Albums
Kelly Clarkson- When Christmas Comes Around… (Atlantic)
When Christmas Comes Around… arrives eight years after Wrapped In Red, the powerhouse vocalist’s first seasonal outing and one of the more memorably entertaining pop Christmas albums of the new millennium thus far. This spirited follow-up dutifully lives up to the bar set by its predecessor with Clarkson navigating a well-balanced stocking of standards and originals that seamlessly showcases the magnetic variety of emotions that have defined her two-decade catalog. From the sultry (“Merry Christmas Baby”) and the snarky (“Christmas Isn’t Cancelled (Just You)”) to the playful (“Santa Baby”) and poised (a jazzy reinvention of “Last Christmas”), she continuously reinforces her pop queen credentials. Guests Chris Stapleton, Ariana Grande, and Brett Eldredge all contribute on tracks that likewise play to their respective strengths and meld them splendidly with Clarkson’s.
Norah Jones- I Dream of Christmas (Blue Note)
It’s somewhat surprising to realize that this the first Christmas outing of Norah Jones’ two-decade career. Like the classic crooners of golden holiday standards, there’s just something about the cozy warmth and swinging style of Jones’ catalog that makes it a natural fit for the season, and that suspicion is undeniably validated throughout this perfectly relaxed and jazzy set. Whether it be on gracefully reverent interpretations of classics like “White Christmas” or “I’ll Be Home For Christmas”, the ironically slowed-down pace of “Christmas Don’t Be Late”, or the slinky quirks of “Run Run Rudolph”, each of Jones’ stylish renderings pare fabulously with a crackling fire and a cup of hot cocoa. Most delightful however is the one-two punch showcasing her ability to tackle the intimidating notion of covering Vince Guaraldi’s “Christmas Time Is Here”, while unearthing new realms of longing on a steel-drenched reading of “What Are You Doing New Year’s Eve”.
Pistol Annies- Hell of a Holiday (RCA)
Just as Kelly Clarkson’s and Norah Jones’ above records were the respective pop charmer and jazz gem that you’d expect, the first holiday release from country troubadours Pistol Annies is equally on point with their brand: crackling with down-home humor, sardonic spitfire, and rustic sensibility. Their creatively crooked narratives and vibrant harmonies are in full force on a slew of snappy originals including “Hell of a Holiday”, “Snow Globe”, “Harland County Coal”, and “Happy Birthday”. The manner in which Miranda Lambert so effortlessly transitions from the randy “Come On Christmas Time” (highlighted by the opening line of “I’ve got a crush on Santa, I want to ride his sleigh.”) to a brilliantly, stone cold interpretation of Merle Haggard’s “If We Make It Through December” is precisely the joyful juxtaposition of comedy and craft that has made the Pistol Annies such a thrilling act for a decade now. Hell of a Holiday is exactly the kind of beautifully twisted Christmas album we’d expect, and demand, from these three songbirds.
Amanda Shires- For Christmas (Thirty Tigers)
The pure, trembly pipes of Amanda Shires also provides us with a delightfully unconventional Americana Christmas experience on the singer’s ninth long-player, and first entry in the seasonal canon. As she’s demonstrated on her excellent secular fare, her voice is one that never ceases to surprise you in just how powerfully elastic it can be at a moment’s notice. Unsurprisingly, she sounds just as natural moaning country-tinged blues as she does joining The McCrary Sisters for brassy horn-tinged outings on dynamic originals like the fabulously enticing opener, “Magic Ooooooh”. She’s always peppered her material with a unique brand of dazzling musical witchcraft and she walks a fine, well-balanced line as she balances that with the core sentiments of the season. It’s on that tightrope where she truly taps into the more bittersweet, somber emotions of Christmas with jaw-dropping tunes like “A Real Tree This Year” and “Slow Falling Snow” proving particularly riveting. The musicianship throughout is a treasure in and of itself, and showcases the essence of this special talent marvelously.
