revered homage to Franklin that Jennifer Hudson was able to magnetically capture on screen and on record. She slays in both regards. Check out this original cut (penned with Carole King) from the soundtrack and make it your appetizer for the movie.
Jackson-Sellers- “The Devil is An Angel” (Anti)
The premier single from Aubrie Sellers and Jade Jackson’s duet project is a thick, greasy slab of honky tonk-garage rock, unrelenting in its fetching ferocity. The striking dichotomy between their angelic voices and the rugged production is the same sweet spot that has made their respective individual work so compelling, and it’s amplified to the nth degree here. Great stuff!
Wanda Jackson featuring Joan Jett and Elle King- “Two Shots” (Big Machine)
“Two Shots” emanates from the perennial rockabilly queen’s latest and last full-length, closing out a groundbreaking career as well as a fruitful decade that included excellent collaborations with the likes of Jack White and the late Justin Townes Earle. More star-power backing is provided on the choruses from the likes of Jett and King, but Wanda is the ultimate star here. Her 83-year-old voice is understandably weathered, but lacks none of the ball-busting bravado that made her a timeless icon in the first place.
Elton John and Dua Lipa- “Cold Heart (Pnau Remix)” (Mercury)
A shimmering dance mash-up of diverse Elton hits that positively soars thanks to bright disco production, palpable chemistry, and strong vocal turns from both artists. Hearing Lipa belt the words to “Rocket Man” is particularly grand.
The Killers featuring Phoebe Bridgers- “Runaway Horses” (Island)
As stated up above, the new Killers album is fantastic from top to bottom, making it difficult to peg a precise favorite, which is obviously the sort of problem every album should aspire for. “Runaway Horses” is certainly in the running for the project’s premier cut, as well as the most somber recording in the band’s revered catalog. Flowers’ vocal turns are so steeped in sadness, a trait only magnified by Bridgers’ teary eyed harmonies and the weepy fiddle backing. The spoken account of a stampede horse’s public passing only further cinches the song’s devastating gut-punch.
Lake Street Dive- “Know That I Know” (Nonesuch)
Another endlessly contagious slam-dunk from my favorite musical discovery of 2021. There’s such a smooth, smiling groove to every square inch of this performance, from the vocals to the widespread instrumentation to the varying melodic structures. Fun, flirty, and instantly uplifting.
Midland- “Sunrise Tells the Story” (Big Machine)
This band’s ability to capture the aura of 70s-tinged country music with such natural ease, authenticity and modern zeal is so damn rewarding to listen to. Crisp, clean production married with warm and resonant vocals that are stacked with personality and sincerity. Five years into their run, and they’ve yet to make a misstep. I need more Midland in my life, and so do you.
Miranda Lambert- “Tequila Does (Telemitry Remix)” (RCA)
Look, “Tequila Does” is truly one of the best songs of Miranda Lambert’s career to date, and it still didn’t need a third incarnation. But dammit if I’m not happy to experience this left-turn detour into funky electronica. Country purists screaming SOS over one of their torchbearers making such a choice need to just relax and enjoy. Lambert pulls this off with charming aplomb, and she’s more than earned her right to make such an oddball choice. Plus, the fact that we have the original honky tonk version and a Marfa Tapes cut of this track further shows how crazy diverse and generous the woman is.
Lorde- “Stoned at the Nail Salon” (Universal)
There’s such a sly grin residing in the title of this track that it’s sinfully easy to miss the stark emotional depth and sadness that define it. It captures those confusing and maddening moments in adulthood where we find ourselves unjustifiably unhappy even when we’re surrounded with everything we’d ever hoped for. Lorde confronts that innate human sadness dead-on, while providing some her most chilling lyrics to date: “Spend all of the evenings you can with the people who raised you/Cause the times they will change, it’ll all come around.” Just try making it through that line without a lump in your throat.
