The 706 Digest: September 2021

Albums

Lindsey Buckingham- Lindsey Buckingham (Rhino)

The classic rock legend’s eponymous project arrives a decade after his last solo release, and is also his first body of work since being ex-communicated from Fleetwood Mac in 2018, and undergoing heart surgery the following year to boot. Having been in gestation for some time prior to those incidents, the album spends less time unboxing those personal and professional left-turns, and instead focuses squarely on Buckingham’s evocative blend of folk, pop and rock sounds. His voice has thinned out a bit, understandable given that the 70s now represents his age, rather than the decade. But like all great artists of his stature, he more than compensates for time passed with long-proven staples, which in his case equates to sharp lyrics, dreamy harmonies, delicious melodies, and shimmering guitar-based sonic templates. The set’s opening trifecta of singles “Scream”, “I Don’t Mind”, and “On the Wrong Side” could’ve easily held their own in Mac’s legendary run of late 70s classics, and comprise one of the best radio-friendly sequences to be found on any 2021 project. The latter does hint at the circumstances of the split from his former band, with a blaring, triumphant tone of perseverance and acceptance.

Charley Crockett- Music City USA (Thirty Tigers)

Yes, even the Americana arena is guilty of possessing its own best-kept secrets. To say that Charley Crockett has been one of them would be a vast understatement. The newly released Music City USA, which is justifiably proving to be Crockett’s long-awaited breakthrough to the pinnacle of the roots music scene, is also his ninth studio release, and also his fifth since 2018. The record further builds upon the consistently prolific body of work that precedes it, and more than fulfills the promise that his recently risen profile suggests. It spills over with rich, vintage textures of classic country storytelling, swinging honky tonk, brazen rock & roll, and brassy, golden soul for good measure. His deep baritone and its stylish charm sounds like the three-way love child of Buck Owens, Faron Young, and Ray Price, and sounds just as natural against a jaunty fiddle, mournful steel, brooding rock riff or a warm brass section. Traditionalists like Crockett can often-times get pleasantly dismissed and pigeonholed to the “retro” category, but the timeless quality and narrative power of his music truly reminds us that music of this honest variety truly never goes out of style.

Mickey Guyton- Remember Her Name (Capitol)

After a decade of toiling with Music Row politics and the crippling sexist and racial barriers that continue to cast a dark cloud over the contemporary country music scene, Mickey Guyton’s long-awaited debut album finally sees the light of day. And as indicated by the various singles she’s released leading up to the project, Remember Her Name bravely confronts all of those systemic injustices head-on, and in a manner that is both brutally honest while also gracefully triumphant. The title track opens the set and immediately announces Guyton as a big-voiced talent more than deserving of rubbing elbows with Carrie Underwood, Maren Morris and the like at the top of the country-pop kingdom. At times, she proves to over-rely on Nashville’s bloated contemporary production much like Underwood did on her earlier, more pedestrian work. But when Guyton leans hardest into the gritty honesty of her most compelling life experiences like she does on “Better Than You Left Me”, “Love My Hair”, “What Are You Gonna Tell Her”, and especially “Black Like Me”, she establishes herself as one of music’s most promising, young singer-songwriters.

Kacey Musgraves- Star-Crossed (Interscope)

With Star-Crossed, Kacey Musgraves’ long-awaited “divorce” album and anticipated follow-up to 2018’s modern classic Golden Hour, the progressive country singer fully immerses herself in the dreamy pop landscape that she first explored on the aforementioned predecessor. In doing so, she basically leaves behind the formative country sounds of her earlier work, replacing those textures with a template that borrows from synthetic electro-pop, trippy astro-rock, confessional coffeehouse folk, and a dash of Spanish flavor. While these sonic trappings certainly paint Musgraves’ vocals in a beautiful light, they do prove to be monotonous at times as well. So while Star-Crossed may not be her best album yet, it’s certainly her most personal, with cuts like “Camera Roll”, “Good Wife”, and “Hookup Scene” ranking amongst her most painfully intimate to date. Meanwhile, infectious mid-tempos like “Justified” and “Breadwinner” further certify her abilities to craft pop music that is as equally catchy as it is compelling. Bottom line: Musgraves remains one of most gifted popular music poets of the present moment.

