Top 10 CDs of 2020

What a terribly strange year 2020 has been. In some respects, it seemed like any other year, but that is coming from a guy that already worked from home full time. But, in other ways it was constant change, a constant struggle to do the right thing while staring in the face of a nation that made it clear that they put their self-interest over the greater good. And here we are praying for vaccine distribution because that is the only thing that can save us from ourselves. It is odd how something so void of activity could simultaneously be exhausting.

 

Whoa, this is a music blog, not sure how I ended up down that rabbit hole, but if you are reading this, you know who I am. You know I follow science. You know I wear my mask because it would benefit my fellow humans. You know I work in healthcare, and I will be eager to take the vaccine because if the Dr’s and Nurses I work with it are good with it, so am I. I am not so pompous or naïve as to assume I know more than them. They trust my Tech. I trust their Medicine.

 

Okay, I think I am done with that, now. So, let’s talk about music. Oddly, I didn’t buy as many CDs as I normally do. I am not sure if it was selection or if I was being more selective or if I was just pre-occupied with all the other shit. Still, the ones I did buy hit hard and made me make some tough choices.

 

For the new readers, let me get you up to speed with my rules. Yeah, I’ve got rules and shit. Number one rule: I had to actually purchase the CD. If I didn’t love it enough to own it, then it is not list worthy. Seems pretty logical to me. The other rules, with no particular weight, include: how often I listened to the album; how good the artist can pull it off live (yes; I know that doesn’t seem to fit an album review, but, again, it’s my list, and I do what I want up in this piece); quality of recording; strength of lyrics; no EPs; no live albums – it has to be new music, if an artist did a live CD of all new songs, I would consider it; and, for artists that have multiple albums under their belts, how this album compares to their other work. I am not saying these rules are fair, but I am saying this is what I use to determine my Top 10. At the end of the day, what was my soundtrack to 2020.

 

 

#10 – Fiona Apple – Fetch The Bolt Cutters

I am pretty sure Fiona has appeared on one of my lists before. It would surprise me if she hasn’t. I’ve been a fan since Tidal, and my support and admiration has been unwavering. I kind of feel like we grew up together. Fetch The Bolt Cutters is art. It is dense and complex and requires multiple listens to pick-up on and embrace all the nuance. Almost every list I have read has it in the Top 10, if not the Top 5. I think the one thing that held it out of the Top 5 for my list is I just didn’t spend a lot of time with it. Maybe I was too tired to really dig in. It’s not the kind of album that you can let be background. It is heavy. It demands and deserves attention. “For Her” transitions out of a bridge with the line, “You raped me in the same bed your daughter was born in.” Yeah, it is the that kind of heavy album. Like I said, it deserves attention, and should be on every Top of 2020 list.

 

 

 

#9 – Sylvan Esso – Free Love

Sylvan Esso has long been my go-to for work jams. For whatever reason, I am able to groove to their music while simultaneously getting shit done. They are like spinach, if I were Popeye. Oh wait, is that reference too old for you? Google it, ya young whipper-snapper. Free Love is exactly what we needed this year. If you follow any of their social, they did the best live stream performances this year, and made incredibly artsy videos. When spinning this CD, you can let it sit in the background while you get in some chair dancing, but be prepared for depth and introspection. They may sound like a fun party band, but trust if you dig into the lyrics, they always have something powerful to say. Oh, they also release WITH this year, which was a dynamic live recording, which deserves a purchase as well. HERE is a link to their YouTube, do yourself a favor and spend some time checking out the multi-media they are putting out. Great stuff.

 

 

#8 – Caitlyn Smith – Supernova

I am gonna be honest, there wasn’t a CD I was anticipating more than Supernova. Starfire caught me by surprise, as I had not heard of Caitlyn Smith, but I instantly loved her voice and songwriting. So, when I heard rumor that she was dropping new music, I was eager like a fat kid on Thanksgiving. Let me tell you, just like sweet potato casserole and stuffing, Supernova does not disappoint. As you’d expect from a disk being produced in Nashville, the production is as clean. Say what you will about country, but those Studios Engineers know their way around a console. I am not sure where I would put this album. I am seeing people call it Adult Alternative on-line, but I feel like it is younger and fresher than that genre. It’s not country. Hell, what is country anymore? Anything with a pedal steel I guess, such a weird genre. Here is the deal, if you dig really great singers that are belting some extremely relatable, yet personal, shit, and are a fan of excellently produced recordings, you are gonna like this CD.

 

 

#7 – Phoebe Bridger – Punisher

I found Phoebe through boygenius which is her side project with Julien Baker and Lucy Dacus, both of whom I am a huge fan. Surprisingly, to me at least, it was Phoebe that stood out in that ensemble, so I started getting all of her stuff. Stranger In The Alps is excellent, and her collaborations are always impressive, my favorite being the one with Noah & Abby Gunderson. Needless to say, when I saw that she was releasing new material, my excitement was palpable. When I step back and look at her body of work, Punisher is just a more mature recording, not just the songwriting, but the recording itself. With her wistful voice and intensely honest lyrics, Phoebe is able to juxtapose vulnerability and fearlessness. Just read the lyrics to “Moon Song” and you’ll understand what I am talking about.

 

You asked to walk me home
But I had to carry you
And you pushed me in
And now my feet can't touch the bottom of you

 

You couldn't have, you couldn't have
Stuck your tongue down the throat of somebody
Who loves you more
So I will wait for the next time you want me
Like a dog with a bird at your door

 

We hate Tears in Heaven
But it's sad that his baby died
And we fought about John Lennon
Until I cried
And then went to bed upset

 

Now I'm dreaming
And you're singing at my birthday
I've never seen you smiling so big
It's nautical themed
And there's something I'm supposed to say
But can't for the life of me remember what it is

 

And if I could give you the moon
I would give you the moon

 

You are sick, and you're married
And you might be dying
But you're holding me like water in your hands
When you saw the dead little bird, you started crying
But you know the killer doesn't understand

 

She creates with abandon and will not be constrained by any box you, or I, want to put her in.

