Bill Anderson featuring Bobby Bare, Jimmy Fortune, Vince Gill and Willie Nelson- “The Country I Grew Up With” (MCA)
A record filled with pure sincerity, from both musical and topical standpoints. This comes as no surprise given the impressive fact that it unites five Country Music Hall of Famers, each offering loads of iconic character and gravitas in their deliveries, even on the spoken narrations. Don’t let the title fool you into thinking this is some sort of bro-themed anthem of shallow posturing. In the end, it’s a unifying call for humanity, humility, and general kindness.
The Beatles- “Now and Then” (Apple)
“Now and Then” is not a long-lost gem unearthed from a vault of Beatles outtakes, but rather a John Lennon solo demo that originally had contributions from the three (at-the-time) surviving band members attempted back in the mid-90s. It’s been left untouched for decades until this year’s completion of the finished product. Similar to last year’s Queen single, this record is challenging to assess with a completely unfiltered lens. It’s the official final release from the greatest band of all time, and that counts for a lot. This is despite its asterisk for not being created together by the Fab Four, and even if the song feels admittedly unfinished. Regardless, it’s quite the haunting and inspiring experience to bear witness to a fresh record with all four appearing simultaneously. Lennon’s voice and George Harrison’s guitar solo sound positively other-worldly, both on their own and when united with the musical talents of his legendary comrades. It’s a pivotal rock moment any way you slice it.
Duane Betts featuring Derek Trucks- “Stare at the Sun” (Royal Potato)
I’ve been shamefully asleep at the wheel as it relates to the recent solo project from classic rock heir, Duane Betts. Joined by modern blues badass, Derek Trucks on this latest single, the two unsurprisingly keep the prominence and spirit of the 70s Allman magic, and great blues in rock in general, alive and relevant on this standout jam. The soul-soaked vocals, fiery instrumentation, and hazy Cosmic lyricism feels at once like a trip back into Southern Rock’s glory years and a step forward into a promising future.
Bleachers featuring Lana Del Rey- “Alma Mater” (Dirty Hit)
The second preview of Bleachers’ pending spring release is a gripping melting pot of both their brassy alt-rock sound and guest Lana Del Rey’s signature moody and ethereal sonic spells. Given that Bleachers frontman Jack Antonoff has been a prominent producer on the greater bulk of Del Rey’s later work, it’s no surprise that they find a way to marry the two vastly unique soundscapes. The band has never sounded so mysterious and Del Rey has rarely sounded so crisp and immediately accessible as a vocalist.
Leah Blevins- “Used” (Thirty Tigers)
It’s a delight to see this dynamic chanteuse return to the scene after providing one of the year’s best underground triumphs with First Time Feeling back in 2021. This slow-burning, downbeat country-rock setting makes spectacular use of her rich twang, which is so chock-full of emotional power that it’s scary. This will leave you in a trance that you’ll be in no hurry to break-free from.
Garth Brooks and Ronnie Dunn- “Rodeo Man” (Pearl)
As I mentioned in my recent review of Garth Brooks’ latest elusive LP, “Rodeo Man” is a foot-stomping, barn-burning firecracker of classic 90s honky-tonk fun. Both men sound as vocally charismatic and as full of down-home euphoria as they do on any of the classic anthems that helped build their respective iconic catalogs. Their chemistry together is equally palpable as well. This fantastic outing will surely help keep the nostalgic fire for 90s country boldly burning as we head into 2024.
Kenny Chesney- “Take Her Home” (Warner)
Now an elder-statesman in the mainstream country scene, Kenny Chesney continues to stay on his consistent, well-worn path with “Take Her Home”. It’s nothing groundbreaking, but it is an equally solid song and vocal performance from a superstar who has always been somewhat underrated in both regards. If this tale of love-at-first-sight is all a little too tidy and cliched for you, it’s compensated for the fact that Chesney sings it with such warmth and wistful sincerity.