Lizzo featuring Cardi B- “Rumors” (Atlantic)
There’s just something irresistibly entertaining, and empowering, about hearing Lizzo deliriously and viscously run down all the pop culture noisemakers on the Internet and in Hollywood for the bullshit they churn out around the clock. The Cardi B cameo isn’t necessary, but if any record can make me tolerate her, it’s this one. It’s not as instantly infectious as “Juice” or “Good as Hell”, but give it a few listens and you’ll get there.
Tim McGraw- “7500 OBO” (Big Machine)
There’s no doubt that country music’s long-standing truck song legacy has long ago devolved from charming concept to embarrassing stereotype to horrendous genre caricature. With that being said, the existence of a good truck song does very occasionally come to fruition. For Tim McGraw, it certainly wasn’t 2012’s dreadful “Truck Yeah”, but with latest single, “7500 OBO”, the living country legend finally compensates for that career low point. The song really isn’t built around the truck itself, but rather the memories it represents. That symbolism is, in and of itself, a country stereotype. But it’s also an effective plot device when executed with the sturdy twang and rollicking guitar licks McGraw provides here. Plus, the lyrical and sonic odes to “Where the Green Grass Grows” are a nice bonus as well.
James McMurtry- “Canola Fields” (New West)
With iconic Texas voices like Guy Clark and Jerry Jeff Walker leaving us at a sad, rapid pace, James McMurtry reigns as one of the most reliable and glorious flag bearers for Red Dirt country and folk, and all of the honest-to-goodness warmth, grit and honesty that it’s built upon. This lead single from his just-released tenth LP is brimming with those qualities, highlighted by a tremendous chorus that is undeniably sweeping, nostalgic, and romantic.
Kacey Musgraves- “Star Crossed” (MCA)
Few records released this year will face the enormous pressure cast upon Kacey Musgrave’s September follow up to 2018’s wildly acclaimed Golden Hour. This initial single proves to be an enticing preview, and suggests that Musgraves has more magic up her golden sleeve. It rides an illuminating and mysteriously sad wave, bracing us for what promises to be an uncomfortably honest divorce record. The entrancing vocals are gorgeous and hint at further exploration of the sonic settings of Hour, while subtly incorporating tasty flourishes of Mexicali guitar, and Moody Blues-recalling space pop. Consider me primed and ready for what’s next.
Carly Pearce featuring Patty Loveless- “Dear Miss Loretta” (Big Machine)
First things first: Patty freaking Loveless. What an absolute joy it is to hear her peerless voice featured on new music again. Let’s hope this isn’t just a one-off return to recording for her. As for Pearce herself, she has officially become one of my rare favorites in today’s mainstream country scene. I’ve loved everything she’s released over the past two years. This is an outstanding lineage piece, something that used to be a country hallmark. Just as Loveless carried the influences of Lynn’s generation forward in the 90s, Pearce is doing the same today.
Robert Plant and Alison Krauss- “Can’t Let Go” (Rounder)
I was just recently listening to a newly acquired vinyl copy of this pair’s 2007 classic, Raising Sand, and mourning the fact that they were never able to make the planned sequel work out a few years later. The universe responded a few days later with the release of this lead single to their newly announced November release. This Lucinda Williams gem has rightfully become an Americana standard since its 1998 inception. And it will never sound quite the same again after this deliciously muddy and ethereal reincarnation.
Nathaniel Rateliff & the Night Sweats- “Survivor” (Stax)
After taking a brilliantly meditative detour with his 2020 solo outing, Nathaniel Rateliff returns to vibrant Night Sweats glory with this fiery and terse preview of the outfit’s upcoming third LP. It boasts all of the same stylish and brassy elements that have made the band one of the most revered and authentic bands in modern music. It also features the most crisp and deliberate vocal turn of Rateliff’s career to date, as he wrenches every ounce of cutting impact out of each and every lyric.