 

#6 – Ashley Ray – Pauline

I think this might be the surprise of the list, not because I haven’t been a fan for a long time, but because it caught me off guard, and despite being an accomplished songwriter and putting in her dues for years, Ashley is still a bit under the radar, for most. I saw her dropping singles, but I missed the album release. August is the busiest time for the youth football season, so I was in full-on coach mode and just missed it. I didn’t pick it up until the week of December 14^th after she dropped her Tiny Desk (Home) Concert which was so good I went out looking for more music. Typically, albums that I buy in December really struggle to get the kind of rotations that would garner a spot on my list, but right out of the gate, Ashley lets you know she is not playing around. “Pauline” is this dirgey ditty about her mom and grandma. It is introspective, vulnerable, and authentic, and the album never lets up. It’s one of those discs that defies the rules. I don’t care that I didn’t get to listen to it 100s of times over the course of the year, because this is like her Southeastern. Those that know, know. The production is exceptional. It has the tones and textures that I love the most about Alt-Country/Americana. So much lovely lush tremolo. If you appreciate really incredible storytelling, this is the disc for you.

 

#5 – All Them Witches – Nothing as the Ideal

When I think about the soundtrack to my 2020, this disc had to be included. Y’all already know that All Them Witches is my son’s favorite band. Every year I set his highlight video to their music – here is his 5^th grade film – and we listen to them before every practice and game, so you know the new disc was in HEAVY rotation.  What is incredible to me is how prolific they are. All Them Witches lives in a world that is sonically undefined, from album to album they seem to be able to reinvent themselves while remaining true to themselves. My son and I had a pretty intense discussion about Nothing as the Ideal. I mean as intense as you can get with an 11 year old. He says it is his second favorite ATW recording, but it falls more to the middle of the pack, for me. They veered a bit from the psychedelic grooves that I love so much on ATW, Sleeping Through the War, Dying Surfer Meets His Maker, and the others. Instead, a few cuts, seemed to be drawing from a more old-school thrash and metal influence, almost reminiscent of Motorhead. I am not saying that is a bad thing, but I really love when they stretch things out, when they let the song breathe. I mean they only had three songs that were longer than five minutes for fuck sakes. That’s abnormal for them. No surprise, but the two that eclipsed nine minutes, “See You Next Fall” and “Rats in Ruin,” are my favorite of the disc.

 

#4 – Katie Pruitt – Expectations

Ya know, I never would have thought that in the middle of a global pandemic the album that I would need was a brutally honest coming of age while coming out of the closet recording, but here we are. Expectations is riddled with track after track of incredible storytelling and authenticity. The instrumentation is timeless. Katie’s guitar playing is tastefully understated, and her voice lilts and sores, commanding an impressive dynamic range that is rare in such a young singer, but really, it comes back to the songwriting. It is just so open and intimate. I genuinely feel like I know this total stranger. I feel like she is a member of my tribe. As a singer/songwriter myself, I suspect that was always my ultimate goal, to open up and let the listener really know me, to find connection. In a year that placed connection at a premium, Expectations helped to fill the void. We talk a lot about love is love, and that is easy for some to understand, but for others they still struggle with that concept. For those that are struggling, I beg you to read these lyrics…

 

I was broken and bent out of shape
Everything was a dark shade of gray
There never was a sunnier day
Than when you decided to get on that plane
Touch down in the Tennessee rain
And I had no clue, it was gonna be you

Then one night we got high on your bed
I had the munchies and your eyes were red
In the grocery store shopping for bread
You looked me dead in my eyes and you said
"Let's have a sword fight with these French baguettes"
And that's when I knew, it was gonna be you...

You came wandering into my life without warning
We stayed up talking, before I knew, it was morning

At a house party just down the street
My band was playing and you came to see
Oh, we both had way too much to drink
We made out all night on some strange balcony
I swear I never wanted to leave
And neither did you
Oh, neither did you...

It was perfect, as if God himself wrote it
I'd be fine dying, if my life were only this moment...
Oh oh oh oh... oh oh
Oh oh oh oh... oh... oh oh... oh

In my bedroom when I was a child
I imagined that same exact smile
In my dreams, oh, you drove me half wild
I thought for sure it was all in my mind
You could never exist in real life
Yet somehow you do
Oh, somehow you do

There must have been angels
Singing sweetly above me
Oh, do you love... me?
There's nobody who
Makes me feel... like you do...
I know that it's always been... you...

 

I am hoping that knowing that is a girl singing about loving a girl will help you understand.

 

#3 – Jason Isbell and the 400 Unit – Reunions

Y’all had to know this was coming right? When has a Jason Isbell album not made my list. When I was compiling the list, Reunions was there, but I initially had it much lower, then, as I do before I write my review, I gave it a listen, and instantly I realized I knew every word to track; I knew all of Jimbo Hart’s bass lines; knew all the slide parts, all the times Amanda Shires’s harmonies kick in. Because it was released in the front half of the year and didn’t get a lot of play during the football season (as a person that works from home, the football season is when I listen to the most music because it is when I am in my car the most, going to and from practice, picking players up, dropping them off, roadtripping to games, etc.) I had forgotten how much of an impact it had already made on me. I had forgotten how strong it was. I am to the point where I would fight someone that didn’t think Jason is one of the best songwriters America ever produced, and it is fuckin’ justified. Album after album the dude is able to paint an authentic American landscape that is accessible, dreamy, and thought provoking. I mean read “Only Children” and tell me that is not the most well written story you’ve read this year?

 

Walking around at night
Fighting my appetite
Every kid in cutoffs could be you
Remember when we used to meet
At the bottom of Mobile Street
And do what the broken people do

Are you still taking notes
The Holy Ghost could get inside you
And do whatever you put your mind to
Will you read me what you wrote
When we were locked outside the building
Over-encouraged, only children

Cold coffee on the fire escape
We bet it all on a demo tape
When we still had something left to steal
Remember when we took too much
To get a little of the human touch
Hand to mouth and reel to reel

And are you still taking notes
Hydrocodone in your backpack
Maybe these words will hold the beast back
And will you read me what you wrote
The one I said you stole from Dylan
Over-encouraged, only children

Heaven's wasted on the dead
That's what your mama said
When the hearse was idling in the parking lot
She said you thought the world of me
And you were glad to see
They finally let me be an astronaut

Are you still taking notes
Will you have anyone to talk to
Castle walls that you can walk through
And do the dead believe in ghosts
Or are you lost in some old building
With over-encouraged only children

 

Honestly, I could just drop the lyrics and let them speak for themselves, but you have to hear the music. The 400 unit is one of the tightest bands making music today. Everyone of them respects their craft; they don’t cut corners; they don’t forsake talent for studios magic; and all of that is evident when you listen to Reunions.

