Albums
Kelly Clarkson- Chemistry (Atlantic)
It’s been well-documented that the tenth studio album from Kelly Clarkson was crafted amidst the emotional wreckage left in the wake of her 2020 divorce. Combining that with the fact that she remains one of the most powerfully soulful vocalists of our time, it should come as no surprise that Chemistry emerges as one of the most gut-wrenching break-up albums to be crafted in the pop sphere in recent memory. The powerhouse certainly doesn’t shy away from the specific pain that she experienced in her own situation, but she also paints in broad enough strokes throughout the album to create a universal record that offers moments relatable to a wide net of listeners, regardless of their own experience or the stage in their individual relationship. Chemistry is indeed an examination of the heart as a whole, both its fragility and, ultimately, its resilience. Moments like the raw opener, “Skip This Part”, which walks us through the painstaking details of an actual break-up conversation, cut bitterly sharp, while redemptive proclamations like “Me” feel like a spiritual rebirth, while also providing some of the best vocal showcases of her impressive canon. While the straight-forward pop production throughout certainly is wise in its wherewithal to stay out of the way of Clarkson’s peerless vocals, the bulk of the album does at times feel somewhat monotonous in flavor and sound, leaving one to daydream about what this album would have sounded like if dressed in the rich, retro soul tapestry of its proper predecessor, 2017’s Meaning of Life. With that said, when you’re being steadily fed slices of power pop balladry as flawlessly sung as tracks like “Lighthouse”, it’s difficult not to become completely wrapped up in it. And then the closing trifecta of the album arrives, and we’re suddenly dropped from a cloud of pop drama into a dizzyingly joyous variety show of sonic pivots, from the mariachi-dipped sass of “Red Flag Collector” to the fabulous banjo-buoyed power-pop of the Steve Martin collab, “I Hate Love”, and the brassy, percussive bounce of the Sheila E feature, “That’s Right”. This final set of songs almost sounds like a completely separate album, but it provides a spicy and uplifting finale that assures listeners that Kelly Clarkson isn’t going to a problem thriving after her breakup, and neither will you after yours.
Foo Fighters- But Here We Are (RCA)
The eleventh album from Foo Fighters is a living and breathing documentation of an all-time great rock band rising from the ashes of one of the darkest periods of the group’s history. But Here We Are arrives a mere fifteen months following the tragic and unexpected death of drummer Taylor Hawkins, with lead singer Dave Grohl also facing the loss of his own mother during the intervening months. Expectedly so, the album is colored with the lasting effects of such life-altering loss, and plays like a travelogue through the various emotions and stages of grief. Sonically, the record returns the Fighters back from the dance-rock experimentation of Medicine After Midnight to their core post-grunge sound, with Grohl himself taking over all of the drumming in Hawkins’ absence, which pays bittersweet tribute and gives the album its undeniable heartbeat. The record opens in grippingly raw fashion, with lead single “Rescued” confronting the overwhelming sense of confusion, shock, and emptiness one feels in the initial wake of one’s death. As it progresses, the record finds the band further grappling with these losses, but doing so in a multi-faceted fashion that navigates a variety of sounds, tones, and perspectives. This results in a deeply satisfying record that is not only vast yet cohesive musically, but also wholly representative of the transformative experience one undergoes after the death of a loved one. Centerpiece moments like the title track, “Hearing Voices”, and “The Glass” are utterly haunting and mournful, while a track like “Under You” (easily one of the catchiest in Foos history) marries the hurt with a celebratory sense of appreciation and rejuvenation. A moment like this serves as a stirring reminder that our love and gratitude for a person’s contribution to our lives only grows greater in their absence, a knife that cuts with a stinging dichotomy overflowing with both pain and joy. No other track however wraps up the essence of But Here We Are than “The Teacher”, a ten-minute opus written for Grohl’s mother that eloquently reckons with the harsh but pivotal lessons of mortality. Nothing truly prepares for such a loss, or the challenges it presents, but to not carry on in its wake is to waste the memory and spirit of your fallen loved one. But Here We Are walks the fine line of that mantra as gracefully as any album that’s preceded it. An instant classic and one that’s truly inspired and moving in scope.