Luke Combs- “Where the Wild Things Are” (Columbia)
An excellent slice of modern country music storytelling that fully utilizes every robust and captivating element of Luke Combs’ excellent voice. I love the unique literary reference in the song’s title and how it so perfectly frames a succinct and emotionally fleshes out the song’s story arc. It’s a fun and sweet tale of two brothers navigating their youthful rebellious streaks together, before eventually traveling down diverging life paths. This ultimately leads to a classic country tragedy that does nothing to rob the song of its exuberance. In fact, it only enhances it thanks to the sheer heart and smarts with which it was written. This guy’s streak of knock-out hits has no end in sight.
Charley Crockett- “Killers of the Flower Moon” (Son of Davy)
There’s such a fabulous time-traveling quality to Charley Crockett’s music, and that magical quality only reaches new heights with this latest single. The classic Western storyline and fabled campfire storytelling nature would make you think this was written during the 40s heyday of classic cowboy culture. Rather, it’s a brand new composition from Crockett and company, making their success in crafting such a vintage musical experience all the more impressive. The classic boom in his voice certainly doesn’t hurt matters.
Sheryl Crow- “Alarm Clock” (Big Machine)
Despite initially declaring that 2019’s Threads would be her final LP, Sheryl Crow prepares to launch a new album era with this buzzy banger that harkens back to her initial 90s rock groove. This one’s dangerously catchy and grows increasingly memorable with each repeat listen. Count me intrigued and ready for a fresh cycle of music from the new Rock & Roll Hall of Famer.
Drake featuring J. Cole- “First Person Shooter” (Republic)
A cleverly layered trap sequence of scenes that seamlessly blends Hip Hop bravado, cinematic drama and ambience, and a biting examination as to where Drake’s cultural relevance stands in the present day. As polarizing and excessive as those themes can become in the genre, there’s no debating that both Drake and Cole remain rarified giants within the current Hip-Hop landscape. And given that the referencing of the Michael Jackson Hot 100 record in the latter part of the song basically served as an inevitable premonition of future events only further solidifies this fact.
Gaslight Anthem- “Autumn” (Thirty Tigers)
A great mid-tempo rock track from the recently reunited New Jersey quartet. This song effectively captures all the anxious reckoning that our minds must live with as it relates to the passage of time, among other things. They manage to channel it into a vividly complex anthem of comfort that fittingly feels as fleeting as time itself.
Green Day- “Look Ma, No Brains!” (Reprise)
The second release from the forthcoming Saviors is vintage Green Day: rapid-fire modern-punk laced with comedic attitude. It’s as infectious as any of their biggest anthems. After just one listen, you’ll be hard pressed not to declare the title hook to your own mother the next time you see her. Though, the ultimate hook of the track may prove to be: “I’m with stupid and I’m all by myself.”
HARDY, Joe Diffie, Morgan Wallen & Post Malone- “John Deere Green/Pick Up Man” (Big Loud)
These two deliriously faithful Joe Diffie renderings, which also feature archival vocals from the lost country legend himself, are an absolute blast and are proud testaments to Diffie’s timeless brand of honky tonk novelty. HARDY and Wallen inarguably deliver utterly charming and entertaining performances, but it’s also telling that Post Malone’s contributions to the latter track sounds the most effortlessly seamless against Diffie’s original takes. It’s the best distillation to date of Malone’s oft-discussed affinity for country music, and demonstrates further promise to a future country project from the pop-rap superstar. Meanwhile, the full Difftape volume of HARDY’s Hixtape series drops in late-March, and I’m counting the days.
Brittany Howard- “Red Flags” (Island)
The second preview of Brittany Howard’s upcoming February LP provides further evidence of the vocal powerhouse’s plans to double down on the trippy sonic vibes and provocative atmospherics of her 2019 debut. Howard dives head first into psychedelic soul on “Red Flags”, and is equally unabashed in her acknowledgement of the impulsive choices that doomed the relationship at the center of the song from the beginning. The only thing shaking you from the hypnotic state of the song’s production will be her rapturous vocal at the three-minute mark.