 

#2 – William Wild – Push Ups

No artist got more play in my house than William Wild in 2020. William Wild, which is the moniker of Knoxville based singer/songwriter/producer Garrett Sales, is my go-to to get my head right, to calm me when the kids have terrorized my morning, or I need some calm before bed. Push Ups soothes me. It’s Garrett’s voice. His incredible ability to slide into falsetto with no break is breathtaking. Unlike previous recordings, William Wild and Steady Now, Push Ups is more expansive. The instrumentation has an electronic bend, and his knowledge of production is on full display because every musical direction, every decision that is made is tasteful and intentional. Much like Sylvan Esso and All Them Witches, you can let William Wild be the background to your moment, but if you really listen, if you get beneath the surface, Garrett is opening himself up; he is exposing the rawness of his existence, and it is beautiful.

 

#1 – Nas – King’s Disease

I just went through every Top 10 I have written. I have been at this since 2009, and while several hip-hop artists have appeared on my lists, no one has ever taken the top spot, until this year. If y’all follow any of my social media, you know Nas is my favorite rapper, has been and probably always will be. If Nasir had two more songs, that disc could have made the list, but I put that in the EP category. King’s Disease, however, with 13 terrific tracks, definitely qualifies, and, in my opinion, it is Nas’s best work since Illmatic. So, here is the thing, I just don’t feel qualified to talk about hip-hop. I know what I like. I know I played this CD after every football game, after every football practice. I know my kids know every word on every song. I know it earned it’s spot on my list, but I also know what I don’t know. As a singer/songwriter I feel qualified to speak on the majority of the music I review. I know the history. I understand the instrumentation, the song construction; I can differentiate quality lyrics from shit, but when it comes to hip-hop, I prefer to listen to folks that are more knowledgeable than I am. So, HERE is the Joe Budden podcast discussing the disc.

Top 10 CDs of 2017

Let’s be honest the concept of top or best or favorite is completely based on preference. There is no way to truly quantify the value of recording in away that it would be universally accepted. So, I do not apologize for having an opinion or attempting to rank the music that moved me. Having written and published a public list since 2009, I have adopted some standard rules that I apply to drive consistency from year to year, but even those are subject to change based on the way the wind moves from one day to the next, and now that I have a family that likes to insert their influence on the list all bets are off, really.

Just to refresh everyone, here are some of the items that will influence my placement of an album on the list: 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 some cash 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. The last factor that often comes into play is an artists ability to grow, to expand…to be their best versions of themselves, to drop a disc that was better than their other efforts.

This is the moment where I drop a caveat. From year to year there tends to be at least one recording that I want to recognize, but I just couldn’t add it to the list for one reason or another. This year it is moral. I love 4:44. I think it is a great recording. The production is solid. The beats are tight. The lyrics are forward moving and exceptional, but I am just done supporting adulterers. Keep it in your fucking pants. Seriously. You are married to Queen Fucking B. You have everything. But everything is not enough? But you are sorry; right? Fuck that.

With all the dirty laundry out of the way let’s get into it.

 #10 Daughter – Music From Before the Storm

It’s rare that a band appears in back-to-back years. It has happened. Samantha Crain comes to mind, but, again, it is rare. Luckily, Daughter is just bad-ass enough to make it happen. Hitting the list at #7 last year with Not to Disappear, they are back this year with their soundtrack to Before the Storm. What I love most about Daughter is the atmosphere they create with their music, so many layers and textures to lose yourself in. They create the perfect get shit done music, which seems totally appropriate for an episodic video game. If I had one request, it would be more lyrical content. I get that they are creating the soundscape for a video game, but can’t the moments be made more powerful by using lyrics to express the feelings of key characters? Also, it would let us hear more of Elena Tonra’s voice, and that’s really what we want, isn’t it?

 #9 Samantha Fish – Belle of the West

Belle of the West was last CD added to the list, but Samantha Fish has been on the list since March. How in the hell is that possible, you may ask. Well, Ms. Fish opted to drop two CDs in 2017 because, fuck it, why not, right? For months I was groovin’ to the up-tempo jams on Chills and Fever, and then she curve balled me, dropping Belle of the West in November. Maybe it is recency bias; maybe it’s just my singer/songwriter sensibilities; maybe it’s my appreciation for Luther Dickinson’s production; but when listening to these two excellent recordings that exist on totally different spectrums, I am drawn to the more acoustic, more reflective, down-tempo recording. Standout tracks like “Blood in the Water,” “Don’t Say You Love Me,” and “No Angels” add just enough sultry stank to set the recording apart from other singer/songwriters dropping CDs in 2017. Throughout the disc, the Delta influence is present, and I also hear shades of Bonnie Raitt, but the net result is a disk that is very Midwest, very bluesy, very country, very Americana, and very Samantha Fish.

 #8 The Wild Reeds – The World We Built

The Wild Reeds are another band that I found while I was binge listening to Audiotree. Their harmonies immediately grabbed me, so I started down the YouTube rabbit hole landing on several quality live performances, which pushed me to hit up iTunes and buy their catalog. I had been enjoying Blind and Brave; Songs for the Morning, Afternoon, and Evening; and the live Audiotree recording when I caught wind of a new release. I jumped out on iTunes and purchased without a preview. Like previous recordings, the World We Built offers the same powerful harmonies and distinct phrasings; strongly penned songs and emotional delivery, but it does it with a fuller, more electric accompaniment. While I genuinely appreciate the acoustic, bluegrassy, vibe of the previous discs, I loved their desire to grow and expand. The inclusion of synths adds new textures that make the recording interesting and kept me captivated from start to finish. Another item that really grabbed my attention on this disc was the production quality. The kit sounds incredible throughout – punchy kick with just the right kiss of reverb and a nice snap of the snare. The guitars are nicely separated, leaving the middle free of muddle which can be found in bigger bands. The bass hits nicely with the sub engaged, and can we go back to that kit? Damn, it sounds so good.