Lil Nas X- Montero (Columbia)

Montero marks the arrival of one of the most anticipated full-length bows in recent pop memory, coming a full two years after the breakout EP that spawned “Old Dirt Road”, the cross-genre sensation that immediately transformed X into one of the most watched voices in all of music. The album more than lives up to its hype, further establishing its artist as a confident, authoritative and challenging talent who refuses to be boxed in stylistically, or culturally. It tussles with race, gender, sexuality, and celebrity, and how all of their complications intersect. It’s all backdropped against a bold, brash soundscape that ranges from the hip-hop swagger of the title track to the rap tour-de-force of “Industry Baby” and even the breezy guitars and power pop of “That’s What I Want” and “Lost In the Citadel”. A star-packed lineup of guests that includes everyone from Elton John (on piano) and Miley Cyrus to Doja Cat, Megan Thee Stallion, and Jack Harlow further adds to the box office appeal of an undeniably buzz-worthy record. Most impressive however is how he centers the record with the raw tenderness of “Sun Goes Down”, a powerful reflection on his journey through acceptance of his homosexuality, in hopes of providing hopes to those yet to conquer the same. This moment establishes Lil Nas X as something far greater than a bubbling pop icon, as a voice not just for the queer community, but for anyone struggling with their own self-acceptance.

Carly Pearce- 29: Written in Stone (Big Machine)

For those disappointed by the sonic direction of the earlier mentioned Star-Crossed, here is the country divorce record you’ve been waiting for. But this expansion of Carly Pearce’s early 2021 EP, 29, is far more than that. Pearce has been a rare beam of light in the mainstream country landscape since emerging with 2017’s smash “Every Little Thing”, by keeping the crisp, authentic sounds of 90s country alive in a scene increasingly void of substance. Those qualities remain gloriously prominent on Written In Stone, as immediately evidenced by the enticing fiddles that open the set on the deliciously cutting “Diamondback”. Like so many great country records, this one was birthed through personal loss, in the wake of Pearce’s ill-fated nine-month marriage to fellow country star, Michael Ray. That sadness provides her with the muse to reach a new level of greatness as both a singer and songwriter, resulting in a uniformly flawless body of songs that makes it impossible to choose one true centerpiece, though thrilling cameos from Patty Loveless and Ashley McBryde certainly stack the odds in favor of their respective duets. This is an example of modern country beautifully reconnecting with its lost identity as the purveyor of honest, real life emotions and experience through music. You’ll be hard-pressed to find a better Music City creation anywhere else in 2021, and it easily ranks among the best albums in any genre to see release this year. A stunning artistic breakthrough in every way.

Singles

Jason Aldean and Carrie Underwood- “If I Didn’t Love You” (Broken Bow)

Look, if anything can get me on board with a current-day Jason Aldean track, it would be Ms. Underwood’s golden pipes. It’s stacked with all of the power-ballad melodrama and glossy bombast that also made his and Kelly Clarkson’s “Don’t You Wanna Stay” a guilty pleasure a decade ago. I mean, would anyone really complain if Underwood gave into her 80s glam roots and recorded a full-blown hair metal side-project?

Barenaked Ladies- “Good Life” (Raisin’)

The latest release from these early Y2K mainstays proves that the Canadian cult favorites still have a solid handle on crafting crisp, palatable power-pop tunes; complete with a rapping left-turn on the bridge to boot. Simple, crisp vocals and production, with a reflective mid-life pathos for good measure as well.

Kane Brown- “One Mississippi” (RCA)

Kane Brown’s country-pop-R&B hybrid has slowly grown on me, as he continues to separate himself from the crowded pack of generic B-level country dudes that seem to forever overpopulate the mainstream charts. His performance is charming and confident, the track is memorable and infectious, and those sweet fiddle licks are worth the price of admission alone.

Cold War Kids- “What You Say” (AWAL)

Another searing performance from a troop that has without question proven to be one of the best alt-rock groups in existence today. The blending of the amped up guitar riffs and bluesy organ strokes are insatiable, while the expansive elasticity of Nathan Willett’s vocal range never ceases to impress.

Charley Crockett- “Round This World” (Thirty Tigers)

The chameleonic wonders of Charley Crockett’s inimitable voice form a vessel that can seamlessly transport listeners to a wide array of musical styles, eras and atmospheres. In his latest single, Crockett bestows upon us an unapologetically Appalachian soaked banjo breakdown that pares splendidly with his booming voice, to create a sonic experience rich in mysterious but gorgeous mountain beauty.

Anderson East- “Hood of My Car” (Elektra)

The latest record from Anderson East was a fantastic showcase of the soulful artist’s diverse vocal instrument. This latest single finds the roots-based singer dabbling in a more synth-driven territory that actually proves to set the stage for one of his most wrenching vocal performances to date. It positively sweats with both a sexy passion, and an undeniably lonely sense of nostalgia.

Mickey Guyton- “Remember Her Name” (Capitol)

It’s been tremendously rewarding to witness Mickey Guyton so fiercely stake her claim in the music scene after years of prejudice and genre politics squandering her big voice and undeniable talent. The title track to her aforementioned debut album is a striking anthem, and the perfect cornerstone for a record filled with other more specifically raw and personal moments that launch off of this foundation in marvelous fashion.

