You have landed on the final installment of 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.
For those just jumping in. If you want to know what's come before, you can read the full blog HERE.
#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.
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.
#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
says 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 J
#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.
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
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. My attempt at 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.
As always, comments are appreciated, especially if you have a list of your own for me to read.
#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
for 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.
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.
After some consultation with my blog advisor, aka my wife, I've decided to release each addition in a separate post 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.
#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.
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.
#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.
2012 is finally upon us. Finally may not be the correct word. For me 2011 was a flash of light, but I am thrilled to have a good selection of music to help me remember the year. Now, I have the difficult task of picking my Top Ten Albums of 2011.
Before I get into it, a few caveats:
Like last year, I am only ranking albums that I actually purchased. As you get into this list, you may see some names that you do not recognize. It is important to remember that I go to A LOT of concerts, as a result I have the opportunity to see some bands that are just starting out, doing regional touring, playing Thursday sets to 25 people, and struggling to get to the next destination. If the band is good, I always buy the CD. Also, as much as I want to be completely objective, I know I am not. Where I struggle the most is when an artist has multiple CDs. It seems somewhat impossible for me to judge the recent one without reflecting on the older CDs. In some cases that hurt an artist’s place in the Top Ten, in some cases it prevented them from even making the Top Ten, but in the case of my top pick, it helped them secure the Best Album of 2011.
To be honest this list was somewhat of a surprise to me and seemed to be ever changing as the year progressed. Unlike last year, when I got into December and started trying to remember all the CDs I bought, this year I kept a spreadsheet that I added CDs to as I purchased them, and after a week in the car, I would loosely assign a rank. What surprised me is how some CDs that I thought were going to be top contenders in January or February ended up not even making the list. A few things that were significant factors were how much play time an album got, what I would have done differently if I had recorded the CD, standout songs, vocals, lyrics, did I get to see them live, and how did they do. I understand the last should absolutely not be a factor when ranking Albums, but damn it if you cannot do it live, then your CD means less to me.Also, I did not rank EPs. EPs tend to piss me off because they leave me feeling unfulfilled. That being said, if you are going to buy one from 2011, it should be Far From the Tree by Peach. It was refreshingly raw and powerful. Lastly, I am confident that had I been able to see the Pistol Annies live, Hell on Heels would have made this list.
Of all the CDs on this list, I feel I was the most unfair to Old Soul by Stevie & the Hi-StaXX. Had it been from any other artist it could have been a top 5 contender. The lyrics are intelligent and powerful. Stevie’s voice is clear, controlled, and emotive, and while definitely paying homage to the soul of old, musically, the CD sounds like a modern interpretation, as opposed to a copy cat. So why did it end up at #10? My favorite CD of all time is Armaghetto which is from Stevie Harris’ first band, Conglomerate. I know I shouldn’t be comparing his first band to his current project, but I cannot help it. Conglomerate was Stevie. This CD is Stevie. I cannot separate the two. Where “Old Soul” falls short for me is Stevie’s reliance on falsetto. I know where the influences are coming from, and why he made the stylist change, but that doesn’t mean I have to embrace it. The reality is Steve Harris has the biggest voice I have ever heard, and I feel shortchanged when he takes a line to falsetto as opposed to powering it up there. I know this makes it seem like I am placing him in a box, that I am not respecting his artistic freedom, but Armaghetto had such a profound effect on me. It was the first CD that made me realize there was amazing music outside of the confines of the shit radio had been spoon feeding me, and that is hard to escape. “Where” is the closest Stevie comes to the in-your-face Heavy Soul that changed my life.
When looking at this list Priscilla Ahn must seem the most out of place. Everything else appears to be so dark, and even in her darkest moments, her beautiful round tone and playful instrumentation ends up making the song seem light and hopeful, and this album is definitely more sunshine and roses than her debut release, A Good Day. Although there is more love than longing on When You Grow Up, the CD is well produced, the lyrics are thoughtful and sincere, and Priscilla’s voice is the perfection of purity.What helped Priscilla fight her way into the top ten was an absolutely incredible performance during a disgustingly under-attended show at the Old Rock House and possibly my second favorite song of the year, “I Don’t Have Time to be In Love.” As someone that spends way too much time at work, has a really robust social life, and is still chasing the dream of music, I definitely relate to this song. It is so easy to deny love because we are too busy for it, but when it is real, we will make the time.