 #7 Quicksand – Interiors

The 21 year-old sailor bouncing between gaslight open mics with a cassette of Manic Compression guiding the trips between coffeehouses just threw up two fingers and rejoiced that Quicksand is still making killer music. With labels like post-hardcore and 90’s alternative thrown about, it may be hard to classify Quicksand. So for those not familiar, when I am building playlists, I often find them hanging out with Tool and Helmet, but they would be equally comfortable paired up with Kyuss or some of the more aggressive Seattle bands. Heavy with quick beats and resounding vocals, all of which are highlighted on Interiors. Vega’s fuzzed-out bass creating the drone the moves the tracks along, allowing Cage to showcase his quick wrists, while Capone and Schreifels deliver those anthemic rawk builds, providing the tension and release so integral to the genre. The disk is solid throughout. You can put it in at the start of any roadtrip and let it guide your voyage without the need to skip tracks.

 #6 Chris Stapleton -  From a Room, Volume 1 & 2

Come on Chris, what are you trying to do to me You know I’ve got rules and shit. Why did you have to throw me a deep sinker and drop two volumes within the same year. What am I supposed to do with that? Judge them separately? Rank one above the other? Well, it is my list, and I am calling it one CD that is brilliant. Deal with it. For those reading the list that really know me, you know Stapleton is everything I aspired to be. Big-ass voice. Killer guitar tone. Writing the most heartfelt songs you ever cried to. While the collection of songs assembled for From a Room offer some uptempo ditties designed to lift the soul, I defy you to give it a good headphone listen from cover to cover without spilling a tear or two. If “Either Way” doesn’t get you, “Nobody’s Lonely Tonight” certainly will.

 #5 Son Volt – Notes of Blue

It is so rare for a CD that was released in February to make the final cut, but Notes of Blue is that rare kind of CD. All the social commentary and middle-America earnest lyrics that you’ve come to expect from Son Volt, delivered by a voice that could only be Jay Farrar’s. This go around, Son Volt offers a Delta inspired exploration into crunchy guitar goodness. “Static” is a standout for me. I get stank face just listening to it. Of course, any local reference gets this St. Louisian excited, so “Cherokee St.” also jumps out to me, but the disc is filled with solid tracks, and so much dirty delta goodness. Sown through the dusty fabric of the recording are acoustic gems like “the Storm” and “Cairo and Southern.” My admiration of Farrar and Son Volt is well documented in my past Top 10 lists, but this recording is really special, a must own.

Folks this is where things get real tricky. I found it next to impossible to rank 4 through 2, so I am not. That’s right. It’s my damned list, and if I want to give you three 2s, well that is what you are gonna get. The problem is there is no empirical way for me to differentiate these disks. I saw 2 of them live this year, and they killed it. They had equal distribution of play, with the one that I wasn’t able to see live garnering slightly more spins than the other two; if I were to poll members of the family, they would each pick a different one, so there was no help to be had there. Actually, if I were to ask Wendy Mae, she would likely list Tank and the Bangas as her Top CD in 2017, and she doesn’t give any Fs that their two disks were released in 2013 and 2014. My arbitrary rules are of no consequence to this fiercely independent 10 year-old.  I once heard her listen to “Crazy” 27 times in a row. Twenty. Seven. Times.

So here you go, The 2s in alphabetical order.

 #2a All Them Witches -  Sleeping Through the War

The undisputed #1 for my 8 year-old, Sleeping Through the War was played before every football practice and game. It was his get-up disk. It is the reason he got a bass for Christmas and wants an All Them Witches tapestry to cover the grill on his amp thanks to their Rig Rundown. For me, the CD reminds me of my best jams in So Much Closer, Whiskey Daydream, and EKe. It’s the direction So Much Closer was headed before we split and where I’d likely land, if I started a new band. Their dynamic shifts; unabashed use of guitar, bass, and Rhodes effects; and poetic lyrics are all staples of my musical interests. Through six disks their growth continues to inspire, and with Sleeping Through the War I believe they tapped into something remarkable. It offers just the right amount of studio magic without seeming over-produced. The energy of their live performance can still be felt on every track while offering enough layering to keep the disk interesting from first note to last. “Don’t Bring Me Coffee” and “Am I Going Up?” are standouts for me, but I never feel the need to skip a song.

#2b Julien Baker – Turn Out the Lights

From the moment I pressed play I was in love, and at exactly 3:32 of the second track “Appointments” I knew this CD was worthy of a #1 placement. I am often drawing comparisons between the artists on this list and my own music. At my core is a Julien Baker. Six strings. One voice. And fearless creativity. While I have loved every band I have been in and cherish those moments recording and touring, I am most me when it is just me, my guitar, and some effects on stage. What I love most about this recording is she stayed true to her formula. On the heels of a successful first solo effort, it is so tempting to pull together a full band and expand the sound because that’s really what is expected. It’s what I did. The release of my 2^nd full length was also the first time I played with a full band. It is what I thought would take me to the next level. Thankfully Julien has enough confidence to know that is not true. Julien has been able to do what I couldn’t. She has created something so moving and powerful that she doesn’t need any other instrument; she doesn’t need anyone else on stage with her. She strips herself bare, opens her mouth and lets all of us into her world, her fears, her anxieties, her passions, her salvation, and it is enough. We ask for nothing more, and thank her for sharing her gifts with us.

 #2c Jason Isbell and the 400 Unit – The Nashville Sound

Come on; y’all knew it was coming. The disc is incredible. As far as I am concerned, Isbell continues to be the best songwriter of his generation. The Nashville Sound offers a somewhat retro look into his rockier past, highlighting the sonic force that is the 400 Unit while still offering up some intensely introspective yet universal lyrics. When played in the car, there isn’t a family member that doesn’t sing along. The opening tracks of “Last of My Kind,” “Cumberland Gap,” and “Tupelo” perfectly set the mood for the recording, but the hidden gems are still to come. “If We Were Vampires” is the love song all songwriters wish they would have written for their lover, while “Hope and the High Road” provides the hope we all need during these dark days of the new world order. The Nashville Sound spent the vast majority of the year as my #1, but Turn Out Lights which was a late release caused me to question its position, sending me into an intense internal debate that resulted in a totally different direction. 

