Albums
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.
Singles
Adele- “I Drink Wine” (Columbia)
My current favorite cut from the new Adele release reviewed above. That’s attributed to more than just the deliciously boozy delivery of the hook line that gives the song its title, though that subtle moment is stupendous. It’s her bittersweet and frank acknowledgement of her faults, including the universal downfalls that plague us all at certain stops in our life journeys: the challenges of accepting ourselves and the circumstances that we cannot control, and the liberation provided when one somehow manages to conquer that skill. The chilling spoken excerpt at the song’s conclusion adds an additional layer of raw vulnerability and honesty, and is as revealing as any other moment in her catalog.
Franz Ferdinand- “Billy Goodbye” (Domino)
A new single that will appear on the indie rock favorites’ upcoming compilation, the tremendously titled Hits to the Head, “Billy Goodbye” finds Franz Ferdinand in perhaps the loosest and most joyous rock setting of their entire career. Alex Kapranos just sounds so invigorated and sly on this record and the overall proceedings have a vivid Elvis Costello post-punk vibe. A new highlight for your current playlists.
Hurray for the Riff Raff- “RHODODENDRON” (Nonesuch)
Alynda Segarra and friends return after a long silence by previewing the follow up to 2017’s The Navigator, and it quickly becomes clear that the band has only further built upon their unique artistic identity in the half-decade since their last batch of new music. “RHODODENDRON” rides a soft yet snarly delivery from Segarra, while painting a mysterious melting pot of spirited folk and psychedelic narratives that are a treat to try and dissect.
Alan Jackson- “Racing the Dark” (ACR)
An excellent return-to-form release from one of today’s greatest living legends. I overall enjoyed Where Have You Gone, Jackson’s spring LP that ended a six year recording silence. But there was something about that album that just didn’t resonate on the same level as typical Alan releases. Co-written with his daughter, “Racing the Dark” fills that void, and it’s easily my favorite single of his since 2012’s “So You Don’t Have to Love Me Anyway”. The performance is gracefully arranged and sung, and the song’s story itself, a portrait of a young divorced woman struggling to reclaim her life as her own, possesses the kind of specificity and emotional storytelling that Jackson built his entire legacy upon.
Keb’ Mo’ featuring Darius Rucker- “Good Strong Woman” (Rounder)
A delightful collaboration that marries the very best qualities of both artists, with Keb’ Mo’ providing the soulfully stripped framework that is a hallmark of his work, and subsequently showcases the most endearing qualities and true depth of Rucker’s engaging voice. Simple and sweet, sincere and inspired all-around.
Miranda Lambert- “If I Was A Cowboy” (RCA)
Miranda Lambert has been busy as hell this past year with a multitude of side-projects and collaborations, but also manages to find the time to drop this stand-alone radio release. It’s certainly not going to be confused as a milestone moment in her storied catalog, but it sure as hell is a charming one-off that stands to illuminate the banal country airwaves. It plays like a laid-back, country take on the narrative in Taylor Swift’s “The Man”. Which in turn does make it less potent and memorable, but it’s also one of those breezy, modern C&W moments that we sure as hell could use more of in the Nashville scene.
Raul Malo and Jamey Johnson- “To All the Girls I’ve Loved Before” (Thirty Tigers)
The original 1984 classic from Willie Nelson and Julio Iglesias is of course one of the most revered entries in the canon of Urban Cowboy-era country camp. That wink and smile mentality is certainly not lost on Malo and Johnson here, but they do bestow upon the song a refreshed sense of heart and regality by parlaying it into a sweet, brooding bout of country-soul. They sound great together, and remind us first why we still love anything Raul Malo graces his golden pipes with, and second how overdue a new Johnson album is.
Mike and the Moonpies- “Paycheck to Paycheck” (Prairie Rose)
A full-throttled, unapologetic deep dive into neo-trad honky tonk to cleanse any twangy deficiencies you’re currently struggling through. This band has always been hot as a firecracker and this lead single from their seventh studio set is clearly no different. Rip-roaring twangy vocals and glorious, finger-licking steel around every turn.
