Well, it’s that time again. The time when I remember that
I actually have a blog – oh my pour unused blog. The time when I ramble in an
effort to let you know what albums I think were the best in 2016. But not so
fast. First we need to cover some details about my list, talk about music
consumption, and ease you into the music that got me moving in 2016.
I posted my first public top 10 list in 2009, over the
last seven years the requirements of the lists have remained pretty consistent,
but for new readers I like to provide a quick review. My list tends to be
singer/songwriter heavy. I am a singer/songwriter, so it stands to reason that
I enjoy listening to other singer/songwriters. As in years past, to make the
list, I have to own the CD. Like most, I subscribe to a variety of streaming
services, so I end up listening to a lot of music, but in order to be
considered for the top 10, the recording had to be so good that I opened the
wallet and dropped coin for the CD. Other
factors that are taken into consideration, vocal quality – what can I say, I
like big voices, unique voices, solid voices – total spins, lyrical content,
and the ability to pull it off live. I realize the last shouldn’t be in
consideration for album of the year,
but it’s my list, so… Also, I will not consider EPs. Don’t get me wrong, I like
EPs. I listen to EPs, but they always leave me wanting more. I understand that
that is often the point, leave them wanting more has long been the motto of
many a performer, but I want to be satiated by the music. I want to be fat-full.
Laying on the couch in a tryptophan stupor, full. I want a post-orgasmic state
where the body can do nothing but tingle as the mind reflects on what just
happened. That rarely happens in four songs.
So, let’s talk about what has changed for me –
consumption. For years I’d sit in my office and work the day away as Pandora
spoon fed me new artists that they felt were similar to artists that I was
already enjoying. I learned about a lot of new artists that way. Well, I
changed jobs this year, and my new employer blocks all streaming services. ALL.
STREAMING. SERVICES. However, YouTube is wide – the fuck – open. As a result, YouTube
has become my new radio, and sites that share consistently great new artists like
Audiotree, KEXP, and NPR Music have really had an
impact on what I am listening to this year.
Now, before I get into my actual list, we need to address
the incredible elephant that is in the room. I am a 42 year old dad that hasn’t
toured with a band in 5 years. I work my 7 to 3, spend my free time coaching my
son’s 2nd grade football team and playing fantasy football. Sure I go
to concerts frequently, will even travel with the family to see bands we love,
and I still play the occasional solo show, mess around making crazy
experimental loops in the basement with the kids, and have friends over once and
a while for a good jam to knock off the rust, but my hip-factor is as fleeting as
my hairline. While I’d love to claim to be current with the new musical trends
and groups, every once and a while great new artists slip by me and they miss
their shot at the list. If I am being completely honest, the three artists that
got the most play this year did not release full lengths in 2016 – Julien Baker, William Wild, and Sylvan Esso.
Although I knew the name Julien Baker because she made
just about everybody’s 2015 list, I consider her to be an Audiotree find. It
was the end of the year. I was reading other people’s lists, and I didn’t think
it was right to rearrange my list just because everyone else was infatuated
with this girl, so I didn’t really dig in. Well, I was wrong. I should have. I
watched her Audiotree performance and was mesmerized. Six string, one voice,
and some ambient delays. She is incredible. She is intelligent. She is
thoughtful. She is everything I love about singer/songwriters. I just kept
replaying the video. I bought the Sprained Ankle CD, bought the Audiotree
recording and she entered into weekly rotation. I have listened to her CD at
least once a week since first watching the video.
By the time I found William Wild, I was already allowing
Audiotree to think for me. Daily I go out and look for the new releases, and no
matter what it is, I listen. Sometimes its thick sludge rock, sometime hip-hop,
sometimes it is new artists still struggling with keeping pitch, sometimes it
is seasoned pro’s that are graciously offering up themselves to hungry ears,
sometimes it is new cats whose voices are gifts. That was William Wild, aka
Garrett Sale. If I had a formal tracking system, I’d bet William Wild and Julie
Baker are tied for most plays this year. Like with Baker, I purchased everything
I could from William Wild. While the rest of the world was on a collective
conscious journey to merge electronic and folk-rock, Garrett and crew keep it
pure, understated but expert production featuring heavenly guitar tones and all
the pedal steel my happy ears could handle, and as mentioned his voice is a
gift. It is the kind of voice that makes other singers wish they sang like him.