Josh Turner- King Size Manger (MCA)
In the wake of his recent exercises in country and gospel traditionalism on 2018’s I Serve A Savior and 2020’s Country State of Mind respectively, one might expect Josh Turner’s first Christmas outing to be one that treads that same path with a collection of hardcore seasonal spirituals. However, one listen to the opening track, perhaps the punchiest “Angels We Have Heard On High” ever committed to wax, and it’s evident that King Size Manger falls more in line with so many past country Christmas records that joyously married acoustic country and bluegrass trappings with varied holiday tunes, both festive and faith-filled. Turner’s deep voice is certainly washed in the stone cold country blood, but its personality has always been versatile as well. It’s just as much a joy to hear him croon “Have Yourself A Merry Little Christmas” as it is twanging through the 90s neo-honky glow of “Santa Claus Is Coming To Town”. My personal favorite however proves to be the absolutely jubilant mountain jangle on “Go Tell It On the Mountain”. King Size Manger further extends a solid run of projects for this Opry favorite.
Singles
Adele- “Oh My God” (Columbia)
So I’m still a bit salty about the last minute audible that found this replacing “I Drink Wine” as 30’s sophomore single, but each repeated listen finds me drudging up increasing forgiveness. Fact is that “Oh My God” is such a departure from Adele’s typical radio fare, with it’s zany production choices and a more experimental vocal style than we’re accustomed to from the pop queen. And frankly, variety is precisely what listeners want from Adele after endless spins of “Easy On Me”, which while powerful, certainly earned a fair share of the “Someone Like You”/”Hello” retread accusations leveled against it. “Oh My God” is infectious, but not in the normally obvious ways. It sparks with sizzling R&B sass and sex appeal.
Gary Allan- “What I Can’t Talk About” (MCA)
A solid outing showcasing why music is such a therapeutic and unifying outlet. Whether you’re a performer or a listener, a song can so easily and powerfully express some of the most difficult inner emotions that we struggle to vocalize in conversation. It’s certainly not a groundbreaking thematic venture, but Gary Allan’s ever-reliable and sturdy voice dutifully and evocatively delivers the message in a truly engaging performance.
Jimmie Allen and Brad Paisley- “Freedom Was A Highway” (Stoney Creek)
“Freedom Was A Highway” has been a charting single all damn year, but I didn’t even really take notice until I saw Allen perform it upon winning Best New Artist at November’s CMA Awards telecast. It has that slick, swirling 80’s pop vibe to it without completely surrendering its country character. Further elevating it above the typical Nashville fare is the palpable chemistry between Allen’s soulful charisma and Paisley’s impassioned vocals and instantly identifiable guitar licks. It’s interesting to suddenly realize that Paisley is now an elder-statesman in the genre, and while “City of Music” deserved to be his big radio renaissance this year, this top-notch collab is an acceptable alternative.
Mary J. Blige- “Good Morning, Gorgeous” (Mary Jane)
The undisputed hip-hop queen previews her first full-length in nearly five years with a lead single that is as sweltering and commanding as any of the most iconic moments of her three decade career. The vocals and production are both equally rich and sumptuous, without ever overdoing it, gracefully remembering that Blige’s power remains within the passion and swagger of her raw, unfiltered voice.
Sarah Buxton- “This Young” (Tone Tree)
The 2000s were especially littered with a slew of fantastic, aspiring female country newcomers who were never given the deserved opportunity to break through. Sarah Buxton is one of the most criminal cases of talent squandered by Music Row, but as evidenced here, she remains just as potent a singer-songwriter as she was a decade and a half ago. Her raspy, sandpaper twang is a direct descendant from “Strawberry Wine”-era Deana Carter, and “This Young” is a coming-of-age stunner in its own right that Buxton sells with a beautifully layered delivery. It simultaneously mourns what we lose with the passage of time, while also embracing what it offers us in return.
