Charlie Puth- Charlie (Atlantic)
The smooth pop operator finally reemerges with his third studio effort after a long period rife with creative pitfalls, romantic strife, and a record label shift at an unusually early time in his young career. The resulting effort, Charlie, finds the artist addressing the emotions and lessons learned during that turbulent time, all the while continuing to further polish the rhythmic brand of modern pop that places his expansive falsetto range front and center. The opening pair of songs, “That’s Hilarious” and “Charlie Be Quiet”, as well as later track “I Don’t Think I Like Her Anymore”, confront the sting and doubts stemming from his recent life experiences with a tone that doesn’t shy away from the bitter taste in his mouth, but still makes room for some sardonic levity. Meanwhile, heart-stricken performances like “Smells Like Me”, “Loser”, “When You’re Sad I’m Sad”, and “Tears On My Piano” dig deep into the aftermath of a shattered relationship with unabashed emotion, relinquishing the need to insert any irony or sarcasm to lighten the mood. Puth allows these performances to be precisely what they are: break-up tunes. That’s not to say however that he neglected his knack for creating infectious ear-worms, with snappy singles like “Light Switch” and “Left and Right” (featuring BTS member Jung Kook) delivering some of the most contagious and utterly pop moments of his catalog thus far. And by the time he arrives at the closing “No More Drama”, he’s signing with a renewed and resolute sense of closure and confidence, offering much promise for the future. All in all, Charlie dutifully accomplishes what every competent pop outing should, by balancing fun and accessible music with vivid and heartfelt stories. His ability to merge emotive and soaring vocal performances with a dizzying onslaught of memorable hooks, melodies and beats reminds us once again that Charlie Puth possesses the tools and potential to be a defining voice in the pop music universe for many years to come.
Red Hot Chili Peppers- Return of the Dream Canteen (Warner)
Arriving just six months after Unlimited Love, which marked the end of a six year drought in their recorded output, the Red Hot Chili Peppers’ thirteenth long-player emanates from the same sessions as its predecessor, sessions that not only benefited from the abundance of time afforded by the COVID-19 pandemic, but also played host to the return of longtime producer Rick Rubin and guitarist John Frusciante. As already evidenced on Unlimited Love, these qualities translated into vibrant results on record, announcing a new era in the Peppers’ long history that can’t help but feel full of a rejuvenated energy. And while they may have shared a womb, Unlimited and Return of the Dream Canteen more than stand on their own as distinct, independent, and undeniably marvelous bodies of work. Launched by the exhilarating and anthemic fire of lead single, “Tippa My Tongue”, this project has a decidedly less brooding and more raucous temperament than tracks like “Black Summer”, and that thread carries through on tracks like “Peace and Love”, the breezy and brassy funk of “Bella” or the dreamy synth of “My Cigarette”. That’s not to suggest that Canteen is lighter in fare; there’s just a greater sense of renewed release floating on the surface of the slightly more jam-based ambience to the overall record. The project certainly boasts plenty of the epic rock showstoppers that have been staples on all of the band’s records: chief among them being the cinematic Van Halen tribute track, “Eddie”, the soulful uncertainty of the partial spoken word in “In the Snow”, and especially the hypnotic and almost meditative balladry of “La La La La La La La La”, truly one of Anthony Kiedis’ most dynamic vocal renderings. Meanwhile, the overall sound of the record is just so damn good. While it’s true that there’s never really been a bad-sounding Peppers record, this album further solidifies the sentiment coming out of the Ultimate Love release that the band just sounds at their absolute best with Rubin at the helm. Every vocal and instrumental moment is maximized to its fullest emotional impact, which is equally as evidenced by Frusciante’s guitar solos as it is Kiedis’ vocals. The returning guitar hero is truly provided with the level of material necessitated by such a prominent return, with the aforementioned “Eddie” appropriately serving as the most tantalizing. This is the sound of a band of living rock legends still very much on top of their game, both technically and creatively, a full thirty years beyond their commercial breakthrough. And that my friends, is an immensely unique and rewarding gift that we as music loves should be passionately relishing in the present moment.