Kylie Minogue and Years & Years- “A Second to Midnight” (Darenote)
This bonus cut from her recent revisitation of last year’s excellent Disco finds the preeminent godmother of dance unleashing another red-hot bop that will get you burning up the floor like its 1979, or in this song’s case apparently, 1999. In any event, Minogue once again reminds us that these sounds are not as time-trapped as so many allege.
Reckless Kelly- “You Don’t Want Me Around” (No Big Deal)
One of the original demos recorded on the infamous date of September 11, 2001 and housed on the band’s newly released The 9/11 Demos, this is a primitive version of the track that eventually landed as a full studio cut on Under the Table and Above the Sun two years later. What this performance, and the others it joins on this release, reminds us is just how long Reckless Kelly has been one of Red Dirt’s most consistent and reliably sturdy outfits. It’s a demo of an already heard song sure, but it’s played and presented so tightly that it could easily pass itself off as the band’s newest single.
Shovels & Rope- “Domino” (Dualtone)
A welcome return from one of the most formidable roots music acts on the planet today. “Domino” taps into the all the essential ingredients that have defined Michael Trent and Cary Ann Hearst’s very best moments from the last decade: swaggering swamp-rock, muddy river blues tendencies, and joyously rapid-fire vocals to die for. This one feels more triumphant with each listen.
Silk Sonic- “Smokin’ Out the Window” (Atlantic)
“Got her badass kids running around my crib like it’s Chuck E. Cheese….Just the other night she was grippin’ on me tight, screaming ‘Hercules'”. Who but Mars and .Paak could pull off such ridiculous lyrics unscathed? But that’s precisely what they do in this over-the-top gold digger’s rampage, thanks to both their unflappable charisma and unflinching musical intuitions. Without those two key elements, much of the Silk Sonic project would be dangerously teetering on the verge of soul satire or parody. Instead, it’s one of the most entertaining and reverent revivals in many moons, and “Smokin'” is another undeniable and irresistible smash.
Taylor Swift featuring Chris Stapleton- “I Bet You Think About Me” (Republic)
Sure, much of these Taylor Swift re-recording releases can’t help but feel like redundant overkill from a consumption standpoint, but they’ve also offered a fair share of gems in the form of unearthed tracks such as this, undoubtedly a full-on bid to reclaim some of her old country airspace. They’ve also reaffirmed what a sharp songwriter she’s always been, and demonstrated how far she’s come as a vocalist. This feels like a grown-up version of 2011’s “Mean”, and it’s undeniably nostalgic and entertaining to hear her returning to contemporary country kiss-off territory. Her classic snark is on its A-game and the appearances by both Chris Stapleton’s harmonies and a harmonica arrangement are tremendous touches, but nothing solidifies the record more than this sobering verse: “Now you’re out in the world, searching for your soul. Scared not to be hip, scared to get old. Chasin’ make-believe status, last time you felt free, was when none of that shit mattered ’cause you were with me.” Ouch. Play it loud, country radio. You know you want to.
Aaron Lee Tasjan- “Traveling After Dark” (Royal Potato)
Tasjan’s year was highlighted by one of the best records of his underrated career, and he caps it off here with an appearance on the recent Neal Casal tribute album. It’s an excellent homage to an equally unique singer-songwriter and quiet roots music trendsetter. He taps into the most subtly haunting corners of his voice and it pares tremendously with the organ-framed production.
Twenty One Pilots- “The Outside” (Elektra)
Slightly spooky, undeniably slinky and seductively psychedelic, the latest release from T1P’s thrilling current album is a prime example of their natural ability to marry alternative, rock and hip-hop sounds old and new with unflinching confidence and aplomb. Chalk up another smash for this duo.
Zachary Williams featuring Robert Ellis- “Game For Guessing” (Dualtone)
The Lone Bellow vocalist takes a solo detour with the LP, Dirty Camaro and this rock-solid lead single, which finds the project’s producer and reliable Americana troubadour in Ellis joining him for a rollicking, sawdusted outing that vibrantly showcases the two singers’ more country-rock leaning tendencies.
The 706 
Leave a comment