Jason Isbell & the 400 Unit- Weathervanes (Southeastern)
The arrival of Weathervanes comes just two days shy of the tenth anniversary of Southeastern, Jason Isbell’s watershed masterpiece and the pivotal moment that, along with the decade of prolific and haunting albums that followed, firmly established Isbell as arguably the most harrowingly great singer-songwriter of his generation. With his crackling band, The 400 Unit by his side, he wagers his first foray into self-production since 2011 and his union with Dave Cobb on Southeastern. And he once again delivers a masterful body of roots rock and country-Americana performances, bolstered by riveting and emotive arrangements, and a graceful combination of both his gripping first-person experiences and graceful character arcs. Tracks like lead single, “Death Wish”, and “When We Were Close” tenderly but boldly navigate the impact of one’s crippling addictions from the perspective of the addict’s loved ones. “King of Oklahoma” and “Middle of the Morning” offer some of Isbell’s most passionately fiery vocals to date, while exploring both bitter nostalgia for past moments in a relationship, and the defeat of being trapped in one of those distant ruts that inevitably bites any marriage that lasts long enough to provide the opportunity. His penchant for folksy whimsy and unique, intimate details usher smiling romance on “Strawberry Woman”, endearing first-date quabbles on “If You Insist”, and just pure and utter sadness on “Cast Iron Skillet”. Meanwhile, the topical fearlessness and legacy of his artistic bravery gloriously solidified on Southeastern classics like “Elephant”, “Cover Me Up”, and “Yvette” grows monumentally. “Volunteer” follows a child left an orphan after his parents seemingly succumb to their toxic relationship and habits, while “White Beretta” tracks a mature reflection from the father of a pregnancy aborted in his youth. And then there’s “Save the World”, a startlingly raw and honest account of a father hearing the news about yet another school shooting; it immediately ranks among Isbell’s most stunning lyrical achievements, important and gripping as any previous moment in his catalog. There’s also no trace of political posturing; it’s merely the masterful expression of the unadulterated fear and horror a parent faces when letting their child venture out into an uncertain and violent world. There’s simply no other artist on the planet today who can so beautifully wrap so much heavy and varied life experience within the course of one album, and then marry it with music that gives the listener an adrenaline rush as simultaneously powerful as the devastation rendered by the lyrics. Every Jason Isbell record has accomplished that staggering feat in its own right, but it’s arguable that no album has done so as thoroughly and vibrantly since Southeastern as Weathervanes. May this forthcoming decade of Isbell music be as remarkably great as the last; this is an emphatically promising sign to start with.
John Mellencamp- Orpheus Descending (Republic)
The rootsy, expansive, and prolific latter day catalog of rock legend John Mellencamp expands once again with the release of Orpheus Descending, his twenty-fifth album and prompt follow-up to last year’s Strictly A One-Eyed Jack. As is the case with any Mellencamp release of the past decade and a half, Descending finds the icon continuing to reside comfortably in the realm of plainspoken folk and stripped-back roots rock. It remains a perfect sonic trapping for his latter day voice, a ragged rasp spewing with endearing yet pointed curmudgeony that shows increasing wear and signs of borrowed time with each passing year. Beautifully supplementing the overall color of the record is the return of violinist Lisa Germano, whose luminous playing was a highlight of Lonesome Jubilee-era tracks like “Cherry Bomb”. Much like Carlene Carter’s participation did so on 2017’s Sad Clowns & Hillbillies, Germano’s presence proves to be a perfect foil and compliment to the singer’s ashy voice. And it’s clear that Mellencamp intends to use this voice and its brutally honest and imperfect nature to the fullest as long as he’s able. This record clearly and immediately stands out as one of his most forwardly political and socially conscious. On the stinging rock-gospel hybrid of lead single, “Hey God”, he opens the record with the haunting lyric: “Weapons and guns, are they really my rights? Laws written a long time ago, no one could imagine the sight of so many dead on the floor.” While this will likely serve as off-putting to any conservatives that may surprisingly remain followers of Mellencamp’s legacy era, this kind of social battle cry should come as no surprise to anyone. Dating back to his commercial heyday, the rocker has always subscribed to the humanistic undertones of both Heartland Rock and traditional folk. As the album progresses, he tackles everything from homelessness (“The Eyes of Portland”) and American greed and suicide (“The So-Called Free”) to the political and religious conflicts that have left our country brutally divided (“The Kindness of Lovers”). In the latter, the singer has a conversation with Jesus about the state of the world: “Putting one man’s opinion against another man’s is just a joke/And look at the mess you have all made around here/Someday I’m afraid you’ll give up hope.” But as the record progresses, Orpheus elegantly reveals itself as far more diverse than these tracks may initially suggest. Through moments like the spry “One More Trick”, the relaxed “Lightning and Luck” and particuarly the soul-stirring “Understated Reverance”, It’s as much a meditation on aging and mortality, as it is the concerning social events that worry a man like Mellencamp late in his life. Even if he closes the project on a slightly less hopeful note with “Backbone”, the light that shines through in the middle of the record serves as a reminder that there is still plenty to cherish in this world, even amidst the darkness. It’s this beautiful dichotomy that truly makes Orpheus Descending both a much needed confrontation of our problems, as well an important reminder of what we’re fighting for in the first place.