There is no question that I love soulful music, the more I want to cry when focusing on your words, the tone of your voice, the pain in your chord structure, the more I love your song. It is also no secret that I am a sucker for harmonies. As a choir kid, it is something I will never escape. When I hear them my ears perk-up like a cat stalking the scratching sounds of a mouse from 2 rooms away. Barton Hollow offers both in a stripped down recording that has become the friend I turn to when I am wallowing in a dark funk. That being said, I feel like I need to apologize to the John Paul White and Joy Williams for this placement. Had I made this list when the CD first came out, it probably would have been in the Top 5, but I overplayed it. That, coupled with my complete obsession with their 2009 release, Live at Eddie’s Attic, caused this CD to lose some position in my Top 10 list. Barton Hollow does feature my favorite song of 2011, “Poison and Wine.” What I loved about this recording is they didn’t over produce it. Studio albums are always going to have more layers than a live album, but they stayed pretty true to the live version on this recording, and I respect that, that they understand how powerful the song is, that they realize that adding to can often detract. I’d also like to say that the Civil Wars were probably my second favorite show of the year, and I will be seeing them again in January.
As a longtime fan of Pedro the Lion I was elated that David Bazan put out a new CD. Of my top ten, Strange Negotiations is, instrumentally, the most exciting to my ears. That probably just confused some of you, as it is possibly the least complex, but I love the tension that sparseness manifests. I love the tones David and company create throughout the recording, the thick fuzzed bass, the droning guitars with natural tube overdrive, the well placed atmospherics, and, in general, I am more drawn to down-tempo tunes than up-tempo rockers. This CD is full of thinkers. You put it in on a nice long drive and lose yourself in the stories.Lyrically, it is raw, honest, reflective, and personal. He opens his mind to us, allows us to witness his creation, feel his pains, and attempt to understand his existential dilemma. If there was a fault to this CD it might be that it is so personal, as a result some may struggle to internalize the connection to it. As for a standout track, I am going to go with “Wolves at the Door.” They are all really strong, but this is just such a great introduction to the CD. You instantly know that Bazan is back and going to treat you to an amazing recording.
I had the pleasure of opening for the Features this year at Cicero’s, and it was one of the highlights of my musical career. They are amazing, and they proved it on 2011’s Wilderness. Some Kind of Salvation was the kind of disc that you wear out which made me kind of worried about Wilderness. How could it be that good? It is that good by being that different. While Matt Pelham’s vocals are still a focal point for me, this CD is rougher around the edges. It is like that seedy little hole in the wall that you cannot help but love. It forces you to move rather than just listen. It takes music from being purely auditory and cerebral and makes you have a physical relationship with it. I am actually listening to the CD right now and struggling to find something critical to say. The only thing I came up with was the keys. At times their voicing is a little too churchy or 80’s for me. I think I would have preferred a more dirty Rhodes or thick B-3 sound. Standout track, “Big Mama Gonna Whip Us Good.” How do you not love a song with a title like that?
Of the Top 10 this may be the hardest for me to write because of my connection to them. After all we shared a band member for two years which ultimately broke-up my band. I have seen UTR so many times that I really wasn’t sure what to expect from this CD. They have a history of becoming too liberal with their consumption before a gig which can lead to clusterfuck of sorts, but when they are on, they are incredible. So which Union Tree Review was going to show up on the disc…the disc that they self-produced and recorded in an apartment? The incredible one. It is important to note that had Tawaine Noah (lead singer and songwriter) dropped a solo disc with just him and the guitar, it probably would have made the Top 10. He is an old soul with a modern pen. His lyrics are personal yet accessible, heartfelt and hopeful. That being said, the more I listened to this CD the more my ears were drawn to Jordan’s guitar and Matt’s well placed drumming. I am also obsessed with Patrick’s harmonies. That being said this CD is not free from fault, none are really, and this is more a matter of taste then error, but I feel like the viola, trumpet, and two guitars end up crowding the middle. Rather than having tonal and pitch differentiation they tend to sit in the same register which muddies the builds. I am torn between three songs as my top pick, “Interstate” and “Parties” both mesmerize me, but for the opening line “Your coffee is bitter like I, at least it’s got an excuse. Like you it’s cold and taste like scotch,” my pick goes to “Facing Fools.”