 #1 Sylvan Esso – What Now

So, how did we land here? Well, for a period I had four #1 CDs, but then my new found fuckit caused me to look at things through a slightly different lens. If Christ Stapleton could drop two volumes and Samantha Fish could release two separate CDs in one year, then I could pair The Echo Mountain Sessions (also released in 2017) with What Now when making my final assessment. On its own, What Now was my wife’s pick for #1. It was probably Wendy Mae’s pick, if I was able to confine her to CDs released in 2017. We took a family roadtrip to Indianapolis to see Sylvan Esso kill it live, and I spun the disc as much as any CD this year. It is another go-to for me when getting shit done. Also, it is impossible for me to not move when listening to What Now. Truly, it is worthy on its own, but the Echo Mountain Sessions really pushed it over the top. Watching and hearing them remix four of the tracks using actual instruments blew my mind. The artistry. The talent. It was all just simply too much to ignore. When you pair all that with lyrics that are actually saying something, it became apparent that I had found my #1. What Now eases you into the fun with a couple subtle tracks more focused on the lyric than the beat, but the dance party kicks into action with the third track, “Die Young.” When “Radio” comes on, you cannot stop your body from moving, as you sing at the top of your lungs because Amelia’s pissed and so are you! It’s a wrap with “Kick Jump Twist.” Lights have been turned off; glow sticks have come out; and your arms are a jumbled mess of hippie moves and failed attempts at animation. Thankfully “Song” provides a brief respite from the dance party ‘cause I am too old and fat to keep up, but they are only giving you one song to breathe. “Just Dancing” is everything you need to let lose and dance like no one is watching before the disk fades out with three numbers that have you thinking as much as moving. 

Warning for Concert Goers: Don't Poke Papa Bear

First, no I am not turning this blog into a Dad blog. My wife and I are planning a parenting blog, but we are still trying to solidify the voice and title. We had a GREAT idea, and we knew it was great because someone already took it, so… In the meantime, being a step-dad is my current station in life, so it is bound to find its way into my musings. Luckily, this time, it is also about music.

Amanda and I are very big on experiential gifts, so this year one of the family gifts was to see Jason Isbell at the Peabody. Because I ain’t cheap, I got us good seats, like 10 rows back. The seats were perfect, patrons around us seemed chill, and we were ready for a great night of listening to our favorite as a family.

The evening kicked off with a rumpus set from Shovels and Rope. Always great to see a group really feeling it, and they were so gracious. I will say they were a bit loud for my taste, and not loud in the “get off my lawn” kind of way, loud in the we are a two piece so we are going try to fill the void with volume. This happens. Hell, I started running split amps when Corey Woodruff  and I were playing out as a duo. I’m not mad at them. I know why it happens. I am just saying the songs were strong enough to stand on their own without being propped up by volume causing uncontrolled feedback.

After a lengthy change over, Jason Isbell and the 400 Unit took the stage, and we lit up. For the first time in the six times I have seen him, his wife, Amanda Shires, was on stage with him. There is something so incredibly moving about seeing a husband and wife perform together, when the looks of love are not a mere façade. Plus with a budding 8-year-old fiddle player in the house, we were thrilled for her to be able to witness greatness. As they always do, Isbell and the band destroyed the stage. They were tight as a hipster’s jorts. Their joy and enthusiasm for the music could be felt everywhere in the room. They brought smiles and tears, bringing the house down with “Cover Me Up” which, by all accounts, was everything. It was shaping up to be a perfect night, and then there was the encore.

As is common, folks tend to inch their way forward during the pause between the last song of the main set and the encore. Some people bail, hoping to avoid traffic, while others clamber to get closer. The majority around me were sitting still, so I didn’t think much of it, but behind us was a row of folding chairs reserved for folks attending the concert with someone in a wheel chair. The row was vacant for the entire show, until the encore. That’s when things took a turn for the worse.

Behind us stood a very intoxicated Mid-Life Crisis Barbie, well into her 40’s and dressed for clubbing, and her friend I am Too Old for American Idol but I Think I Can Sing Barbie. Now, I am not mad at AI Barbie. You do you. If you are feeling it, sing your ass off. As a performer, we LOVE it. It helps that you were almost in tune, too. Crisis Barbie, on the other hand, not a fan. As the band returned to the stage, they eased into “Flagship.” As you will see below, this is not a rocker; this is a subtle ballad that begs to be listened to. Crisis Barbie didn’t see it that way. She was very content to loudly hackle and talk with AI Barbie. I kept my cool. Rolling my eyes and breathing, and then she dropped her drink, almost dropping it on my step-son. I gave a quick cutting glare, but still maintained. Then as AI pointed out what she had done, I hear Crisis say, “Fuck that kid.” I was in her face in a nanosecond. I am not entirely sure what all I said, but I know there was a “Shut the Fuck Up” and not like the way Elaine would have said it to Jerry if Seinfeld was on Showtime; more like Stone Cold would have said it to Vince McMahon. She gave me a couple “Fuck Yous,” but the only thing I heard from her the rest of the night was the rattle of her ice cubes against the plastic up, as she tried not to waste the remaining drops of vodka.

Now, I will be the first to admit I did not handle this situation well. I definitely needed to be more tactful. I envision she is telling stories about the asshole at the concert as I write this. Clearly she isn’t going to own that she was the asshole. Drunk people rarely do. And I know I made an impact because, at some point, her fella came to her side. Like many, I’ve been there before, where the girl I was with was running her mouth, justified or not, and I had to step in to end the conflict. When the show ended and the lights came up, he made eye contact and offered a “good show” fist-bump. This is similar to a bear showing a submissive posture or yielding space. While his mouth said, “Good show, right?” his eyes said, “Look Bro, I see you. I get that your arm is as big as my leg, and you are sober while my reaction time clearly is impaired. Let’s chalk this up to what it is: she’s drunk, and I don’t want to fight you.” I nodded and helped little man get his coat on.