Hurray For the Riff Raff- “Alibi” (Nonesuch)
An excellent lead single from the band’s ninth studio album, with a full-bodied country-rock sound and a emotionally gripping storyline that brings out a career-best performance from lead vocalist, Alynda Seggara. I love the complexities of the narrator’s POV here. She’s grappling with the challenge of leading an addict lover from the brink of self-destruction, while still maintaining her own individual agency and refusing to let herself take on the full responsibility of her partner’s recovery. The addict has to want the recovery themselves as well: “I see your track marks through your hoodie sleeve, tic-tac-toe game to the destiny I grieve…’Cause you don’t have to die if you don’t wanna die, maybe I got something left that is worth a try/But I’m not gonna be your alibi, this time.” An excellent piece of songwriting, sung and delivered perfectly.
Cody Johnson- “The Painter” (Mercury)
A wonderfully heartfelt performance from a reliable artist who is owed much credit for keeping the sounds and themes of neo-traditional country alive in the mainstream. It’s beyond cliched at this point to herald any Red Dirt hitmaker who breaks through in Nashville as the next George Strait, but there’s no doubt that Johnson is filling that void proudly and well. Great vocal, tasteful production, and a sincere sentiment that finds that perfect balance on the correct side of maudlin romance.
Jungkook- “Standing Next to You” (Big Hit)
The BTS vocalist and budding pop juggernaut keeps his onslaught of hits going strong with this sizzling synth concoction, while adding some serious funk vibes into his already proven K-pop potion. It’s an irresistible ear-worm in every sense of the damn word.
Dua Lipa- “Houdini” (Warner)
One of this era’s most dominant superstars finally launches the long-awaited follow-up era to her thunderous pandemic landmark, Future Nostalgia. If the seductive snappiness of “Houdini” is any indication, we best make room for Dua Lipa at the top of the pop world for all of 2024 and beyond. The track finds Lipa subtly delivering on her earlier premonition that she’d be navigating further away from her disco tendencies toward a rockier psych influence. This is particularly evident on the amped up bridge, but the backbone of the song remains Lipa’s alluring vocals and scintillating dance beats.
Lucius- “Stranger Danger” (Fantasy)
The force-of-nature indie-pop duo branch out on a new label and returns with their first taste of new music since 2022’s Second Nature. That record reigned as my favorite album of last year, and also spawned the concert tour that would prove to be my favorite live music experience of 2023. “Stranger Danger” is classic Lucius. It’s a sensational display of their introspective POV, their emotional soundscapes, and the delectable harmonies that rank up there with the best of any generation. I particularly love the classic rock-leaving pivot of the finale sequence, which really gets to the heart of the song’s heartfelt ramifications.
Midland- “Wichita Lineman” (Big Machine)
This Glen Campbell classic and Jimmy Webb standard has become one of those essential American songs that have been covered so many times that it takes a very special interpretation to unearth anything new from its magical fabric. Midland doesn’t necessarily accomplish that here, but they do deliver the song’s twangiest version this side of Dwight Yoakam, complete with honky inflections and haunting steel and electric riffs that strongly compliment the song’s haunting aura. This group remains a crown jewel in the Music City scene.
Ashley Monroe- “Over Everything” (Mountainrose Sparrow)
The critically acclaimed songbird’s first new material since 2022’s lukewarm Rosegold, and a successful battle with blood cancer that followed it, “Over Everything” feels like a solid return to form for Ashley Monroe. Sonically, the track mildly splits the difference between her typically rootsy sound and the moody aesthetics of last album. Lyrically and vocally, its resonant and resilient spirit feels cut from the same cloth of her most lauded songs. It’s a dreamy but all-too-real depiction of the demons we’re called to vanquish after a darker life period.