Jessie James Decker- “Should Have Known Better” (Warner)
Damn folks, this is an intensely infectious country-pop ear worm with a fabulous bite to it. Decker wraps her thick, bluesy twang around some thunderous hooks and leaves her ex-lover sputtering in the dust of her deliciously sassy indictment. This is what the Shania revolution would have sounded like if it had occurred a quarter-century later. I’ve mostly glossed over Decker’s past material, but I’d like to hear lots more like this.
Lilly Hiatt- “Lately” (New West)
The second-generation songbird follows up 2020’s excellent Walking Proof with a delicate yet fetching examination of the whirlwind emotions that batter us when conflict arises between our desires and our better judgment, whether it be when fending off ill-advised infatuations or struggling to move on from a demised relationship. Hiatt’s uniquely sweet yet bitter vocals ring true with a trembling delivery, perfectly emblematic of the temptation and heartbreak tormenting her soul here. The random yet very-welcome Bangles sampling in the chorus is also an added treat.
Alicia Keys featuring Swae Lee- “Lala” (RCA)
Culled from Keys’ newly released double album, her collaboration with hip-hop favorite Lee offers another opportunity to reiterate the sultry songstress’ long-standing skill to bridge the most illuminating elements of traditional R&B with modern hip-hop overtures. This one is a slow-burn to be sure; I was initially just coming back for the scrumptious Tyrone Davis sample, but repeat listens make it increasingly difficult to resist the pulsating and soulful attraction spilling over from the lines these two are trading here.
Mitski- “The Only Heartbreaker” (Dead Oceans)
Mercy, what an alluring track this is. It’s a collision course of her chilling vocals with an equally dynamic blend of nerve-wracking electronica and moody songwriter introspection. At the heart of it all is a cripplingly toxic relationship that finds our narrator in a endless cycle of shame and emotional havoc: “So I’ll be the loser in this game/I’ll be the bad guy in the play/I’ll be the water main that’s burst and flooding/You’ll be by the window, only watching.”
Mom Jeans- “What’s Up” (Counter Intuitive)
So, while you’re busy reveling in all of those “Dirty Little Secret” vibes, be sure not to miss the deep-seeded pathos lingering in this barely three-minute pop-punk nugget. The lyrics depict an all-too relatable scene for those of us that struggle with anxiety on a daily basis, regardless of how blessed our lives truly are. It’s a frustrating experience, and while “What’s Up” obviously offers no secret cure, it provides a little solace in its revelation that even the leaders of seemingly care-free, indie-rock bands know exactly how you feel.
Kacey Musgraves- “Camera Roll” (MCA)
The general fandom has been far too hasty in dismissing Kacey Musgraves’ latest album. Sure, Golden Hour it ain’t, however Star-Crossed nonetheless offers its fair share of standouts that more than deserve to rub elbows with some of the finest moments in her catalog. Backdropped by her characteristically numb ambience of stoner-heartache, “Camera Roll” is one of those, with an eye for excruciatingly vulnerable details. It plays like a heartbreak tune for the SmartPhone generation, all while maintaining the same, universally emotional gravitas that have defined break-up songs since the dawn of time.
Old Crow Medicine Show- “Paint This Town” (ATO)
A boisterously infectious return from America’s favorite post-millennium string-band, “Paint This Town” finds Old Crow Medicine Show sprinkling their signature brand of punk-spirited bluegrass with dashes of harmonica-fueled Heartland Rock and straight-up country honk. Frontman Ketch Secor sounds as rapturous as he ever has, punctuating each moment of Waffle House jukebox-worthy euphoria with the high-octane twang and spitfire that his group has built a career upon.
Nathaniel Rateliff & The Night Sweats- “Face Down in the Moment” (Stax)
The latest offering from NR&TNS finds the brassy soul shakers reigning it in a bit for a beautifully understated mid-tempo that makes room for subtle steel guitar flourishes, and a more intimate folk-rock textile. Rateliff’s vocals never feel constrained, but this track does give him a considerable space to breathe and reflect in, and in the process showcases the more tender and supple aspects of his register. When he does inevitably reach that unavoidable signature wail and crescendo, it’s all the more powerful because of the soft subtleties that precede it. An excellent single that serves as satisfying middle-ground between the Night Sweat signatures that became his breakthrough vessel, and his outstanding solo work.