Red Rum Club- “Nightcalling” (Modern Sky)
One of my favorite musical discoveries of 2020 returns with another splashy romp that once again blends the band’s silky smooth vocals, snappy melodies and irresistible horn flourishes to splendid effect. Yes, it finds the band choosing to carry forward the elements of their previous record rather than trending any new ground. But when you’re revisiting such sweet sonic sustenance, who the hell cares?
Olivia Rodrigo- “Good 4 U” (Geffen)
I can go an entire lifetime without ever again hearing the maudlin, weepy teen dramatics of “Driver’s License”. But when Rodrigo trades that coat in for Avril-recalling, punky, bitter teen-angst? That I can get on board with. She pulls off such a transition with way more authenticity than anyone her age has the right to. Does the fact that I’m a big Paramore fan help it’s cause? Hell yes. She could be subconsciously copying far less impressive influences. “Good 4 U” is a deserving hit.
Sturgill Simpson with Willie Nelson- “Juanita” (High Top Mountain)
Not that it was necessary, but the pairing of Simpson’s booming Outlaw drawl and Nelson’s timeless guitar stylings ingeniously provides an additional, glowing layer of authenticity to Simpson’s classic country concept project. That indelible guitar picking that become such a staple of Nelson’s landmark Red Headed Stranger will now prove to be a magic quality of this generation’s version of that legendary masterwork. This performance may prove to be Sturgill’s ultimate moment as a vocalist; his delivery on that final chorus is so plaintive and absolutely aching with lovelorn longing.
The Wallflowers- “Maybe Your Heart’s Not In It No More” (New West)
A warm, laid-back mid-tempo overflowing with all of the qualities that Wallflowers fans have loved for over a quarter-century: soulful grooves, jangly guitar, and Jakob Dylan’s dusty rock rasp. Throw in Shelby Lynne’s soothingly exquisite harmonies and you can’t go wrong. It’s great to have them back.
The Weeknd- “Take My Breath” (Republic)
I would’ve been in total support of a further extended run of singles from After Hours, but I’m certainly not going to turn down a fresh Weeknd track. “Take My Breath” effortlessly continues his unstoppable streak of slick anthems laden with both 80s-tastic beats and modern day authority and confidence. Like all of his previous hits, this one promises to leave the listener in yet another unavoidable trance.
Zac Brown Band- “Same Boat” (Southern Ground)
You won’t find me in the camp of folks ready to decimate Zac Brown over every single artistic liberty he takes with any new musical release. With that being said, you can still count me among the early ZBB following that will gladly approve any occasion where they recall the rootsy coziness of their 2008-2014 sound. There were few acts during that time that I loved more. So, while “Same Boat” is indeed blatantly derivative of “Chicken Fried”, it is nevertheless refreshing at this juncture in the band’s career, and its sentiment is certainly needed in today’s national climate.
Album Cuts
Jon Batiste- “Freedom” (Verve)
Funk, soul, hip-hop, and R&B triumphantly collide in a record overflowing with palpable joy, wit, and optimistic passion. It’s as celebratory and radiantly entertaining as any track released this year to date.
Jack Ingram, Miranda Lambert and Jon Randall- “Ghost” (RCA)
“I replaced the headboard with a chiseled stone/Here lies the meanest man I’ve ever known/Go rest in peace with every lie you ever told/’Cause now you’re just a ghost.” It’s difficult to imagine that any formal studio setting could capture the raw emotions of “Ghost” as powerfully as they’re displayed in the rustic, campfire ambience of The Marfa Tapes. You can almost feel the haunted memories of this dead relationship sitting around the circle with Lambert, Ingram and Randall during this performance. This project is destined to live on as one of the most understated and beautiful accomplishments of Lambert’s entire career.
Amythyst Kiah- “Hangover Blues” (Rounder)
“Hangover Blues” is one of those records that leaves you in a cold sweat. It slowly but persistently slithers and coils its way around your consciousness as you listen. It never builds beyond that bubbling level of intensity and the lack of such a dramatic crescendo makes it all the more chilling as a result. “You had my hands and knees and loins shaking.” Mercy.