Sunny Sweeney- Married Alone (Aunt Daddy)
In an alternative, and much more just, country music universe, Sunny Sweeney would have found herself joining female superstars like Carrie Underwood and Miranda Lambert at the top of the Music City mountain for the last decade and a half. Her authentic yet modern brand of C&W continues to pull from a deep well of the best and most varied women giants in the genre: the twang of Loretta Lynn, the authentic country-rock production of Emmylou Harris or Patty Loveless, the biting and literate lyricism of women like Dolly Parton, Rosanne Cash, and Mary Chapin Carpenter, and the brash, ball-busting sass of Natalie Maines and Lambert herself. But with Nashville’s misogynistic mindset as far gone as it’s ever been, those skills simply don’t result in commercial success. Regardless, Sweeney’s true-life destiny as an underground Americana favorite has done no harm to her artistic journey, with this fifth studio album proving to the most wholly-realized album in an already fantastic discography. Her shit-kicking stomp has never sounded as brazen and fiery as it does on tracks like the opening “Tie Me Up” (an unapologetic and refreshing declaration of feminine, sexual independence in a social era seemingly defined by the unwriting of decades of equal rights progress), the barn-burning, finger-picking of “Someday You’ll Call My Name”, or the gloriously disgruntled temptation of “All I Don’t Need”, where she frankly bemoans, “I need falling in love with you like I need a hole in my head.” Never one to box herself into her own excellent realm of modern honky-tonk, Sweeney just as effectively pivot to the slow-burning torch of countrypolitan (“Fool Like Me”) or weepy Wynette-styled tearjerkers (“Married Alone” with Vince Gill). But none of these excellent tracks are as sonically tasty or emotionally piercing as “Easy As Hello”, a rumination on the gumption required to end a dead relationship so contagious and astute that its simultaneously burns and delights the listener. To put it as frankly as Sweeney does her songs: Married Alone is as solid of a pure country record as you’ll find anywhere this year.
Taylor Swift- Midnights (Republic)
The release of Taylor Swift’s tenth studio record is a monumental event for far more than the obvious fact that it’s the latest release from the biggest pop star and most prolific mainstream songwriter of the current moment. Midnights also represents a pivotal and anticipatory moment in the creative arc of the icon’s career thus far. Her next stylistic direction is a major question mark as she follows up her twin set of pandemic albums (2020’s Folklore and Evermore), which saw the inspiration of quarantine shift her away from her more recent bedazzled pop past toward a spectacularly gloomy alternative sound. The overall tone of Midnights doesn’t really sway that aggressively back in either direction, but rather paves down a new path that splits the difference while also exploring another mix of stylistic tricks. This record is without question her moodiest to date, as she and co-producers Jack Antonoff and Aaron Dessner soak these mysteriously introspective tunes in a heavy layers of synth and a coat of R&B inspired bedroom pop. It proves to be a sound very well suited to Swift at this point in her narrative and sonic journey. Her vocals are divine throughout, and the night-struck tone of the production is the perfect setting for her unpacking of all the topics that keep one up a night. This exercise finds her exploring everything from general anxiety and the self-destruction of our own value (“Anti-Hero”) and reckoning with the end of one’s youth (“You’re On Your Own, Kid”) to the refuge we find in our current relationships (“Lavender Haze”, “Snow On the Beach”, and “Sweet Nothing”) and of course, the regrets we’re left with in the aftermath of our past ones (“Question…?” and “Midnight Rain”). And while the moody tones and muted tempos of the record may make the ear-worm moments less obvious, rest assured that they’re here. They’re just more subtle and sly in presentation and sequence, which ultimately makes them all the more rewarding. For instance, the hook of “Anti-Hero” is in all actuality one of the most infectiously biting of Swift’s entire canon, a fact that only grows over time. Meanwhile, the sparkling “Bejeweled” and brash “Karma” up the pop bark of the album considerably, tipping its hat to the 1989 glory of the past, while remaining ever-present in the atmospheric theme of the overall album. And ultimately, it’s that key ingredient that continues to make each progressive entry in Swift’s catalog so continually satisfying: her unmitigated and masterful ability to continually evolve stylistically while still keeping her keen pop charisma and her sharp lyrical craft front and center, regardless of the sonic trappings that surround them. Midnights is another impressive entry in what continues to prove itself as one of the most captivating and vital album catalogs across of any era or genre.