Ed Sheeran and Elton John- “Merry Christmas” (Asylum)
This charming yuletide duet unites pop darling Sheeran with one of his most obvious influences, who ultimately saves it from falling into the sap-trap that his partner’s work has the tendency of gleefully spiraling into. Instead, “Merry Christmas” is a wholesome yet fulfilling holiday outing that shines the light on a notable chemistry between the two artists. Oh, and Sir Elton sounds excellent. A pleasant cherry on top of the icon’s recent duet indulgences.
Taylor Swift- “All Too Well (10 Minute Version) (Taylor’s Version)” (Republic)
Listen y’all, I’ve been a tremendous fan of this latest era of Swift. Alright, let’s be honest, I’ve become an appreciator of most eras of Swift. Nevertheless, I approached this particular track with considerable skepticism. I just felt like a ten-minute version of a track already recorded twice before, on top of back-to-back re-recordings of two legacy albums, felt like a bit much. I completely understand why she’s doing it, but on the surface it all feels a little too Garth-like on the indulgence scale. But, you know what? Screw the surface. This is a fantastic centerpiece showcasing how far her vocal and storytelling abilities have come, and just how rock-solid her natural songwriting intuitions have always been. Her voice has taken on such a warm depth, a fabulous dichotomy for a pen that has always cut so deep: “And you call me up again just to break me like a promise, so casually cruel in the name of being honest.” The additional, heartbreaking excavations the extra time allows more than live up to that original climax, and transform this into the dramatic opus that every great singer-songwriter should have in their catalog.
Rob Thomas- “Small Town Christmas” (Atlantic)
A very worthwhile entry into the Christmas pop canon. I love the bright keys that pepper the opening moments and set the tone for a breezy, joyful affair, an atmosphere that Thomas only elevates by utilizing the lighter, softer side of his infectious voice. This one simply lifts my mood and puts me in the Christmas spirit, which was sort of the point, right? Thomas more than meets his goal with “Small Town Christmas”.
Travis Tritt- “They Don’t Make ‘Em Like That No More” (Big Noise)
This is the vintage Travis Tritt sound that hooked a generation of country fans back in ’89, and it sounds just as good today as it did three decades ago. A white-hot batch of Waylon-inspired growl, Southern Rock swagger, honky tonk heat, and blues sizzle. You can disagree with his politics all you want, and I often-times do, but you cannot deny his status as a modern country legend.
Carrie Underwood- “Stretchy Pants” (Capitol)
Outrageous song concept? Check. Equally ridiculous lyrics? Yep. The most grating vocal performance of the typically exquisite Underwood’s career. Yes, ma’am. As a record, does it accomplish what it set out to do? Tenfold. “Stretchy Pants” carries forward the long-standing tradition of personality-packed novelty records, of both the country and Christmas varieties. There’s a reason this wasn’t included on My Gift, so be prepared to abandon your typical Christmas Carrie mindset, down another egg nog, slip on those comfies, and join in the fun.
Lucinda Williams- “Blue Christmas Lights” (Highway 20)
A Lucinda Williams holiday album sounds like a dream come true for the Scrooges and Grinches of the world, doesn’t it? After one listen to this fantastic blues romp and hearing the alt-country queen’s moaning request at the beginning of the song, you’ll find yourself channeling your inner-curmudgeon and seriously considering cancelling your plans at Grandma’s, in favor of a boozy Christmas Eve with Lucy instead.
Neil Young and Crazy Horse- “Welcome Back” (Reprise)
Culled from Young’s just-released 41st album, “Welcome Back” finds the rugged rock giant and his fabled band still at the top of their game. It’s the kind of soft-spoken yet booming folk-rock that has defined his entire career, with his inimitably haunting vocals whispering against a loud, looming slab of chiseled guitar solos. It’s a classic brand of music that remains just as ominous and enthralling as it ever has.
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