Jason Isbell & The 400 Unit and John Paul White- “Driver 8” (Southeastern)

Culled from Isbell’s forthcoming covers album focused on Georgia artists, “Driver 8” is the dark-horse R.E.M. classic from 1985, and it finds him backed by the superbly talented John Paul White. It’s a faithful, reverent interpretation that finds Isbell impressively blending his own vocal signatures with the unmistakable touch of Michael Stipe’s legendary yearning style.

Vance Joy- “Missing Piece” (Liberation)

Vance Joy has found himself with a sizable, plucky comeback hit in the form of “Missing Piece”, which stays faithful to all of the bright-eyed charms of earlier successes like “Riptide” and “Mess Is Mine”. It’s a sparkling folk-pop gem built for countless repeat spins.

Toby Keith- “Oklahoma Breakdown” (Showdog)

Toby Keith became such a country music caricature by the time that he reached the zenith of his superstardom that it distracted from the fact that he’s also one of the finest male vocalists of his generation. “Oklahoma Breakdown” is a truly satisfying return to form for Keith, as he unleashes a smiling yet growling country rocker that is easy on the ears and easily ranks among the most endearing moments of his three-decade long list of singles.

Mat Kearney- “I Don’t Really Care” (Tomorrow)

A slick combination of spoken-word and piano pop, with a contemplative social commentary at the core of it, exploring why we allow ourselves to become so consumed with all the noise of social media rather than focusing on the true, simple pleasures of everyday life.

Tracy Lawrence- “Lonely 101” (Lawrence)

Three decades have passed, and Tracy Lawrence remains one of the master crafters of contemporary honky tonk. This performance sounds like it could have easily been lifted from one of his revered early 90s records, offering generous helpings of uncomplicated neo-trad production and his untouchably rich and twangy phrasing. Outstanding.

Amos Lee- “Worry No More” (Dualtone)

Lee’s soulful register remains one of the best kept secrets in popular music, and this lead single from what will be his first studio record in four years is a vibrant exercise in both his signature tender singing, and a far more dynamic pop production that what he’s delivered in the past. It builds marvelously in emotive power and quiet intensity over the course of three-plus minutes.

The Lumineers- “Brightside” (Dualtone)

Easily topping my list of anticipated releases for early 2022 is the just-announced fourth album from The Lumineers. First single and title track “Brightside” is another sturdy performance from the roots rock favorites and is a record and performance that is straight-forwardly simple in all the very best ways. It’s a grower no doubt, one that will methodically nestle itself in your membrane, with no complaints to be found in return. They’re without question one of the most reliable modern acts to be found.

John Mellencamp and Bruce Springsteen- “Wasted Days” (Republic)

A long-awaited collaboration from the undisputed kings of the Heartland Rock era, “Wasted Days” is a sage, stripped-down folk tune rich with reflection on days past and the usage of the time that’s been gifted to us. Would we have all loved a high-profile duet from these two at the height of their 80s rock superstardom? Duh. But this is more than just the next best thing, and you can’t help but indulge in the nostalgic magic tapped into when Mellencamp’s amped up guitar solo on the bridge fiercely slices through the fiddle-laced Americana trappings of the rest of the tune. A delightful piece of living, breathing rock & roll royalty.

Michigan Rattlers- “That Kind of Life” (Massasauga)

Another solid band to add to the list of quality 2021 musical discoveries. The Rattlers present a polished, heartfelt palate of modern folk-rock built on honest vocals, relatable lyrics, and a rollicking guitar-piano sonic blend. It’s a Heartland mid-tempo that you’ll enjoy having cozily nestled in your brain.

Tom Morello featuring Bruce Springsteen & Eddie Vedder- “Highway to Hell” (Comandante)

Three revered rock veterans proving that their high-octane chops have not faded one bit with the passage of time. This trio injects this cover with all of the ferocious, growling power required to do the original justice. He may choose to do so less in the more Americana-leaning era of his later career, but Springsteen in particular can still roar with the very best that modern rock has to offer

Kacey Musgraves- “Justified” (Interscope)

Solid evidence of Kacey Musgraves’ aforementioned skill in translating her lyrical intellect into unabashedly infectious pop song craft. This chorus is positively radiant in its ability to simultaneously sting emotionally and illicit melodic ear-candy euphoria. A stirring recipe of pop hooks, country narratives and coffeehouse intimacy.

Bones Owens- “Lightning Strike” (Black Ranch)

The breakout song from this newcomer’s debut LP is entertaining as hell thanks to an arsenal packed with stylish personality, roadhouse riffs, and a cool & cocky delivery that both twangs and rocks in all the very best ways. A talent to keep an eye on.

Jon Pardi- “Tequila Little Time” (Capitol)

Once in a blue moon, I still stumble upon a mainstream country station while on the road. Even more rarely do I hear something during those instances that actually slices through the sludge and convinces me to stop scanning the dial. Pardi’s latest top ten entry is one of those anomalies thanks to his authentically vintage voice, twangy wordplay and a rich arrangement of horns and string that splendidly boasts vibes of both the countrypolitan and zydeco varieties.