Lainey Wilson- Bell Bottom Country (BBR)
Over the course of the last eighteen months, Lainey Wilson has quickly risen to the status of a mainstream Nashville darling, providing the country world with a much-needed female breakthrough and one of the more refreshing and authentic success stories that the genre has had to its credit over the past decade. Her sophomore album proves to be a sturdy distillation of the qualities that have allowed Wilson to charm so many listeners and industry gate-keepers: a gorgeous and genuine Southern rasp, a palpable and infectious personality, and an undeniable knack for the kind of clean and uncluttered music that relies on zero of the unnecessary bells and whistles that sinks so much Music City product these days. As her album title and key track “Hillbilly Hippie” implies, Wilson has an affinity for a 70s-minded blend of country and rock in both sound and POV. It suits her voice naturally well, a quality that is only further complemented by the producer selection of Jay Joyce, who boasts a well-established resume of records that illustrate his ability to creatively tinker with rock-leaning edges while keep the proceedings decidedly country to the core. That sweet spot allows Wilson and Bell Bottom Country to sound cohesive and seamless, whether it be on classic Telecaster-driven moments like “Hippie” and “Roadrunner”, the muddy Southern Rock of “Hold My Halo”, the mountain bluegrass tinge of “Wildflowers and Wild Horses”, or even more-funk leaning adventures like “Grease” and the curious but impressively effective country reinvention of 4 Non Blondes’ 1993 alternative touchstone, “What’s Going On”. Through it all however, it’s those tender and straight-forward country ballads and mid-tempos where Wilson’s ultimate magic lies, among them “Weak-End”, “Those Boots (Deddy’s Song)”, and hit single “Heart Like A Truck”.
Singles
Brandi Carlile- “Space Oddity” (Columbia)
It’s one of this generation’s most powerful and tastefully reverent voices covering one of classic rock’s truly epic contributions from one of it’s all-time visionaries. And yes, this sterling performance more than measures up to the potential offered by those magical ingredients. Brandi Carlile is one of today’s truly untouchable artists.
Dawes- “Comes in Waves” (Rounder)
Another standout cut from an album that is continuing to grow its stock in my mind as Dawes’ very best record to date. Taylor Goldsmith possesses one of those tremendously layered voices that is capable of evoking so many complex and contradictory emotions in one single moment. And that’s pretty much what the soul of “Comes in Waves” is all about: life’s constant tussle between optimism and doubt, the good times and bad. For better or worse, both sides of the coin are beautifully and mercilessly fleeting. It’s difficult to truly define that dichotomy in an eloquent way verbally, but Goldsmith’s vocal on “Waves” dutifully manages to capture its essence in sound. That sound is marvelously matched with the band’s compelling harmonies and killer guitar work, which has never sounded more confident than it has on this latest LP.
Elle King- “Try Jesus” (RCA)
Between the song title and the fact that it’s culled from Elle King’s upcoming proper segue into the country music genre, you’d be forgiven for expecting some kind of mawkishly pandering and half-baked religious ballad. What we get instead is a hilariously sardonic and campy blacklisting of the male gender. It’s squarely on-point with the sassy, slightly demented personality that King has established in her catalog thus far. The fact that she brings in a healthy army of gospel singers to back her on the song’s chorus is the proverbial cherry on this sly sundae.
Larkin Poe- “Bad Spell” (Tricki-Woo)
A fantastically juicy slab of full-throttle blues-rock from the supremely talented Lovell sisters. Can we get a collaborative record between these two and The Black Keys on the books already? This is kick-ass stuff right here.
The Lone Bellow- “Honey” (Dualtone)
With the lead single from their forthcoming fifth album, this roots outfit further perfects the more synth-based rock and alternative sound that they first unveiled on 2020’s Half Moon Light. This feels very much like the fully-cooked version of the sound that first started marinating on that release. It immediately gives me fantastic Tunnel of Love vibes and lead vocalist Zach Williams pares it with a truly Springsteen-esque rendering that instantly has me queuing up “Brilliant Disguise”. But only after listening to the sweetly seductive “Honey” a few more times.
Ashley McBryde featuring Brandy Clark, Caylee Hammack and Pillbox Patti- “Bonfire at Tina’s” (Warner)
A tremendous cornerstone of the earlier reviewed Ashley McBryde concept album. First off- kudos to McBryde for giving such prominent spotlight to some of today’s most under-appreciated female country voices. Their marvelous talents and personalities all collide here in beautiful fashion to create a down-home, filter-less women’s anthem that is stirring, sharp and snarky all at once. Another home-run added to what has been a run of singles that has been remarkably flawless from the outset.
Kip Moore- “If I Was Your Lover” (MCA)
Kip Moore puts his passionately tortured rasp to beautiful, longing effect on this brooding, brokenhearted lament. Both his voice and the bubbling production drip with pensive, palpable heat and loneliness.
Muse- “You Make Me Feel Like It’s Halloween” (Warner)
I mean, I’m truly a sucker for any song that has Halloween in its title. And it’s the surging thrill ride that its name suggests. Get ready to hear this jam blaring outside every haunted house entrance from here on out.