While I regret the manner in which I approached the situation, I do not regret responding and, frankly, I am TIRED of people not doing anything; of people enabling this kind of behavior or biting their tongues because, “(s)he’s drunk.” In an effort to avoid similar situations in the future, I will offer a few tips. I am pretty sure I have written something like this in the past, but it needs to be repeated.

• If your intention is to talk through a show, please stay home. People have paid good money to HEAR the performer. And, as a performer, talking is seriously disrespectful. What I have written has meaning, and I am offering it to you, so please listen. If you are more interested in hearing the sound of your voice, belly up to a bar somewhere without live music and talk until you are hoarse.
• If you are going to the show because it presents a good chance for you to become intoxicated, please stay home. Think about the cost savings. That $80 worth of rail drinks would cost you about $25 at home with the good shit, plus you don’t have to worry about paying for Uber, or worse, driving drunk. You can be as obnoxious as you want and no fucks will be given. Well your friends may, but they already love you, so they’ll likely forgive you.
• If you try to get slick at a show and move into some vacant seats with a better vantage point, realize you can easily be removed, so be on your best behavior.
• Lastly, if you see a bear and his cub, don’t poke the bear.

Top 10 CDs of 2015 - #6 & #5

You have landed on one singer/songwriter's list of the Top 10 Albums of 2015. What makes my list more important than someone else's? Nothing. Just some ramblings from me to you. Me giving praise to CDs that got me through the year. CDs that inspired me. CDs that I think you should consider for your own collection because I am obviously egocentric and think you should like what I like.

I am releasing two CDs a day in new blog posts until I get to all ten, so you do not have to bother yourself with scrolling to get to the new information. For those jumping in mid-list. If you want to know what's come before, you can read the full blog HERE.

#6 Jason Isbell – Something More than Free: Those that know me and follow my daily drops of music on Facebook, probably thought by name alone this was going to be #1. There was a period of time when I assumed it would be too. There is no question that I think Jason Isbell is one of the best, if not the best, singer/songwriters, and not of this generation, but of all generations. For years, Nighthawks at the Diner by Tom Waits was my all-time favorite CD, and then Southeastern happened; it assumed the #1 position. During his recording process, I remember reading Tweets from Isbell indicating that he believed Something More than Free was gonna be better than Southeastern, and maybe it is, maybe its genius is above me or maybe I am such a glutton for sadness that the vibe on Free just doesn’t hit me like Southeastern did. That is not to say it is not a great CD; obviously it is. I mean, it’s on the Top 10 of the year. Isbell continues to write songs that I wish had come from my pen. He paints pictures so vivid that I can see them unfold before me like 8mm shorts. “Speed Trap Town,” “Something More than Free,” “To a Band that I Loved,” and “Hudson Commodore” were standouts for me. I think what placed this mid-pack wasn’t the songwriting but the production. I am infatuated with the starkness of Southeastern, the woody sound of Isbell’s Martin, the way that it makes me feel like he is sitting in my room singing to me. I realize it isn’t fair of me to expect an artist to duplicate the sound of previous recordings, to stay in their foxhole for another 12 songs, but life ain’t fair and I love what I love. While Something More than Free reinforces the strength of Isbell’s storytelling and word choice, the distance of the recording prevented me from becoming fully obsessed.  Knowing how calculated he is, I am sure that there is a metaphor here, maybe the distance in sound represents the distance from his demons, and for that he deserves applause.

 #5 Chris Stapleton –Traveller: I am a fucking lemming. I’ll admit it, I had never even heard of Christ Stapleton before the CMAs and his breakout performance. And even then I didn’t immediately buy the disc, but after seeing it pop-up on some respected end-of-year lists, I followed the masses, and I am glad I did. This dude is brilliant. Sincere. Eloquent. Weathered. Earnest. And he sings with the soul of an old church pastor who has caught the spirit. I thought I was gonna get a disc with a bunch of throwaways, trite modern country ditties with weak metaphors and obvious pop-culture references, but Traveller is the exact opposite. It is timeless. I could listen to “Tennessee Whiskey” on repeat and never grow tired. “Sometimes I Cry” has me coming back for more with Stapleton’s husky voice at full growl and single coils screaming into a dirty amp, but “Whiskey and You” captures the starkness that I love so much, just a woody guitar, an incredible voice, and a story that plays on the strings of emotions coursing through my body.

One’s the devil, one keeps driving me insane

At times I wonder if they ain’t both the same

But one’s a liar that helps to hide me from my pain

And one’s the long gone bitter truth

That’s the difference between whiskey and you

Top 10 CDs 2015

It is that time again, time to consolidate a year's worth of music into a few posts, some personal assessments, a few flowery words, a YouTube or two, and a ranking of talent which is completely subjective.

As in years past, to make the list, I had to have purchased the CD this year. I had to give my hard earned coins to the artist as a token of appreciation for the gift they gave to me, not just free rolled it on Spotify or some such service.

In all honesty, an album has a better chance of making the list if I have had a chance to see the artist do it live, and if it is a second or third or fourth album, it helps to be better than what came before it. I know both seem to present certain conflict with the theme of the list, but that's how I roll. If you cannot do it live, I don't care what you can do in the studio, and if you dropped an album that I fell in love with, it is hard for me to escape that, so follow-ups need to go further, make me hear something new. As you'll see neither will prevent a CD from making the list, but placement on the list is often impacted.

What's different about this year's list is I find myself with more time on my hands, so I will be progressively releasing it. I'll be doing two a day, which will hopefully give you more time to digest and appreciate the list, maybe even purchase some of the music (if you haven't already) to enjoy for yourself.

Up first are two CDs that didn't actually make the list because they didn't present new music, so I didn't know what to do with them. They were both live CDs and both blew me away for different reasons. I have been enamored with live releases since I came across Nighthawks at the Diner in my mom's record collection. Then I found the Allman Brother's Band Live at Fillmore East a CD by which all others would soon be judged. These two are worthy.

Ryan Adams - Live at Carnegie Hall: This CD goes straight to the core of what I love about music. Despite all the amazing times I've had playing in bands, at the end of the day,it starts with one instrument, one voice, and some words. So hearing Adams strip it down and perform all my favorites is everything I could ask for. His voice is resounding and true. His exchanges with the audience are witty and offer insight into the humanity of an artist that often appears larger than life. Although the double disc offers some duplication, there are subtle variances that make me not care. For fans of Adams, it is a must own. For fans of singer/songwriters that are not familiar with his work, it will make you a fan of his.