While Julien Baker and William Wild definitely got the
most plays at home, Sylvan Esso most certainly got the most plays at work.
There is nothing better than making sense out of rows of data, fully in the
zone, and chair dancing to the fresh grooves concocted by Nick Sanborn while
losing myself in Amelia Meath’s incredible voice. I have not created an Excel chart,
PowerPoint presentation, or status report in 2016 without the assistance of the
Sylvan Esso dance party. Unlike the other two artists, I found Sylvan Esso
during my weekly Tiny Desk Concert search which often results in me falling
down an illuminated rabbit hole of Tiny Desk performances, as YouTube serves me
up artist after artist. Most become background for my work, but not Sylvan Esso.
They took over the moment and produced multiple queries as I sought to learn
more about this band. Like the others, I purchased everything I could find and
wait patiently for more.
So, while none of them can make the official Top 10 CDs of 2016, these three were my top new finds of 2016.
EPs – since I do not include EPs in my Top 10 CDs of the
year, I did want to mention a few artists who released EPs that would have
probably made the list, had they added a few more incredible songs: The River
Kittens, The
Sleep Rubies, The Wild
Reeds, and William
Wild.
Now that the EPs are out of the way, and you know who I've been listening to that didn't release a CD this year, let's take a look at my Top 10. This is the complete list #10 - #1, for those that don't mind a long read.
This spot is always the hardest for me because there are
approximately 20 albums all fighting it out for the final position on the Top
10 list. This year an instrumental band won, despite my clear, and
unapologetic, love for great singers. Like many I learned about Explosions in
the Sky through the Friday Night Lights movie and
subsequent TV show. As a collector of football movies, I was a fan of both and
became a fan of the music. With the exception of my collection of jazz recordings,
the only other instrumental CDs I own are all from Explosions in the Sky, and I
own everything they’ve put out. Their music speaks to the closet looper in me.
The kid that recorded his first full length on an old 4-track using anything he
could get his hands on to add layers and textures to the recording. So, I had
to show this incredible four piece some love. The Wilderness is everything you would expect from Explosions. What
they have created is much more than a painting on a canvas. It is a movie with
expansive soundscapes that open up the mind and beg it to create the visuals
and emotions that accompany the soundtrack.
I forget when I first learned about Warpaint, but I’ve
been following them for a while now. Their 2014 self-titled release was
probably #11 for the year, just outside of my Top 10. What helped them crack
the top 10 this year was clear and decisive growth. This album shows maturity
of voice and confidence of direction. They are doing their thing, and I am
pretty sure they give zero fucks if anyone has a problem with their direction.
You can always tell when a great band is being controlled by the machine
because they put out some bubble gum piece of shit album that sounds like they
are trying to sell CDs to the cool kids at the junior high lunch table, not the
kids sitting in the back of the cafeteria writing poetry and losing themselves
in their doodles. While I acknowledge a recording is an opportunity to expand
beyond what a band can do live, it shouldn’t cause the listener to question the
voice of the artist. Although Head Up
is a great example of a band pushing themselves, of pushing boundaries, you can
tell they are the ones driving the car, and the roadtrip they are taking us
reminds us why we love to be on the road.
Every time I put a curveball on the list I feel like I
need to spend some time explaining, and for those that follow my blog, my Facebook page, or my Twitter page this selection may seem
like a curveball. Those that really know me know my music collection is pretty
diverse. What you see me posting daily is usually what I listened to the night
before as I was going to bed. My wife has some very definitive opinions on what
sleepy-time music is, so I am usually posting things on the softer side. That
doesn’t mean that that is all I am listening to. While this is my first Beyonce
CD, I do have a pretty good collection of female R&B singers, lots of Erykah Badu, India Arie, Lauryn Hill, and Alicia Keys. To this point, Beyonce
always seemed to be speaking to a younger generation, but as folks get older
the gap diminishes. Lemonade is
powerful. It speaks to the musician in me. It speaks to the lover of big voices
and expertly placed runs. It speaks to the poet soul that loves a good story.