The National featuring Bon Iver- “Weird Goodbyes” (4AD)
These frequent alt collaborators unite once again to deliver an absolutely gorgeous portrait of that moment in the grief process where everything still hurts, but when nothing seems to cut quite as deep as the tiniest, seemingly trivial moments: “Move forward now, there’s nothing to do. Can’t turn around, I can’t follow you. Your coat’s in my car, I guess you forgot.”
Panic! At the Disco- “Don’t Let the Light Go Out” (Fueled By Ramen)
One of several standout glam-rock moments from the most recent, and apparently final album, by Panic! At the Disco. We learned over a decade and a half ago about the startling vocal range of Brandon Urie, and this single will undoubtedly stand tall as one of the preeminent examples of that talent. When he lets loose on the climax of that chorus: “You’re the only that knows how to operate my heavy machinery…oh!”, he provides 2022 with one of its most satisfyingly dramatic rock moments.
Paramore- “This Is Why” (Atlantic)
The long awaited return from the rock favorites, “This Is Why” marks the first proper single release from Paramore since 2018. While lead vocalist Haylee Williams certainly made the most of that interim period, by releasing two stellar solo projects, there’s just no denying that there’s just something uniquely special about hearing her perform within the confines of the band that launched her into one of the rock world’s rare female heavyweights. The track finds all of the band’s hyperactive, angsty goodness in full effect, but it’s particularly tasty how Williams lures you in by singing the bitchy first verse with such angelic fashion, before unleashing the bold commentary on today’s toxic social climate that this song really is: “If you have an opinion, maybe you should shove it. Maybe you should scream it. Or maybe you should keep it to yourself.”
Margo Price- “Change of Heart” (Loma Vista)
With the release of the half-grungy/half-foot stomping dose of country psychedelia that is “Change of Heart”, Margo Price dives even deeper into the rock arena that she first started marinating on 2020’s That’s How Rumors Get Started, and effectively raising the stock of her forthcoming album as one of 2023’s most anticipated early releases. This is a full-throttle adrenaline rush that again shows that Price is just as skilled with shit-kicking rock as she is honky-tonk country.
Purple Disco Machine and Sophie and the Giants- “In the Dark” (Sweat It Out)
I’m rather disappointed in myself for taking nearly a year to uncover this fiery dance banger, but I’ve certainly been making up for lost time with the amount of incessant spins I’ve given it over the past month. Tino Piontek’s gorgeous dance beats prove the perfect companion for Sophie Scott’s hauntingly velvet vocals. The makings of a modern disco staple.
Charlie Puth featuring Jungkook- “Left and Right” (Atlantic)
Charlie Puth’s signature falsetto is the vessel for an utterly contagious bop that is sinfully delightful and energizing in spite of all the despair its bemoaning. The addition of BTS vocalist Jungkook isn’t necessary but is more than welcomed and adds a bonus layer of personality to the memorable and melodic proceedings.
Queen- “Face It Alone” (EMI)
So, the mere thought of hearing another Freddie Mercury recording for the first time three decades after his passing is nothing short of a miraculous gift for music lovers everywhere. So much so that the quality of the actual record itself is admittedly inconsequential in so many ways. Nevertheless, Mercury’s vocal performance here is just as evocative and unique as we remember his legendary signing to be, and is all the more emotional to listen to given that we know how his story ultimately ends. Nobody is going to confuse this with the all-time legendary moments in the band’s career, but this is still undeniably Queen and undeniably Mercury. Given that, “Face It Alone” earns itself a neat little footnote in the overall story of music in 2022.
Red Hot Chili Peppers- “Eddie” (Warner)
This devout and well-deserved homage to the late guitar hero, Eddie Van Halen, is a masterful rock performance, overflowing with the kind of passionate and astute musicianship and reverence that such a staggering intention requires. The Peppers, and Jon Frusciante in particular, do Eddie mighty proud here.
Rihanna- “Lift Me Up” (Def Jam)
Ri Ri’s passionate fanbase have been vehemently crying for a new studio album from the superstar for years now, and yet 2022 seems destined to become yet another year where such a project fails to come to fruition. Instead, we’re left to admittedly settle for Rihanna’s contributions to the recent Black Panther soundtrack. “Lift Me Up” is very standard soundtrack fare, but it’s elevated considerably thanks in part to the icon’s undeniable vocal power and stylish way around a lyric and sentiment.