Dolly Parton and Miley Cyrus- “Wrecking Ball” (Butterfly)
One of the best cuts among the thirty that populate Dolly Parton’s Rockstar, she and her goddaughter sound harmoniously sublime together on the wrenching 2013 ballad that remains one of Cyrus’ watershed moments. The pair earns bonus points for the seamless and emotional interpolation of Parton’s most iconic track (“I Will Always Love You”) with the existing lyrics.
Pink with Sting and Marshmello- “Dreaming” (RCA)
Speaking of interpolations, this bonus cut from the deluxe reissue of Pink’s Trustfall is an electro-folk nugget that borrows melodically from Sting’s 1993 classic, “Fields of Gold”. The two sound wonderful together and Marshmello’s hushed but pulsating production keeps the track in the soothing column, rather than the snoozy alternative. We certainly wouldn’t complain if it led to a full-blown Pink cover of “Fields” either.
Katie Pruitt- “Blood Related” (Rounder)
Another fantastic song and soulful performance that continues to quietly establish Katie Pruitt as one of today’s most criminally overlooked folk poets. This is both a gorgeous and gutting account of the complicated relationships between parents and children, and how it often times takes our own challenges in adulthood to finally garner new appreciation and understanding for those who raised us.
Maggie Rose- “Underestimate Me” (Big Loud)
It was a tremendously rewarding revelation when Maggie Rose found her true artistic calling as a sultry soul songstress on 2021’s breakout, Have A Seat, and it’s equally glorious to hear her continue forging that same path on her newest single. “Underestimate Me” is vocally rousing, thematically empowering, and musically distinguished. A great appetizer for her next batch of music.
Taylor Swift- “Is It Over Now?” (Republic)
A captivating and dreamy exploration in romantic and sexual politics, “Is It Over Now?” explores the impact a failed relationship has had on both parties. Of course, it’s still entirely from the perspective of Swift’s narrator, but I love the suggestions that both of them were equally guilty of the infidelities that sank their union. And, it’s quite clear that neither of them are over each other. It also adds another stinging entry into Swift’s illustrious catalog of jaded lover indictments: “At least I had the decency to keep my nights out of sight/Only rumors ’bout my hips and thighs and my whispered sighs.”
Lainey Wilson- “Wildflowers and Wild Horses” (BBR)
In the wake of her dominant CMA Award coronation, the ubiquitous country sizzler keeps her hot streak going with what is easily my favorite single from her to date. It’s a tantalizing thriller that feels like a disciple of the classic female country hits from the early 90s. Wilson’s sandy twang sounds fabulous against the track’s unabashedly Western motif, which boasts what is easily the most blistering and dexterous instrumental breakdown to hit the mainstream airwaves since the heydays of The Chicks or early Zac Brown Band.
Jaime Wyatt- “World Worth Keeping” (New West)
Environmental awareness and our responsibility to preserve our world’s natural health for future generations is a topic that seems to have become bewilderingly scarce in all modern art-forms. Brazen outlaw Jaime Wyatt tackles these concerns with a soulful bite on “World Worth Keeping”, with a rugged but ringing battlecry that celebrates the beauty around us, while confronting our society’s dangerous tendencies to turn a blind eye to the forces threatening it.
Zac Brown Band- “Bohemian Rhapsody (Live)” (Warner)
Regardless of ZBB’s divisive artistic pivots over the past decade, there’s no denying that they remain one of modern music’s most captivating live acts, a fact that is well documented on their new live covers album. While I certainly would have welcomed more material in the tone of 2011’s Pass the Jar (their covers of Travis Tritt/Darrell Scott’s “It’s A Great Day to Be Alive” and Jimmy Buffett’s “Margaritaville” are great nods to that era), the collection provides thrilling evidence of their expansive outfit’s masterful skill in classic rock. “Bohemian Rhapsody” is the album’s ultimate triumph. Brown’s voice has a dramatic range and narrative character that is naturally akin to Freddie Mercury’s, and his comrades jam out here with every ounce of the abandon and passion that Queen’s epics have always called for. A faithful and rewarding tribute.
The 706 