Tanya Tucker- Sweet Western Sound (Fantasy)
When country legend Tanya Tucker returned to the studio and joined forces with the tremendous tandem of artist-producers Brandi Carlile and Shooter Jennings to record her 2019 album, While I’m Livin’, it marked the resurrection of a long dormant recording career that even she herself may have written off at that point. But not only did Livin’ emerge as one of the Outlaw singers’ truly seminal projects, it ushered in a monumental renaissance that brought Tucker her first Grammy Award and overdue induction into the Country Music Hall of Fame. It could have easily served as a glorious finale to an epic career that first began at the tender age of 13. Thankfully, it’s now proven to serve as the opening of a new chapter in the legacy era of her catalog, with the gorgeous Sweet Western Sound now unveiling itself as a very worthy sequel. As on Livin’, Carlile and Jennings tenderly craft a vibrant and vintage C&W sound lush with organic tapestry, chiling harmonies, and generous steel guitar to showcase the gritty magic that defines the raw, reedy tone of their subject’s latter day vocals. Tucker again proves herself masterfully aware of how to best utilize the soulful pathos that remains in her singular voice, as much as it may contrast with the sound it produced during her teens or her thirties. It’s that contrast which precisely makes this body of esteemed songs about both the wisdom and vulnerability required to age gracefully so damn powerful. The majority of the tracks come from some combination of the collective pens of Tucker, Jennings, Carlile and her comrades, Tim and Phil Hanseroth. Tucker gives each of them reverent and emotive treatment, from the humble pleading of lead single “Kindness”, to the trembling fear of time’s passage in “Ready As I’ll Never Be”, the wistful nostalgia of “Breakfast in Birmingham” (co-written between Carlile and Elton John’s legendary lyricist, Bernie Taupin) and “Waltz Across a Moment”, and the playful dismissal of past mistakes on “The List”. Additional album cornerstones arise with the bittersweet “Letter to Linda”, a personal ode to fellow legend Linda Ronstadt, and especially her heartwrenching cover of one of Carlile’s own greatest moments and modern classic, “That Wasn’t Me”; it’s just as much a showstopper in Tucker’s hands as it is in Carlile’s. When Tucker closes the set with “When the Rodeo Is Over (Where Does the Cowboy Go)” (as well as the completion of a sweet and biting Billy Joe Shaver voicemail that also opened the set), it could be read as a contemplative swan song from an aging icon preparing to ride out of the spotlight for the last time. However, the sheer potency and beautiful vibrancy of yet another revivalist album more strongly suggests that Tucker’s own rodeo is far from completed, or so we can at least hope.
