Adele- 30 (Columbia)
Arriving six years after her last record, and in the aftermath of a divorce that pushed the already emotion-packed singer to her core, 30 is without question the most awaited, and consequently overly discussed, pop album of 2021. So, the big question becomes does it live up to the hype? Yes, it absolutely does. Adele remains one of the world’s most arresting, soulful voices and the experiences leading up to 30 push her singing, artistry and lyricism to the rawest limits of her career. Opening cut “Strangers By Nature” is a haunting eulogy of her failed marriage, and sets the tone for an album that serves as a no-holds-barred excavation of a doomed romance and its aftermath. She sweetly pleads for forgiveness and grace on lead single “Easy On Me”, reconciles motherhood with a splintered family and subsequently unearths it as her saving grace on “My Little Love”, musters the nerve to reenter the dating world on “Oh My God”, and grapples with self-acceptance on “I Drink Wine”. The performances are beautifully colored with a continual expansion of her classic mix of soul, pop, R&B and stirring jazz flourishes, as well as unguarded spoken interludes that find one of the world’s biggest pop stars at her most vulnerable. It’s a lush, theatrical, and starkly personal backdrop that stylishly mixes the very best of both modern and traditional pop with naked, confessional singing and songwriting. A rousing listening experience that grows more striking with each listen. My verdict is still out on whether it’s her best album, but it’s certainly on par with the rest of her era-defining catalog.
Robert Plant and Alison Krauss- Raise the Roof (Rounder)
For the past fourteen years, we’ve had the pleasure of living with Robert Plant and Alison Krauss’ first collection of duets, Raising Sand, in our record collections as it quickly grew a cult following and status as one of the truly great musical works of the 21st century. An aborted attempt at a sequel in 2009 seemed to suggest that it would be a “lightning-in-a-bottle” moment, which was a reality we accepted under the philosophy that such a release wasn’t necessary if it couldn’t live up to the high standards set by its predecessor. Which is why the surprising release of Raise the Roof is so God damn satisfying; not only have the two reunited, but they’ve also brilliantly matched the harmonious heights of their first outing. The decade and a half separating the two albums only magnifies the intoxicating side-effects of experiencing the blend of their voices on new recordings; it’s like hearing their other-worldly blend for the first time again. Producer T-Bone Burnett once again masterfully provides the duo with the perfectly muddy swamp-rock spirit and Americana ambience that made Raising Sand such a sonic wonder, and they once again collect an excellent batch of material that is given new life under this guise, covering a wide spectrum of artists including Calexico, The Everly Brothers, Lucinda Williams, Merle Haggard and Olla Belle Reed, among others. My current favorites include a pair with New Orleans roots: Allen Toussaint’s “Trouble With My Lover” and Bobby Moore’s “Searching For My Love”, but the entire record is a treasure to behold. Thrilling, astounding music at every turn.
Nathaniel Rateliff & The Night Sweats- The Future (Stax)
The third outing from Nathaniel Rateliff’s dynamite rock & soul outfit, The Night Sweats finds the passionate singer-songwriter returning to a full-bodied, ensemble sound after taking a pensive solo detour on 2020’s excellent And It’s Still Alright. It’s clear however that the introspective reflections that Rateliff indulged in on that record still manage to spill over into the Night Sweat’s brashy, brassy universe more than ever before. The opening title track incorporates steel-based country and folk-rock sounds to contemplate what the years ahead will look like in our troubled, divided world, and it’s mind-boggling how natural it would place on any of Bob Dylan’s classics from the late 60s and early 70s. Meanwhile, first hit “Survivor” positively rattles with nervy tension and unease about the future, demonstrating just how effectively the rafter-shaking horn sections of the Night Sweats can channel turmoil as they can boisterous revelry. That contemplative thread continues throughout the album, without ever losing sight of the two essential ingredients which made this band so outstanding in the first place: Rateliff’s dynamically rich vocal range (he channels fabulous Van Morrison vibes on the powerful “Love Me Til I’m Gone” before issuing a tender, emotive proclamation on the superb “I’m On Your Side”), and the Night Sweat’s show-stopping musicianship (the electrifying closer “Love Don’t” is one of their most blistering jams to date). The Future successfully pushes Rateliff and his troops into exciting, evolving territory while simultaneously remaining loyal to the core virtues and roots of their unwavering originality and musical excellence.