Amos Lee - Live at Red Rocks with the Colorado Symphony: In contrast to the stripped down sets of Ryan Adams, Amos Lee paired up with the Colorado Symphony and filled the space between Earth and heaven. Without question, this is the most beautiful CD I have ever heard. Again, it is filled with fan favorites of Lee, but having the backing of the Colorado Symphony made it something incredibly special, something that could not be re-produced, something that we are lucky they captured so we could all live in the splendor of this recording. Lee has long been a favorite of mine; his storytelling and voice strike a chord with me; and, when backed by the Colorado Symphony in this majestic setting, he creates something other worldly. For those that have not bathed in the textures of this recording, stop reading this and go purchase a copy. You will not be disappointed.

Before I begin revealing the list, I feel compelled to share some of the artists that did not make it. In total I purchased 33 CDs this year, and probably previewed 100 or so more. If I did an annual Top 25, these albums would definitely be on it: Samantha Fish, Wildheart; Patty Griffin, Servant of Love; Alex Preston, Alex Preston; Adele, 25; Silversun Pickups, Better Nature; TheDecemberists, What a Terrible World, What a Beautiful World; Dawes, All YourFavorite Bands.

And here is my Top 10 of 2015:

#10 James Bay - Chaos and the Calm: I am not even sure how I learned about James Bay. I think I was just chasing links on YouTube, and I saw this young cat with an old Epiphone Century. As a guitar nerd there was immediate respect, so I clicked, and then...then there was the voice, whispy yet so full of soul. Like Ed Sheeran and other young singer/songwriters, James is able to merge modern beats and rhythms while paying homage to the great soul music that came before. It is often challenging for an early release to remain on the list, as new releases push it to the back of the rotation until it becomes lost, but Chaos and the Calm was able to stay relevant. It is a great windows down CD, something to drive to, something to play in an attempt to escape the pressures of the day. Stand out tracks for me, "Let it Go," "Move Together," "Hold Back the River," and "Collide." There is a little something for everyone on this disk, a fair amount of sad bastard tunes (my personal favorite), some anthemic songs designed to lift your spirits, and a good selection of ass shakers.

#9 Glen Hansard – Didn’t He Ramble: Until yesterday I wasn’t sure what CD would end up in the 9 spot, and I think the determining factor was an absolutely incredible performance put on at the Pageant by Hansard. I’ve seen him several times, even based a roadtrip around catching him in Chicago one year, so I knew what to expect, but this show was something different. There seemed to be more joy, less need for acceptance and more acceptance of his genius, like he has finally settled into the fact that he is amazing. Didn’t He Ramble is more of a brooder, something you really need to sit down and listen too. Previous recordings with the Swell Season and even Rhythm and Repose were more immediately emotional. He gets there, on tracks like“My Little Ruin,” offering that crescendo that allows us to feel what he is saying, but the majority of the disc is heady, it sits in a numb-zone where there are fewer feelings and more thoughts. His voice is still the blanket that we all want to snuggle up with, and his sincerity continues to offer respite in a world of false profits.

#8 Samantha Crain – Under Brand & Thorn & Tree: Samantha Crain has probably appeared on my Top Ten lists more than any other artist. She is prolific and continues to grow CD after CD. Her songwriting gets stronger, and she continues to sonically advance her music, making creative choices that prove she cannot be tamed. Under Brand & Thorn & Tree opens with “Killer,” lyrically earnest but musically whimsical, offering a synth part that tries to distract the listener from the subject at hand, “The killer of girls, the killer of self; turned the Garden of Eden into a fiery hell.” Her voice is as distinct as I have ever heard, and I have seen her pull it off live for years whether backed by full band or just her and her trusty Martin. The album is full of gems. Standouts for me: “Outside the Pale,” “You or Mystery,” “Moving Day,” and “Cold Hands.”

#7 Death Cab for Cutie – Kintsugi: I cannot pronounce it, but I sure do love to listen to it. I hate to say it, but a sad Benjamin Gibbard is better than a happy one. He was too content when he was married to Zoey, as evidence on Codes and Keys and his solo recording, both decent recordings, but Kintsugi is Gibbard at his best, scorned and passively letting us know it. Okay. I cannot prove any of that, but in my mythical land of star relationships this was a contributing factor to the brilliance of this recording. Of course, Chris Walla is also at his best on Kintsugi, and we are all still mourning his departure from the band, but the tapestry of sounds he has created is inspiring. I cannot stand this disc because every time I think I’ve solidified four or five standouts, I listen to the next song, and I am equally enamored. Lyrically, Gibbard is up there with Waits, Foucault, Isbell, and Farrar. He tells universal stories, and he makes them accessible to all while applying every poetic device available. Kintsugi deserves an hour of your time with headphones and no distractions. You’ll emerge better from the experience. 

#6 Jason Isbell – Something More than Free: Those that know me and follow my daily drops of music on Facebook, probably thought by name alone this was going to be #1. There was a period of time when I assumed it would be too. There is no question that I think Jason Isbell is one of the best, if not the best, singer/songwriters, and not of this generation, but of all generations. For years, Nighthawks at the Diner by Tom Waits was my all-time favorite CD, and then Southeastern happened; it assumed the #1 position. During his recording process, I remember reading Tweets from Isbell indicating that he believed Something More than Free was gonna be better than Southeastern, and maybe it is, maybe its genius is above me or maybe I am such a glutton for sadness that the vibe on Free just doesn’t hit me like Southeastern did. That is not to say it is not a great CD; obviously it is. I mean, it’s on the Top 10 of the year. Isbell continues to write songs that I wish had come from my pen. He paints pictures so vivid that I can see them unfold before me like 8mm shorts. “Speed Trap Town,” “Something More than Free,” “To a Band that I Loved,” and “Hudson Commodore” were standouts for me. I think what placed this mid-pack wasn’t the songwriting but the production. I am infatuated with the starkness of Southeastern, the woody sound of Isbell’s Martin, the way that it makes me feel like he is sitting in my room singing to me. I realize it isn’t fair of me to expect an artist to duplicate the sound of previous recordings, to stay in their foxhole for another 12 songs, but life ain’t fair and I love what I love. While Something More than Free reinforces the strength of Isbell’s storytelling and word choice, the distance of the recording prevented me from becoming fully obsessed.  Knowing how calculated he is, I am sure that there is a metaphor here, maybe the distance in sound represents the distance from his demons, and for that he deserves applause.