Lucinda Williams- Stories From a Rock N Roll Heart (Thirty Tigers)
If there was any fool out there doubting the resiliency of Lucinda Williams, her fifteenth studio album should swiftly have them tucking their tail between their legs. In the wake of a debilitating stroke suffered in 2020, Williams launches her seventies by releasing one of the most energetically potent records of her storied career, and what will reign as one of the very best rock albums of 2023. Her unabashedly rock & roll heart and spirit have always been as definitive to Williams’ artistic identity as has been her groundbreaking alt-country vision and legendarily poetic songwriting, and it gets a rewarding, full-throttled showcase on Stories From A Rock N’ Roll Heart. The opening one-two punch of “Let’s Get the Band Back Together” and lead single, “New York Comeback” (featuring fantastic harmonies from Bruce Springsteen) immediately provides the album with a fulfilling dose of classic rock & roll staples such as camaraderie and underdog triumph. This surging Heartland Rock anthemia carries through further highlights like quasi-title track, “Rock n’ Roll Heart”, where the backing band sounds positively sizzling and Williams once again proves herself as commanding a stage leader as anyone working the scene today. These moments provide as much unadulterated fun as you’ll likely hear on a Lucinda album, while still maintaining the same succinct storytelling nature that beats at the heart of both her own work and the rock canon in general. With that said, this is a Lucinda Williams record, and there’s plenty of more stoic and pensive material to be found throughout as well. But once again, it’s these diverse and dramatic thematic flavors that allow the album to fully encapsulate the depth of the true rock & roll experience. Moments like “Last Call for the Truth”, “Hum’s Liquor” and “Never Gonna Fade Away” soulfully capture the bittersweet nostalgia and longstanding memories that define the emotions of any aging adult, rock star or otherwise. Meanwhile, “Jukebox” reveals itself as one of her greatest pure country performances, with both her warbly, mournful twang and her classic lyrical imagery conjuring up the loneliest aspects of the honky tonk and rock joint lifestyles. With the pointed “This Is Not My Town”, she does briefly revisit the overly political nature of her more recent work, and while she does so as movingly and intelligently as ever, it’s somewhat of a relief to hear her keep those stories to the minimum, at least for the time being. Stories morso just finds Lucinda Williams allowing herself to once again rip our hearts out and get our adrenaline fueling in one fell swoop, as she has done on all of the very best moments of her epic catalog. Both Nashville and Cleveland should take serious note: they’re way past due to punch Lucinda Williams’ tickets into each of their respective halls, and this record is just further supporting evidence of such a fact.
Singles & Tracks
Lauren Alaina- “A Walk in the Bar” (Big Loud)
Lauren Alaina has been one of the more consistently pleasing purveyors of modern country-pop for well over a decade now, though she’s only really had one solo moment that elevated her above the B-list with the stellar 2016 No. 1, “Road Less Traveled”. This confident break-up anthem, the introductory track for her first EP under a new record deal, is more than worthy of matching that success. Though the heavy Joey Moi production could be scaled back a bit to let her vocals breathe more, “Walk” shines through with plenty of county-pop pizazz, thanks to the sheer charm and personality she exudes any time she’s being the mic.
Beyonce featuring Kendrick Lamar- “America Has A Problem (Remix)” (Columbia)
The latest drop from Beyonce’s epic Renaissance album is a dizzying blend of 90s house and modern Hip Hop complete with a sampling from Kilo Ali’s similarly titled 1990 single, with Bey turning in one of the more impressive rap deliveries of her career to date. While the title implies a political message, which would have been nothing new for the superstar, “Problem” instead is a profession of the narrator’s irresistible sex appeal and its ability to prove more addictive than any drugs her lover may have access to. The addition of Kendrick Lamar doesn’t necessarily add anything particularly noteworthy to the proceedings, other than quench this era’s unending thirst for collaborative remixes, though his added lyrics do undoubtedly provide a few more amusing rap lines.
Boygenius- “Not Strong Enough” (Interscope)
“Not Strong Enough” is precisely the kind of literate, reflective, and slightly gloomy indie-rock that you’d expect from Boygenius, the collaborative effort from Phoebe Bridgers, Lucy Dacus, and Julien Baker that finally followed up their 2018 EP with and full-length record over the spring. This is a deeply contemplative track that examines how those of us anxiety-prone folks so often allow our often-invalid doubts and insecurities get in the way of our best relationships. Lovers of the indie scene and any one of these three particular artists will find this single, and its parent project, wholly satisfying and inspired. I’d love to hear a version that employs the raw, more-harmony driven soundscape of the album’s opener, “Without You Without Them”.
Brothers Osborne- “Goodbye’s Kickin’ In” (EMI)
What a kick-ass, burning, groovy blues triumph this latest cut from the BrOs proves to be. For nearly a decade, the country duo has provided plenty of examples as to just how stylistically versatile both TJ Osborne’s voice and John Osborne’s killer guitar work truly are, and this may be my favorite realm that they’ve explored thus far. It just sweats with undeniable romance and sex appeal, and is produced so cleanly and masterfully to capture every ounce of the heat exuded from their performances. Brownie points are in order for the great female backing vocals and the sumptuous fiddle solos that bring the tune to its thrilling finish line.