Most importantly it speaks to the step-dad who wants to encourage his very
independent little girl to continue to be strong and brave, to never take shit
from a man because no one deserve that. In all honesty, this could have been my
#1 of the year. It is that strong, but it just didn’t get the same amount of
spins as some of the other CDs. As I am listening to it now, I am not sure why,
probably because it is too powerful for sleepy-time music.
I was bouncing between videos on KEXP; I heard Elena Tonra’s
voice and the atmospheric guitars, and I was hooked. I went to my friend iTunes
and bought everything I could. I am pretty sure I listened to nothing but
Daughter for the entire month of February. It is rare that an album released in
January makes my Top 10 list. The CD has to maintain relevance for 12 months,
as I am continually distracted by new releases, but Not to Disappear did not disappear (Yeah, I just did that; come on,
you telling me you weren’t thinking it? Please). I’ve mentioned this in other
Top 10s, but I love when a recording gives space to the instruments. It’s so
easy to set the beat and let it carry the song, but when there is space and
movement it gives life to the songs. Daughter does an excellent job of allowing
things to breathe in this recording. In addition to Tonra’s distinctive voice
and the energy of the recording, when you peel away the instrumentation the
lyrics are incredible:
No Care
No one asks me for dances
because I only know how to flail
I always hit like I'm drowning, dead arms around him
I'd rather stand still, hold tightly to the walls
I always hit like I'm drowning, dead arms around him
I'd rather stand still, hold tightly to the walls
No care, no care in the world
No care, no care in the world
I don't care, I don't care anymore
I don't care, I don't care
No care, no care in the world
I don't care, I don't care anymore
I don't care, I don't care
Love you in a panic because I
prefer to sit on fences
Spit-kissing on my sickbed
I'm not searching for replacements
But we are like broken instruments
Twisted up and wheezing out the runnels
Sleepless folks watching light grow
Through their early morning windows
Spit-kissing on my sickbed
I'm not searching for replacements
But we are like broken instruments
Twisted up and wheezing out the runnels
Sleepless folks watching light grow
Through their early morning windows
I don't care, I don't care
anymore
I don't care, I don't care
I don't care, I don't care
Oh, I'm too drunk to fight,
hurlings curses at your surface
Because I'm aware, because it hurts that I'm in love again
And you have kissed my neck so your arguments are insane
Fighting over the way something was said
Well, I'm still here like a cheap threat
Because I'm aware, because it hurts that I'm in love again
And you have kissed my neck so your arguments are insane
Fighting over the way something was said
Well, I'm still here like a cheap threat
No care, no care in the world
No care, no care in the world
I don't care, I don't care anymore
I don't care, I don't care
No care, no care in the world
I don't care, I don't care anymore
I don't care, I don't care
Oh, there has only been one time
where we fucked
And I felt like a bad memory
Like my spine was a reminder of her
And you said that you felt sick
I was so heavy hearted, lying side-on with you afterwards
How I wanted you to promise we would only make
How I wanted you to promise we would only make
How I wanted you to promise we would only make love
But my mouth felt like I was choking, broken glass
So I just slept it off
You see, my mouth felt like it could talk the end of us
So I just slept it off, slept it off
And I felt like a bad memory
Like my spine was a reminder of her
And you said that you felt sick
I was so heavy hearted, lying side-on with you afterwards
How I wanted you to promise we would only make
How I wanted you to promise we would only make
How I wanted you to promise we would only make love
But my mouth felt like I was choking, broken glass
So I just slept it off
You see, my mouth felt like it could talk the end of us
So I just slept it off, slept it off
No care, no care in the world
No care, no care
I don't care, I don't care anymore
I don't care, I don't care
No care, no care
I don't care, I don't care anymore
I don't care, I don't care
Ah, I'm too drunk to fight
I only wanted you to promise me we would only ever make love
But my mouth felt like I was choking, broken glass
So I just slept it off
Wanted you to promise me we would only ever make
Wanted you to promise me we would only ever make love
I only wanted you to promise me we would only ever make love
But my mouth felt like I was choking, broken glass
So I just slept it off
Wanted you to promise me we would only ever make
Wanted you to promise me we would only ever make love
It was September 2008, Hotel Café was coming to Blueberry Hill, and I was going to
see Rachael Yamagata for the first time. She did not disappoint; I’ve seen her
five times since, including a roadtrip to Indianapolis, and she never
disappoints. She is prolific, a sought after collaborator that is equally
powerful behind 88 keys, 6 strings, or a microphone stand. Had I been doing a
Top 10 list in 2008, Elephant… Teeth
Sinking into Heart, would probably have been #1. I wore that album out.