Red Rum Club- How To Steal the World (Republic)
The third album from this Liverpool sextet blissfully carries forward the brassy, Western-tinged jam sensibilities of its two predecessors with a set of tight, adrenaline-filled performances that once again highlight expressive, character-stacked vocals of Francis Doran and the astute musicians behind him, most notably trumpet virtuoso, Joe Corby. Their music is a fascinating collision of flirty fun and musical sophistication, all-encompassing of infectious rhythms, bopping beats, sizzling instrumentation, and thoughtful songwriting. Banging booty-call anthems like the electrifying “Nightcalling” and the groovy, slinky infidelity confessional “Vibrate” are seamlessly counter-balanced with pensive reflections on aging relationships (“Eighteen”), troubled youth (“Disappear”) and premature mortality (“Beautiful Mind”). Each portrait is thoughtfully colored with an atmospheric palate that runs the gamut from elegant strings, bouncy bass and some conga drums for good measure. But it’s Corby’s rich and immersive, diverse trumpeting that is as essential to heart of the band’s musical identity as is Doran’s inviting, dynamic voice. Red Rum Club is one of those bands that is defined by a particular vibe, and How To Steal the World emphatically proves that theirs is one with sturdy legs beneath it, those capable of sustaining a continually evolving and exciting catalog of music.
Silk Sonic- An Evening with Silk Sonic (Atlantic)
Another one of the most hotly-anticipated and buzzed about projects of the entire year, An Evening with Silk Sonic certainly doesn’t disappoint. A full-blown, retro soul revue, Bruno Mars and Anderson .Paak resurrect the vestiges of 70s R&B, disco and funk with both authentic reverence and modern sensibility. The duo’s chemistry is natural and seamless, and their gifts as two of modern music’s most reliable entertainers are fully utilized from top to bottom. Mars’ well established vocal chops, smooth style and comedic inclinations glow around every turn, particularly on the trifecta of “Leave the Door Open”, “Skate” and “Smokin’ Out the Window”, which by no coincidence represents three of the most potent singles of the year. .Paak meanwhile absolutely throws down every single one of his show-stopping credentials on the funk-driven, rap ear-worm, “Fly As Me”. Funk giant Bootsy Collins’ guest starring role as host, narrator, and (with Thundercat) as a duet contributor on the hilarious sex scene “After Last Night”, is the brilliant cherry on top. Collins’ presence makes it suddenly obvious what an heir apparent Mars, in particular, is to his throne. An Evening with Silk Sonic is an instant soul/funk classic and a non-stop musical joyride.
Walk the Moon- Heights (RCA)
Ironically, Walk the Moon’s fifth studio set, Heights, finds the band coming down a bit from the big budget, box-office roar of their 2018 predecessor, What If Nothing. It doesn’t necessarily return the upstart alt-poppers to the scrappy new wave breeze of their 2014 breakthrough single, “Shut Up and Dance” and their earlier records, but tracks like the bursting, keys-splattered lead hit “Can You Handle My Love” are undeniably nodding their heads in that direction, and joyously so. The record more or less splits the difference between their origins and more recent past, with moments like the aggressive bluster of the title track or the ominous infatuation of “Fire In This House” highlighting their best rock inclinations, while blissful, banging bites of ear candy like “I’m Good”, “Giants”, and “My Kids” bring out the punchy spirit that made us fall in love with the band in the first place. This record is one of those classic pop-rock contagions built for tireless, repeat spins.
The 706 
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