Brandi Carlile- “Home” (Elektra)
Culled from a recent episode of Ted Lasso, the classic, sparkling swan song from The Wiz is undoubtedly in trustworthy hands with Brandi Carlile’s passionate voice and penchant for cinematic storytelling. A timeless tune combined with a timeless voice and tasteful production will always produce remarkable results, and Carlile’s rendering should make both Stephanie Mills and Diana Ross mighty proud.
Cold War Kids- “Double Life” (AWAL)
Fresh new music from the Cold War Kids finds lead vocalist Nathan Willett getting reflective on a tune that is equally catchy and contemplative. At a breakneck pace, “Double Life” examines the contradictory roles that one must simultaneously acquire throughout adulthood, whether it be as musicians, parents, or just mere human beings. I love the fittingly dichotomous production of the record that matches Willett’s feverish delivery with a sound that incorporates both angsty power-punk instrumentation and celebratory piano.
Fall Out Boy- “We Didn’t Start the Fire” (Elektra)
An interesting and unexpected release, the pop-punk superstars resurrect what is inarguably the most polarizing smash from Billy Joel’s canon and update it with lyrics referencing world events that have occurred since the original’s chart domination in 1989. Now, if you enjoyed the entertaining novelty of the original and appreciated it exactly for what it was, of which I happen to, you’ll likely enjoy this sequel. Of course, FOB are already being attacked for critical events that they omitted (OJ Simpson, COVID-19, etc), but it’s impossible to cover everything within the track’s run-time and the proper rhyme scheme. Plus, their rousing and gutting placement of September 11th in the space formerly occupied by the JFK assassination more than compensates for what isn’t here.
Vince Gill and Paul Franklin- “Kissing Your Picture (Is So Cold)” (MCA)
Classic country music lovers, rejoice! Vince Gill and steel guitarist-extraordinaire, Paul Franklin, have reunited to follow up their astute 2013 collaboration, Bakersfield, which paid homage to the legendary catalogs of Merle Haggard and Buck Owens. This decade, they will be dipping into the equally esteemed catalog of Ray Price, and this first preview, revisits a Price recording from 1958. As expected, it’s rich country singing and playing of the highest order. Gill’s legendary voice pares so perfectly with Franklin’s virtuosic playing, and their union is the perfect vessel to unearth classic tunes like this one.
David Guetta, Anne-Marie and Coi Leray- “Baby Don’t Hurt Me” (Warner)
The vocals of Anne-Marie and Coi Leray have absolutely nothing on the suave, velvet tone of Haddaway’s, but this an undeniably banging and addictive reimagining of the 1993 dance classic, “What Is Love”. David Guetta strikes gold once again.
Niall Horan- “Meltdown” (Capitol)
With the second release from The Show, Niall Horan reminds us all that he’s just as effective as his superstar, former bandmate, Harry Styles in parlaying his One Direction roots into commanding, unmitigated pop ear-candy. With its shimmering production, bouncy rhythms, and chorale-leaning vocals, “Meltdown” honestly sounds like something that could have appeared on Harry’s House. Lingering underneath all of the sonic euphoria is an account of the kind of manic, generalized anxiety that can be so crippling in day-to-day life. It sort of plays like an upbeat take on Shawn Mendes’ “In My Blood”, with a comforting light at the end of the tunnel inserted to match the feel-good vibes. Horan pulls this all off capably well.
Carly Rae Jepsen- “Shy Boy” (Interscope)
Daaamn, is Carly Rae Jepsen on a roll with her never-ending onslaught of boppy goodness. “Shy Boy” is a ravishing plate of effervescent vocals, funky beats, and a beguiling-as-hell keys solo for good measure.
Miranda Lambert and Leon Bridges- “If You Were Mine” (Vanner)
In her first piece of music since departing her major Nashville label of two decades, Miranda Lambert teams with fellow Texan and soul master, Leon Bridges. It’s a gorgeous yet understated distillation of all the qualities that have made both artists the pinnacle of authenticity in their respective country and soul realms. The slow-churning bass pares marvelously with the aching steel licks, but the true highlight is the melding of the two voices, disparate as they may be but brimming with heat and chemistry.