Listening to Tightrope Walker, I am sad that I haven’t had a chance to listen
to this more. It is Yamagata at her best. The instrumentation strikes a
beautiful balance between luscious acoustic instruments (“I’m Going Back” has
some of the best strings I have heard recorded) and driving electro-pop. Her
songwriting is earnest and thoughtful, and her voice is the smoke cloud where
dreams are born.
Do y’all know that the Allman Brothers Band is my all-time
favorite band? Well, it is. The combination of Greg’s vocals and Duane’s guitar
cannot be duplicated, and even after Duane left us: Dickey, Dan, Warren, Derek,
and Jimmy kept the music alive. Many bands can point to the Allman Brothers as
an influence, but few can claim legacy status; few are fronted by a couple so
clearly in love for over a decade; few marry the soulful vocals of Susan
Tedeschi, her distinctive single-coil licks, and the incredible slide work of
Derek Trucks; few feature 11 people on stage; few are this damn good. I am kind
of obsessed with slide guitar, so when I listen to Let Me Get By that tends to be what I focus on, but there is really
something for everyone in this recording. When the piano makes an appearance it
is woody and resounding, providing the perfect amount of travel across the
keys. The organ swells help thicken tracks, as do the backing vocals throughout.
With 18 tracks it is hard to find a standout, but “Hear Me (Alternate Mix)”
always come to mind. It is more subtle than the earlier mix. It allows the
emotional duet of Tedeski’s voice and Truck’s slide responses to be the focal
point.
While the rest of the world seems to be flirting with
electronic music, Norah has returned to her roots giving us the smokiest jazz
that she has released to date. You see, Norah doesn’t need to do the electro-dance; she did that
on 2012’s Little Broken Hearts
which was produced by Danger Mouse,
proving once again that Norah sets the trends and the rest of us are just
clambering to keep up. With an October release date, Day Breaks
didn’t have much
time to get spins, but I knew from the moment the silky double bass
notes of “Burn”
announced the immediacy of this new recording that it would make my
list. It has
been in my weekly rotation ever since. Day Breaks offers the kind of
music that spills onto the hot humid streets of New Orleans, the kind of
music that is the perfect backdrop to any passionate love scene, the
kind of scene where the lovers just have to have each other and they
don’t give a fuck that they are presently stuck in an elevator 13
stories above their death. In that moment being together is all that
matters. Picking my favorite track is really
challenging because the album is consistently incredible. The three
covers: "Don't
Be Denied," "Peace," and "Fleurette Africaine"
perfectly compliment the nine new tracks, but based on instrumentation I
tend
to be drawn to “Burn” and “Sleeping Wild.” I love the simplicity of a
three piece: drums, upright bass, and piano.
Amidst the likes of Beyonce, Tedeschi Trucks Band, and
Norah Jones, we have Lucy Dacus whose Wikipedia page doesn’t even
have enough information to scroll, but damn if that voice isn’t distinctive. I
learned about Dacus through her Audiotree recording
and she quickly moved into heavy rotation. It is to the point where my kids
can sing along with most of her CD. While her Audiotree performance presented
her as a reserved, but effective, three piece, No Burden fills
things out with well-placed harmonies, alternate guitar lines, and some distant
keys. “Dream State” stands out to me. After the first chorus the band kicks in,
driven by a nice brushed beat, and then it happens – the build. I am sucker for
a nice cacophonous build, and underneath it all are these beautifully
contemplative lyrics.
