ABBA- “Just A Notion” (Polar)
In what may be the longest gap between records in pop music history, the Swedish pop legends returned this fall with their first LP since the dawn of the Reagan Administration. Though the band does sound impressively vibrant all these decades later, it’s especially the case on “Just A Notion”, because it well, retains vocals from an abandoned 1978 session coupled with updated production. Which makes this single more of a vault cut than a new recording, but it nonetheless reconnects the present to the bopping, gleeful cheese of the quartet’s heyday. And let’s face it, that’s exactly what anybody remotely interested in a new ABBA album wants: nothing but flat out nostalgia. No new ground is covered on this track, nor is it necessary.
Adele- “Easy On Me” (Columbia)
Is it undeniably predictable at this point to see pop icon, Adele awaken from another long slumber with an emotional power ballad to launch her latest comeback? Of course, it is. Is “Easy On Me” a breathtakingly beautiful and satisfying performance? Of course, it is. With a simple piano backdrop, the song unfolds as a raw, confessional letter of apology and request for grace from her young child in the wake of the divorce from their father. The heights of her vocals are hair-raising as always, but there’s a vulnerable humility anchoring this performance unlike anything she’s released before. “Easy On Me” is at once soaring, and remarkably tender and vulnerable.
Bastille- “Thelma & Louise” (Virgin)
Another fetching electro-pop romp from a band that continues to establish themselves as one of the leading forces in the world of beats and synths. Yes, the borderline sample of Prince’s “When Doves Cry” initially opens the door, but Bastille closes the deal based on their now-trademark combination of alluring vocals and swirling hooks.
Jason Boland & The Stragglers- “Restless Spirits” (Proud Souls)
Warm, rustic vocals. Crisp, clean country instrumentation. Simple, substantive storytelling. The latest from Boland and his gang represents the best, definitive qualities of the Red Dirt subgenre. In other words, just another day in the studio for one of the most overlooked and reliable country bands of the past quarter century.
Brandi Carlile- “Broken Horses” (Elektra)
The aforementioned Americana superstar leans full-throttle into her classic rock and California country tendencies on this roaring anthem of fierce, fiery independence. The sound magnificently recalls the AOR radio spirit of the 70s, framing Carlile’s ferocious vocal showcase–arguably the most thrilling and blistering of her marvelous career to date–with a mystifying, cinematic arrangement of haunting acoustics and thunderous guitar rock riffs. This performance is both a haunting and euphoric experience.
Hayes Carll featuring Brandy Clark- “In the Mean Time” (Dualtone)
As pure a country duet as you’ll find in 2021, “In the Mean Time” is a gritty acknowledgement of the low points that exist in even the happiest, most secure marriages. There’s a real beauty in finding the soul mate who you can be your unfiltered self with at all times. But it can also lead to moments where that person becomes the victim of your weakest tendencies, and that aspect is examined with precisely the amount of realism and authenticity you’d expect from these two revered country-folk poets. The fact that both have them could have easily turned such a subject matter into a Prine-worthy novelty, but didn’t this go-around, makes it all the more sincere and bitterly rewarding.
Coldplay featuring BTS- “My Universe” (Parlophone)
To all the mainstream-hating snobs bitching about this union being a sell-out, low point moment for Coldplay, untwist your panties and allow yourself to indulge in the dreamy, synth goodness of this undeniably intoxicating performance. Besides, the band has always worn as many pop sensibilities on their sleeve as they have of the alt-rock variety. This is one of the most accessible and durable jams currently bidding for airplay.
David Crosby featuring Michael McDonald- “River Rise” (Three Blind Mice)
This duet from the folk-rock and soul legends envelopes the listener like a warm, comforting blanket. Neither artist may be able to reach the rapturous vocal heights that they were able to half a century ago, but the sincerity, power and poetry remains as vital as they ever were. The vocal blend created has a unique sweetness to it, and the record quietly builds at the perfect emotional pace.
Ariana Grande- “POV” (Republic)
This refreshingly restrained R&B stunner seems poised to become one of the under-appreciated, dark horse gems of Grande’s career long term. Sweeping in melody and maturely balanced in terms of perspective and vocals, “POV” represents a high-water mark for the pop favorite, and recalls Mariah Carey at her peak.
Natalie Hemby- “Pins and Needles” (Concord)
The title track from Hemby’s aforementioned excellent sophomore album is a stirring delight that’s packed with hypnotically methodical piano strokes and humid lyrics that form a splendid display for the smokiest depths of her range. She sort of sounds like a swampy Sara Bareilles, and it’s captivating numbers like this that echo why Natalie Hemby should be a household name herself.
Jason Isbell & The 400 Unit and Brittany Spencer- “Midnight Train to Georgia” (Southeastern)
Another excellent moment off Jason Isbell’s recent Georgia-themed project, this burning cover of the classic Gladys Knight & The Pips standard deserves to be a true coming-out party fo the ultra-talented Brittany Spencer, who is quietly but surely proving that modern-day country soul can indeed be a thing, and not one solely monopolized by Yola either.
Jeremy Ivey featuring Margo Price- “All Kinds of Blue” (Anti)
We already know just how much Margo Price kicks ass. The catalog of her husband, Jeremy Ivey is just as worthwhile in seeking out, and there’s no better place to start than with this delicious, rumbling duet that bubbles over with searing chemistry, muddy harmony goodness, and a pensive country-rock intensity.