Maroon 5 featuring Stevie Nicks- “Remedy” (Interscope)
Look, few modern bands have jumped the proverbial shark as dramatically as Maroon 5 has since their solid first two albums. They continue to swim in a sleepy sea of faceless, generic mediocrity, and they’ll continue to do so until it no longer generates them radio hits. That’s not to say they still aren’t capable of scoring an occasional bright spot. “Remedy” doesn’t initially rank among those moments. Adam Levine’s intro still sounds overdosed on Ambien, void of even the slightest spark. But, when Nicks arrives with her smoky rock rasp, the proceedings kick into a higher gear. She elevates things like the legend she is. It’s nowhere near revolutionary or definitive, but the final results are endearingly infectious.
John Mayer- “Shouldn’t Matter But It Does” (Columbia)
Few combinations in modern pop music are so potently primed for mournful, melancholy break-up tunes like that of John Mayer’s smooth yet sandpaper vocals and his even smoother guitar tones. This track from his fantastic recent ode to 80s soft-rock thoroughly and achingly captures the gamut of emotions that cripple us after a break-up: regret, bitterness, loneliness, hurt, and above all, grappling with one’s identity now that you’ve lost such an enormous part of it.
Flashback Tracks
BR549- “Lifetime to Prove”, 1996
It seems quaint looking back now that the retro honky tonk machinations of Chuck Mead’s rollicking hillbilly outfit was such a culture shock during mainstream country’s golden era of the 90s, a period that today is rightfully celebrated for marrying the contemporary and traditional sounds of the genre. This sounds like a frigging Jimmie Rodgers compared to today’s country dial, making it all the easier to appreciate today. Hearing Mead’s hard twang on that opening couplet of this drunkard’s lament gives me chills every time: “My pockets are empty, though my wife has sent me to the store for cigarettes and bread. I started walking there, got as far as the square, when the smell of beer went to my head.” A hidden classic you need to hear.
Creedence Clearwater Revival- “Have You Ever Seen the Rain”, 1971
A classic, timeless metaphor exploring the complicated contradictions between success and happiness, many speculated that this single was inspired by the turbulent social temperatures that carried over from the 60s to the 70s. However, it was in actuality a reflection on the bubbling implosion brewing within the ranks of CCR itself. Fogerty’s wistful, soulful vocal is one of his most powerful renderings, while the emotions proved to be an accurate premonition. A few successes remained before their 1972 dissolution, but “Rain” would be the final in CCR’s prolific streak of truly golden, era-defining hits
Radney Foster- “Half of My Mistakes”, 2006
Radney Foster is, plain and simple, one of his generation’s definitive singer-songwriters. And “Half of My Mistakes” is beautifully just that on the surface: plain and simple. But it’s also guttural, poetic and prophetic. It’s one of those lyrics that doesn’t need any window dressing outside of an acoustic guitar and a raw, emotional vocal performance. It represents the type of reflection and appreciation that we should all aspire for as we journey through adulthood, and life itself. Treat yourself and also check out Gary Allan’s outstanding 2007 cover.
Peter Gabriel- “Big Time”, 1986
Hey, I’m all for “Sledgehammer” and its earned status as an iconic jam. But, “Big Time” is forever my ultimate PG hit. Maybe that’s simply due to the fact that it hasn’t been quite as oversaturated with airplay for the last 35 years. But likely also due to its undeniable beats, heightened urgency, and hypnotic, funky energy. A satisfying indulgence for anyone’s dance-rock sweet tooth.
Tift Merritt- “Good Hearted Man”, 2004
Tift Merritt may have been cast as an alt-country songstress and whatever that meant exactly in the early 2000s, but she would prove to lean far closer to the burnished 60s soul of Dusty Springfield than the traditional country heartache of Tammy Wynette, or even the rugged country-rock of Lucinda Williams. This fact is best illustrated by this tremendous 2004 career moment, a sterling showcase of her vocal prowess, stylish taste, and bold talent. A highlight of its decade.
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