The Smashing Pumpkins- “Beguiled” (Martha’s Music)
Lead Pumpkin Billy Corgan proves that he can still snarl and growl with more rock ferocity than any modern musician on this cut from the band’s upcoming trilogy of albums. “Beguiled”‘s blood-curdling power reaches into your very soul with its rapturous sound and cautionary tales about those in society who proclaim to have you best interests at heart, but yet rarely do.
Bruce Springsteen- “Nightshift” (Columbia)
One of the truly rewarding aspects of this latest career arc in Bruce Springsteen’s story has been the showcase that projects like 2019’s Western Stars and his upcoming soul covers album have afforded his pure, unadulterated ability to sing. And sing he does on this ever faithful cover of the Commodores classic. The Boss sounds absolutely sublime wrapping his voice around this timeless melody and the Motown magic that surrounds it.
Harry Styles- “Music for a Sushi Restaurant” (Columbia)
I totally love that Styles has chosen this full-blown, non-sensical, oddball funk-fest as his next proper release to the mainstream airwaves. These are the kind of rewarding and unconventional choices reserved for pop stars of the highest superstar order and it’s great to see him make the most of such liberties. This is unapologetic pop fun and it’s going to sound just as great on fall and winter playlists as it did setting the stage as the opener to the excellent Harry’s House.
Taylor Swift- “Anti-Hero” (Republic)
It may seem a little early yet I know, but “Anti-Hero” is quickly becoming one of my ultimate Taylor Swift singles across her entire career. We all need to take a moment and appreciate that this is the world’s biggest pop star providing one of the most nakedly raw exposes of her own character flaws and insecurities that she has or ever will commit to paper. And again, it shows her settling into a realm where she can seamlessly blend her triumphant pop hooks (“It’s me, Hi. I’m the problem, it’s me.” is already permanently etched into the cultural vernacular now) with the wintry introspection of her 2020 pandemic twofer. This is biting and witty (That bridge! Seriously!) but also incredibly solemn and vulnerable, and in turn becomes a modern-day battle cry for all of those that live successful but undeniably anxious lives.
Shania Twain- “Last Day of Summer” (Republic)
Shania Twain’s ability to craft wistfully romantic music is a well-known gift of the legend’s that has aged like a fine wine, as evidenced by this folk-pop gem culled from her early 2023 sixth album. Conversely, her equally beautiful lower range is a gift that has always been taken somewhat for granted. Happily it’s now earning some well-deserved recognition in tracks like “Last Day of Summer”, where it becomes increasingly obvious how much richer this raspy realm of her range has become during her later day vocal obstacles. She provides this tale of an infatuation that never got realize its potential as a full-blown romance with an impressively gorgeous rendering. The expression with which she sings on that the song’s final line may particularly stand as one of my favorite moments in her entire catalog.
Carrie Underwood- “Hate My Heart” (Capitol)
The country diva fully indulged in her 80s pop roots on her most recent LP, with new single “Hate My Heart” serving as a bit of anomaly in just how much it retained its twangy edges. Nevertheless, Underwood still marries its foot-stomping road house elements with the kind of charismatic contagion that defines her live shows and would be just as welcome on a dance club floor. In the end, this song land squarely in all of the right country, pop and rock sweet spots.
Sam Williams- “Ragdoll” (Mercury)
I’ve been very impressed at how comfortable Sam Williams, an heir to stone-cold country music royalty, is at coloring both in and outside the traditional music lines that burn within his bloodline. He’s proven himself just as adept at modern pop and has subsequently established an artistic voice all his own. With that said, I’m glad to see that he’s stayed in a more country lane with this ragged declaration of support to a struggling lover. His twangy wail and the steel trappings underneath just connect better with his promise to be as messy as he needs to be so that his partner can be as fragile as necessary. The results are a country-soul home-run.
Lainey Wilson- “Watermelon Moonshine” (BBR)
I couldn’t really tell you if watermelon moonshine pares well with strawberry wine from a beverage standpoint, but I’m going to guess it doesn’t. In terms of music though, there’s no question the inspiration that Lainey Wilson is drawing from here is Deana Carter’s 90s classic, and she does capably provide a track that would sound natural residing against that lofty hit. Of course, it doesn’t near reach the staggering heights of Carter’s iconic interpretation of Matraca Berg and Gary Harrison’s monumental telling of losing one’s innocence. But, there also never will be another song that does match that standard either. Wilson sings this tender and nostalgic tale with the kind of pensive passion and endearing emotion that more than proves she’s drawing from the right well.
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