Manchester Orchestra- “Bed Head” (Loma Vista)
One of the year’s purest alt-rock moments, these gloomy Atlanta troubadours have crafted an eery anthem that steals a bit of your soul with each listen. “Arguing with the dead, I’m not alone but it sure feels like someone left.” If that opening line doesn’t leave you in a cold, clammy sweat then the ominously hazy heights of the performance that follows it surely will.
Reba McEntire and Dolly Parton- “Does He Love You” (MCA)
This reincarnation of McEntire’s 1993 smash duet with Linda Davis strips away all the soapy camp of the original and replaces it with an intimate setting that allows all of the betrayal, ache and crippling doubt of the song’s story to deliciously simmer on the surface. The fact that it represents the first ever duet from two of the most important female country icons ever immediately makes it an important moment. Similar to last month’s “Wasted Days” from Bruce Springsteen and John Mellencamp, would we have preferred that such an occasion had occurred in say, 1985, when the two acts intersected at the pinnacle of chart stardom? Duh. Nonetheless, “Does He Love You” proves to be a satisfying bucket-list moment anyway.
My Morning Jacket- “Regularly Scheduled Programming” (ATO)
The lead single from My Morning Jacket’s new LP illustriously demonstrates that the beauty of psychedelic rock is most certainly not trapped in the past. This track is an instant musical acid trip, with thunderous riffs and rhythms gloriously crashing down upon you as you become lost in the expressive mystery of Jim James’ ubiquitous voice and the band’s equally enticingly mind-fucking lyrics.
Carly Pearce and Ashley McBryde- “Never Wanted To Be That Girl” (Big Machine)
An excellent single choice from Carly Pearce’s superb new album unites her with another one of Nashville’s bright spots in duet partner, Ashley McBryde. Together, they completely reshape the storyline of the above mentioned “Does He Love You” with gracefully humble aplomb. Instead of descending into cheesy catfighting or vengeful retaliation, the two women sift through all of the devastating shame, shock and heartbreak, and do so through the use of pure country vocals, lyrics and instrumentation.
Nathaniel Rateliff & The Night Sweats- “Love Don’t” (Stax)
Nathaniel Rateliff & The Night Sweats are at their absolute best when they throw themselves without unadulterated abandon into the jamming rock & soul swelter that resides at the very core of their identity as a band. This thrilling finale to their upcoming album is one of those moments and it’s a sensational experience brimming with joy, passion and musical excellence. One of 2021’s most celebratory moments in music.
Randy Rogers Band- “Picture Frames” (Tommy Jackson)
This troop of Texas honky tonkers remains one of today’s most underrated bands. Randy Rogers possesses one of those rare voices that’s so packed solid with layered emotion, rich character and expressive personality. That voice, and the stellar country musicianship of his comrades, have paired themselves here with a song that astutely puts those elements to gratifying use. A tribute to life’s most cherished moments and the swirling daily experiences that define us in between each of them.
Ed Sheeran- “Shivers” (Asylum)
As one of pop music’s most unassuming purveyors, Ed Sheeran also becomes one of the genre’s most potent. First impressions would never suggest that the singer-songwriter had the ability to unleash such a viscous dance-pop banger like “Shivers”, and it’s that element of surprise that makes it all the more infectious. This one positively sizzles and leaves you begging for more.
Amanda Shires- “You Don’t Get To Go” (Silver Knife)
It’s difficult to accurately declare what is the most beautifully piercing aspect of Amanda Shires’ music. Is it her angelic voice, chilling fiddle or unflinching lyrics? They’re all doing overtime on “You Don’t Get To Go”, and the bare-boned arrangement gives the listener no place to hide from the bitter truths that they bestow.
Sting- “If It’s Love” (A&M)
Sting remains in possession of one of music’s most uniquely expansive vocal registers and he applies it marvelously on this lush nugget, blending both old and new elements of traditional pop and imbuing a glowing sense of humanity and kindness. It’s smooth as silk, uplifting but never pandering, and effortlessly easy on the ears.
Walk the Moon featuring Johnny & Jesse Cleggs- “Fire In Your House” (RCA)
The latest WTM release is a classic pop music bait & switch, initially suggesting a stripped down metropolitan outing, before zig-zagging into the kind of quirky, alt-rock hypnosis that has become one of the band’s many impressive calling cards. The song’s story effectively portrays the burning attraction that the narrator is so desperately trying to fight, and failing to do so. The exotic touches provided by South African musicians, the Cleggs, adds yet another dynamic component to the band’s ever expanding resume of sounds.
Jack White- “Taking Me Back” (Third Man)
One of modern day rock’s most creative forces returns and instantly reminds us all that the music world is a far more thrilling and captivating place when Jack White is gracing us with another one of his garage rock epics. “Taking Me Back” is a venomous reemergence and ranks among the most blistering moments in any of his catalogs; solo or otherwise. His impending fourth LP immediately takes its place as one of the major musical milestones on the 2022 calendar.
Sam Williams with Keith Urban- “Kids” (Mercury)
Upcoming Country Music Hall of Fame inductee Hank Williams Jr. certainly succeeded in raising a trio of diverse musicians to carry on his family’s fabled musical legacy. While Hank Williams III went the honky tonk punk route, and Holly Williams earned a reputation as an Americana songbird, their half-brother Sam unveils an evocative folk-pop style with his debut record. “Kids” thoughtfully explores the awkward transition from youth to adulthood, with Keith Urban’s instantly recognizable guitar work supplying an additional layer of resonant color.
The 706 