The Secret Sisters- “Heavy Balloon” (New West)

Further proof that there is no song or style immune to the ethereal harmonic magic that has established The Secret Sisters as one of roots music’s most marvelous acts, including this left-turn cover cherrypicked from Fiona Apple’s 2020 landmark album, Fetch the Bolt Cutters. A stirring endeavor brimming with swampy, bluesy gravitas.

Tones and I- “Cloudy Day” (Elektra)

An engaging and pulsating track that paints the talents of this EDM upstart in a far more well-rounded light than previous viral track, “Dance Monkey”. This inspirational track manages to maintain the undeniably contagion of that predecessor while cementing the fact Toni Watson has some levels to both her vocal ability as well as the meaning behind her music.

The Vaccines- “Back In Love City” (Sony)

The Vaccines have spent a decade quietly earning a reputation as one of the most potent English imports to be found in the modern day rock and alt fields, and this dynamic first single from their fifth LP further expands the boundaries of their sonic tapestry. A subtle dance-inspired backdrop surrounds a fabulous and impressively cohesive whirlwind of sounds anchored by an anthemic indie-styled chorus, Justin Hayward-Young’s idiosyncratic deliveries, and brooding Ventures-styled surf guitars.

Morgan Wade- “Last Cigarette” (Thirty Tigers)

On the third single pulled from her vastly under-appreciated debut album, Morgan Wade sprinkles in some subtle pop-leaning vocal hooks and vivid folk-rock jangle, and it superbly fleshes out her country-rock credentials without ever sacrificing that ragged grit that makes it so great in the first place. “Last Cigarette” precisely captures the addictive nature of physical romance as well as the painful difficulty in kicking the yearning for an old flame.

The War on Drugs- “Living Proof” (Atlantic)

This is one of those gracefully restrained yet heartfelt performances that presents the emotions of its song with more power than could have ever been conveyed had it been given a more dramatic sonic dressing. The acoustic chords and prominent piano moments are both warmly comforting and devastatingly icy, and immediately provide the listener with the meditative environment needed to process and feel every single despondent and aching emotion residing in these beautifully reflective lyrics.

Album Cuts

Hiss Golden Messenger- “Mighty Dollar” (Merge)

I love the more aggressive rock and funk edges that HGM inserts into this standout album track from Quietly Blowing It, and that tone perfectly fits the more pointed, topical nature of the song itself. It’s a no frills acknowledgement and indictment of the fact that greed runs our world, and how much substance we sacrifice from our lives in its name. A tantalizingly groovy jam with a biting social commentary at the core. Great stuff.

The Killers- “Quiet Town” (Island)

For the second year in a row, The Killers have provided me with one of my standout favorite albums of the year, and the best part of it all is how vastly different the two records are. Pressure Machine is very much the Nebraska of Brandon Flowers & company’s catalog, and few tracks capture the complicated contradictions of small town living at the hear of the album as potently as “Quiet Town”. The juxtaposition of the frank spoken retelling of the accident and the shimmering folk-rock arrangements perfectly mirrors how the horror of the incident betrays the simple pleasures of the town it occurs in.

Carly Pearce- “What He Didn’t Do” (Big Machine)

In one of the many fantastic cuts off 29: Written in Stone which find Carly Pearce tackling her divorce head-on, she bares all of the lingering pain and heartbreak that came with the dissolution of their romance, without airing any of the really ugly details. The fact that she even acknowledges the existence of dirty laundry adds a tasty, subtle layer of burn to the proceedings. However, what makes this so achingly beautiful is the fact that she attacks her pain not only with honesty, but also maturity, without ever falling into the vengeful, man-bashing trend that ran rampant in late-00s, female country anthems.

Maggie Rose- “Do It” (Republic)

A positively fiery, blue-eyed soul throw-down that showcases Maggie Rose transforming into a full-blown siren that could have been a key powerhouse in the R&B and soul heyday of the mid-late 60s. A sensationally saucy and hair-raising three minutes of music that will get you out of your seat. This girl’s got the real-deal chops in droves.

Todd Snider- “Handsome John” (Aimless)

Todd Snider’s legacy has been built so prominently on his brilliantly smart-ass persona that it’s easy to overlook how much tender emotion is to be found within his impressive catalog. Enter this dutifully humble and poignant tribute to the great John Prine (the king of brilliant smart-asses after all), a track that both celebrates Prine’s enormous impact on American music as well as Snider’s gifts as a folk prophet cut from the same cloth. There are so many little nuggets to be found here referencing key Prine moments, but none more smile-inducing than the chorus itself: “Oh boy, talk about your real McCoy, here comes the Singing Mailman from Maywood, Illinois…oh boy.”