Dua Lipa- “Dance the Night” (Atlantic)
As the pop sensation continues to test our patience for her anticipated follow-up to Future Nostalgia, this selection from the upcoming Barbie film soundtrack does a staggeringly effective job in quenching our thirst for new Dua Lipa music, at least temporarily. “Dance the Night Away” would have fit like a glove on the monstrous list of modern disco-pop smashes culled from Nostalgia. She once again marries his slick, silk vocals with flamboyant hooks and sparkling dance production to provide what will be an undeniable summer anthem.
Tim McGraw- “Hey Whiskey” (Columbia)
Another fantastic narrative from one of country music’s true great song-men of the past thirty years. “Hey Whiskey” is a raw and potent crossroads confrontation between a man and the alcohol addiction that has cost him everything he holds dear, including his wife. Though McGraw didn’t have a hand in the writing, it’s a compelling story from his voice given his own documented battles with the bottle and his decision to give it up years ago in effort to save his own marriage and personal well-being. The man in this song wasn’t so lucky to make that choice in time, and McGraw delivers that bitter pill with his trademark honesty and empathy, while supported by an organic country arrangement that does the song and performance great justice. McGraw to this day still isn’t 100% flawless in his song-selection, but he’s as creative a compass as any you’ll find on Music Row these days.
Joni Mitchell- “Both Sides Now (Live)” (Rhino)
A soulful and sterling live performance captured at the folk icon’s recent Joni Jam concert at Newport Folk Festival will most certainly reign as one of 2023’s most vital musical moments. At age 79, Mitchell’s voice is deeper and a bit ragged, but inarguably as powerful and searing as it ever was. And to hear it deliver the line “I really don’t know life at all” during this stage in life is a brutal but beautiful gut-punch. The performance is further emboldened by the palpable adulation of both her audience and the artists supporting her during the recording, chief among them of course being the ever-uniquitous Brandi Carlile. The upcoming live album which will chronicle the entire show immediately ranks as a vitally important showcase time capsule in the popular music canon.
Nickel Creek- “Where the Long Line Leads” (Thirty Tigers)
Where the sheer smoky fury of Sara Watkins’ vocal and fiddling along with that of Chris Thile and Sean Watkins’ harmonies combines to create an absolute blaze of brilliant musicianship. Pure greatness.
Brad Paisley- “So Many Summers” (EMI)
Brad Paisley has a trunk full of songs that illustrate his keen ability to capture nostalgia and retrospective reflection on the passing of time, and “So Many Summers” ranks right up there with any of them. I love how his sage, bittersweet advice to the coming-of-age youth he’s speaking to steadily builds and progresses throughout the song to a full-blown pleading by its conclusion. It’s this line however that really hits and reminds us of Paisley’s impressive strengths as a storyteller: “When Dad would wanna play catch, I’d say ‘maybe some other time’/I wanna grab that kid and say ‘Are you out of your mind?’”. That’s not to mention the thematic nod to “Waitin’ On A Woman” in the conversation in the final verse. This is the Brad Paisley I’ve been waiting to hear from again. I’m officially excited for his new music now.
Jon Pardi- “Your Heart or Mine” (Capitol)
Jon Pardi is most definitely becoming one of my sleeper favorites these days. Like a transplant from the 90s glory days, he’s doing such a fantastic job of naturally blending classic, neo-traditional country sounds with the polished, rock-tinged production standards of the modern day. “Your Heart or Mine” does this splendidly, with its loaded resume of swinging twang, brooding rock undertones, and a noir-leaning soundscape that perfectly captures the dangerous, tempting attraction that exists between the song’s two characters. Yes sir, I definitely missed the boat on including Mr. Saturday Night among my best 2022 albums.
Carly Pearce featuring Chris Stapleton- “We Don’t Fight Anymore” (Big Machine)
An excellent portrayal of the utter sadness that results when a strained relationship demotes itself to the point of complete indifference. Thematically, it recalls Stapleton’s own “Either Way” as well as the classic “You Don’t Even Know Who I Am” from both artists’ celebrated influence in the Patty Loveless. Pearce’s pure country delivery soars with the same bitter ache and honesty that was the cornerstone of her recent output and the deserving breakthrough it provided. Stapleton’s harmonies are characteristically peerless before exploding into his rattling, bluesy twang on the bridge, giving us the solo turn that far too many of his collaborative features lack. These two continue to raise the bar for their field individually, so it’s no surprise that when they get together, it’s among the year’s finest moments.