 #5 Chris Stapleton –Traveller: I am a fucking lemming. I’ll admit it, I had never even heard of Chris Stapleton before the CMAs and his breakout performance. And even then I didn’t immediately buy the disc, but after seeing it pop-up on some respected end-of-year lists, I followed the masses, and I am glad I did. This dude is brilliant. Sincere. Eloquent. Weathered. Earnest. And he sings with the soul of an old church pastor who has caught the spirit. I thought I was gonna get a disc with a bunch of throwaways, trite modern country ditties with weak metaphors and obvious pop-culture references, but Traveller is the exact opposite. It is timeless. I could listen to “Tennessee Whiskey” on repeat and never grow tired. “Sometimes I Cry” has me coming back for more with Stapleton’s husky voice at full growl and single coils screaming into a dirty amp, but “Whiskey and You” captures the starkness that I love so much, just a woody guitar, an incredible voice, and a story that plays on the strings of emotions coursing through my body.

One’s the devil, one keeps driving me insane
At times I wonder if they ain’t both the same
But one’s a liar that helps to hide me from my pain
And one’s the long gone bitter truth
That’s the difference between whiskey and you

#4 Alabama Shakes –Sound & Color: Well, you should know that the placement of this album at #4 has placed me in the doghouse with my wife. If Amanda was writing this list, Sound & Color would get the top honors, but she’s not, and I need to remain authentic. I love this recording and am continually impressed with each listen. They are spreading the fabric of soul, refusing to be locked into patterns and instrumentation. When incredible singers, such as Adele, are listing you as a favorite:

As a band I love their vibe, the way they look and interact – all with their own little character going on, but I'm obsessed with (lead singer) Brittany Howard. There's something about Brittany that puts fire in my soul. She reminds me of Etta James, Ann Peebles – she's so fucking full of soul, overflowing, dripping, that I almost can't handle it.

You’ve officially earned your badassery. Everything Adele said is true, as is every reason my wife has for Sound & Color being higher on the list, but the wall I run into is connection. At my core, I am a writer, as a result I am drawn to strong lyrics, lines like this Tom Waits gem, “And the sky turned the color of Pepto Bismol.” I want to peel back the layers. I want to hear phrases that paint pictures for me when I close my eyes. I want the details, what the room smelled like, how your skin felt, what you were wearing, who else was there. I want to be in the moment with every one of my senses. And while this album gives me all the feels, for the most part, my mind is blank when listening with shutters drawn. Sometimes music transcends lyrics. I appreciate that concept, which is why I placed it in the Top 5. If you are a music first devotee, feel free to drop me some hate in the comments. I can take it. I’ll read them while sleeping on the couch – jokes, I am too warm for my wife to kick me out of bed.

#3 City and Colour – If I Should Go Before You: Dallas Green is back and he dropped a CD that makes me weep. Of the CDs on the list, this is the one I would be most likely to have recorded, if I had an incredible falsetto. Sonically it sits between Alt-Country and Indie Rock with ample amounts of pedal steel and atmospheric delays. If I should… was a love at first listen CD. Often, when an artist I am obsessed with releases new material it takes me a while to warm to it, as I am still clinging to the love of the previous recordings, but “Woman” smacked me in the face, held me tightly, and let me know I was loved. The 11 tracks range from sultry to contemplative. Green provides a range of emotions for his listeners to experience. Like, The Hurry and the Harm, he refuses to shy away from discussion on the finality of this existence, something a lot of us 40 somethings are tackling this New Year. Standout tracks: “Woman,” “If I should go before you,” “Friends,” and “Blood.” The recording has a nice flow allowing an easy front to back listen and it spent days on repeat in my car.   

#2 Jeffrey Foucault – Salt as Wolves: My obsession with Foucault is well documented. The first time I heard Stripping Cane, I was moved in ways I didn’t think possible. He is the consummate poet. With each song he pulls back the curtains and allows his listeners to watch a new vignette unfold before them. While previous recordings have been acoustic forward, Salt as Wolves comes from the dirt, gritty guitars, driving drums, and open space. Foucault offers a respite from the drive with tunes like, “I Love You (and You are a Fool)” which feature a nice down tempo and a clean Tele telling part of the tale. “Blues for Jessie Mae” is another down tempo number with a thick slide for accent and subtle guitar riffs played in the distance while Foucault’s voice sits up front, inviting you to bear witness to the moment. Tremolo is used liberally throughout the recording, but I never tire of it. Salt as Wolves was cut live to tape in three days at a studio in rural Minnesota. The energy and precision that it takes to accomplish a task of that magnitude can be heard in the details. This is another recording where I cannot solidify the standouts. The disc works as a whole, each song supporting the totality of the movement. Foucault’s voice always sounds incredible, and this recording is no different, each tune features the thick, rich, sound of a father’s baritone, and while he is two years my junior, I would happily sit at his feet and let him teach me about life.   

#1 the Oh Hellos – Dear Wormwood: Brother and sister harmonies backed by an insanely large touring band complete with two drummers, three (sometimes four) guitarists, fiddle, banjo, keys, bass, and whatever else they want to bring to the show…what’s not to love? Right now, I need you to forget everything else you have read on my Top 10 of 2015 because this CD transcends all of that. This recording is about an emotion that is often foreign to me, joy. That’s not to say I am not happy. I am. I have a great life, a life I am grateful to have, but I don’t often stop long enough to appreciate it. However, when I put on this CD, everything disappears and I am overcome with this sense of exaltation. It is not just the words or the music. It is the energy that the combination creates. The album moves from moments of calm to sheer an unbridled exuberance, “Dear Wormwood” taking you through both in 5 minutes and 16 seconds. This often happens on my Top 10 lists, I seem to have the least to say about the #1. It’s because my reasoning isn’t explainable. It is an emotion that I have in response to music, and I am hopeful that you will have the same response when you listen to this CD.