“Dream State”
We woke up to the thunder.
We huddled under covers.
We didn’t say anything.
If you hadn’t come over,
I would be so much colder.
I would be much less confused.
Then the water came
and washed it all away.
It left me with nothing to say.
Could not believe my eyes,
I could not recognize
your face in the rubble.
Without you, I am surely the
last of our kind.
Without you, I am surely the
last of my kind.
We had a lot to measure.
We had more past than pleasure,
and time grows deep like weeds.
You catch me when I’m falling.
Sometimes, I wish you wouldn’t.
I can’t tell if I’m learning.
And then the water came
and washed it all away.
It left me with nothing to say.
Could not believe my eyes.
I could not recognize
your face in the rubble.
Without you I am surely the last
of our kind.
Without you I am surely the last
of my kind.
Without you I am surely the last
of our kind.
Without you I am surely the last
of my kind.
Without you I am surely the last
of our kind.
Without you I am surely the last
of my kind.
In 2012 the Lumineers’ self-titled release just cracked
my Top 10 securing the 10th spot based largely on the strength of
their Southern Ground performance and the domination of “Ho Hey.” Four years
later they find themselves at #2 on my list. After such a long hiatus, I am not
sure anyone knew what to expect from their sophomore release. I am here to tell
you it is good. Damn good. Not a bad track in the bunch. Wesley Schultz’s
vocals are strong throughout the recording. The instrumentation, featuring
excellent recordings of the acoustic guitar, cello, and bass, leave you feeling
that you are in the studio with them, watching it all go down. You can hear the
pick rake the steel strings, the wood of the cello as it breathes life into the songs, and the clank of the
hammer on taunt piano strings. The exquisite production is matched by strong
songwriting and storytelling. Cleopatra presents itself as a fitting counterpart
to the current trend in electro-folk music. Again, when a recording is this good,
it is next to impossible to pull out a favorite track. For those that got the
deluxe edition, “White Lie” shines. There is a haunting electric guitar part in
the background; on a mostly acoustic album, it perks my ears and begs me to pay
attention.
It was September 2008, Hotel Café was coming to Blueberry Hill, and I was going to
see Rachael Yamagata for the first time. That should sound familiar, if you
read #10 – #6. I was introduced to Thao Nguyen at that same show. I left
Blueberry Hill with a copy of We Brave
Bee Stings and All, and I have remained a fan. A Man Alive is one of
those recordings where I know…I just know it is going to make the list from the
moment I first listened to it. Other CDs take time to secure their place on
this list. Throughout the year they’ll move on and off the list, until I get to
the final week where I really focus on my selections, but this CD never left
the Top 5. I love everything about the recording. Thao’s unique vocals. The
boundary pushing. The merged influences. The lyrical intensity juxtaposed
against the whimsical instrumentation. While several bands danced with beats
and bass this year, Thao & the Get Down Stay Down pulled it off without
seeming campy. The result is a recording that exists as an authentic tribute to
hip-hop influences and an exploration of the relationship with her estranged
father. She tackles the weighty subject matter with dignity, never losing the
power of her pen to the power of her emotions.
There is one more recording that I do want to mention. I
have never done this before, but my friend Rob posted his Top 6 CDs, and Lori McKenna – The Bird & The Rifle
was his #1 of the year. Rob and I are birds of the same feather (with the
exception of the Uncle Tupelo split – he is in Camp Tweedy, and I am a
documented Farrar devotee). So, I had to take a moment and give a CD I hadn't even heard of a spin. Had I known about The Bird & The Rifle in July when it
was released, I am confident that it would have made the list and probably the
Top 5. Sadly one week with the recording is just not enough time to give it
full consideration, but I encourage you to check it out. Incredible
songwriting.
There you have it, my Top 10 CDs of 2016. As always I
welcome comments and feedback, and I’d love to know what recordings you think I
missed.