Rival Sons- “Rapture” (Atlantic)
Rival Sons remain one of the most criminally overlooked rock outfits in the world today, and to miss out on “Rapture” is to miss one of the most captivating and electrifying performances this year, in rock circles or otherwise. Lead vocalist Jay Buchanan can rattle the rafters in the best hard rock vocalists of all time, but I love that he goes against the grain by being far more selective when doing so. This surging performance is a prime example of how tastefully he uses all facets of his voice, both the hair-raising and the more intimate. Dave Cobb’s production choice to flip the script on the chorus by silencing all of the intense instrumentations of hte verse is a prime example of this gift of Buchanan’s at work. The raw quality revealed by that sudden change in tone packs such an emotional wallop. This one’s rapturous indeed, but in far more than volume.
Kenny Rogers and Dolly Parton- “Tell Me That You Love Me” (UMe)
“Islands in the Stream” this is not, nor is it “You Can’t Make Old Friends”. Nevertheless, “Tell Me That You Love Me” is a sweet, endearing tune that shines thanks to a lovely, bluegrass-tinged arrangement that provides a warm showcase to the endless love and chemistry that existed between Kenny Rogers and Dolly Parton. And it’s an undeniable gift to hear them singing together one more time on new material, which more than does its duty in excelling what would be merely generic in the hands of other artists. This is surely one of the highlights from Rogers’ recently released posthumous swan song.
St. Paul and The Broken Bones- “Sea Star” (ATO)
Paul Janeway is in possession of one of the most dynamic and alluring voices in all of music, and with the Broken Bones at his side, he continues to produce an incredibly compelling and creative brand of soul music. In “Sea Star”, they navigate cosmic electronica, with their standard rock & soul vibrancy weaved seamlessly in between. The results are soothing, colorful and utterly hypnotic.
Taylor Swift- “Cruel Summer” (Republic)
As if the pop behemoth didn’t have enough new content to focus on between the ongoing Midnights era and upcoming release of Speak Now’s turn as the latest entry in the Taylor’s Version series, her current tour and the viral power of the TikTok era has powered this cut from 2019’s Lover onto the airwaves. Truthfully, the one downside of Folklore’s surprise emergence in the summer of 2020 was that it cut the Lover era short. Lover remains one of my favorite Swifty releases, and there’s no denying that there was a stack of potential hits left on the shelf from its tracklist, and “Summer” certainly resides near the top of that list. Highlighted particularly by that epic bridge, it’s more than deserving of its belated flowers and is a worthy centerpiece on the 2023 summer soundtrack. (Sidenote: I was fortunate enough to attend the Eras Tour in Chicago earlier this month, and it was hands-down one of the best concerts I’ve ever attended. What a powerful entertainer she has blossomed into over the past decade and a half.)
Aaron Watson featuring Jenna Paulette- “Seven Year Ache” (Adub)
This is a solid, left-of-center cover choice from one of the reigning kings of the Texas country scene. Aaron Watson is most frequently with influences like Willie and George, so it’s a cool and creative choice to see him tackling Rosanne Cash, an overlooked innovator of modern country despite being one of the most sophisticated singer-songwriters of all time in both country and pop. Watson and newcomer Paulette handle this classic with the taste it requires, and it works exceedingly well as a male-female duet. Also, I certainly expected Watson to keep the steel guitar solo (easily the most traditional aspect of the original), but he actually replaces it with a sizzling electric solo that is spot-on in giving this version its own unique color. A great rendition of one of the all-time great songs of any kind.
The Weeknd featuring Future- “Double Fantasy” (Republic)
Gleaned from the now apparently scrapped soundtrack to The Weeknd’s widely panned recent television project, The Idol, “Double Fantasy” is squarely planted in the mysterious and alluring, retro 80s pop sound that has defined the superstar’s hits to date, particularly After Hours. Perhaps the Weeknd’s TV magic touch isn’t what he expected, but there’s no denying that he remains on his game with his musical productions. “Double Fantasy” could have come off lyrically lecherous in the wrong hands (which does fit the show’s apparent premise), but this complicated relationship possesses multi-dimenesional layers thanks to his delivery feeling bittersweet, not blustery. He’ll need to mix up his sonic soundscapes at some point, but it hasn’t overstayed its welcome yet, and sounds just as entrancing here as it did on his last two records.
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