Where do I begin with Company of Thieves? I am about to be accused of blaspheme, just remember when I explained that this blog is about my opinion and though I try to be objective, I cannot always be. To me the pairing of Walloch and Schatz is up there with Page and Plant or DeLeo and Weiland. Yes. I just said that. Marc Walloch is an amazing guitarist. He understands the roots of the instrument, but rather than show up with a slew of vintage gear in an attempt to recreate what once was, tonally he pushes the boundaries of what the guitar can be without sacrificing its guitarness. If you do not know that name, it is probably because Genevieve Schatz has such a powerful presence that she kind of becomes the band. Her voice is unmatched, soaring and soulful. I have seen them four times in the last 18 months, and have always left feeling inspired. Let’s talk Running from a Gamble. We are getting into the territory where the current album is not only equal to previous releases, it surpasses them. I absolutely love Ordinary Riches, but I do not think it did justice to the songwriting duo that is Walloch and Schatz. It was kind of the Genevieve show, which is a great show; however, on Running from a Gamble Marc’s guitar grabs you by the jaw, spins your ear towards his amp, and demands that you listen to him. If you do, you will be glad you did. Similarly, I think the band as a whole showed themselves as a powerful force of rock, soul, and groove. Eitan Bernstein’s keys are thick and tasteful, and the rhythm section of drummer Chris Faller and bassist Marcin Sulewski, is one of the best you will find in any band, tight, prominent but not overpowering. This was the first CD where I knew, immediately, what my favorite track was. Sonically “Gorgeous/Grotesque” strums every chord of this rockers heart. Its dynamic shifts give it breath and energy, and the builds make we want to kick shit over, turn my amp to 11, light it on fire, and watch it burn while I play my guitar with a ferocity that would frighten children.
Ryan Adams is back. I should probably just stop there. I mean how do I write about one of my biggest influences? If you are a fan of Ryan Adams, you probably know he is amazingly prolific and has never confined himself to a particular genre. If you are a fan, you also probably have a favorite period of Ryan Adams, whether it was with Whiskeytown, his first 3 solo CDs, the meanderings through rock and indie rock with Rock-N-Roll and Love is Hell, or his work with the Cardinals. Well, for me, his first 3 CDs are untouchable, and Ashes and Fire, takes a circular move back to the beginning. The lyrics are sensitive and sincere. They paint breathtaking images and impel you to feel, if only for the 3 minutes that they wash over you. The instrumentation is sparse but layered with enough variance to keep the ears excited during a first to last listen. His voice is tender and pure. It is the kind of CD that when you put it on you immediately want to pop a cork, light a candle, and hold someone you love. It was really hard for me to pick a favorite song, so I’ll claim the bookends. “Dirty Rain” and “I Love You But I Don’t Know What To Say.” Both will melt you.
Unless you have never read any of my Blogs, my Twitter, or my Facebook, you should have seen this coming. I have been gushing about My Molly for three years now, and when they released Beekeepers, I dropped a review. Rather than rehashing the blog, I’ll just let you read it, remind you that I love this CD and tell you to do yourself a favor and purchase it. By total plays, production, vocals, lyrics, and ability to do it live, this CD definitely deserved placement in the Top Ten, and the back to back heart melting combination of “Fission and Fusion” and “Tie Me to the Mast (a Sirens Song)” helped secure it as the 2nd best CD of 2011.
Where to start with this album…where to start? First I should say I love everything Dallas Green has done under the guise of City and Colour, and while having multiple albums may have negatively impacted others, it helped this CD. In truth, if I were completely objective, this CD would have still been my #1 regardless of past work, but, for me, City and Colour keeps getting better. The rich instrumentation and layers on this CD create the tension and release that I love in music. The well placed pedal steel on various tracks makes my ears happy, Dallas has the most amazing voice since Jeff Buckley, and more importantly, he proves it during his live performances. City and Colours’ show at the Pageant this year, was definitely my #1 concert going experience of 2011. Yeah. I said that. I meant that, and I stand by that. There are so many breathtaking songs on this CD, it is next to impossible to pick a favorite, but I am going to go with “Sorrowing Man.” The lyrics are powerful and speak to me. I love the dirty resonance and controlled drive of the rhythm section, not over powering or fighting for dominance but definitely driving the song. Please do yourself a favor and buy this CD. You will be glad you did. Your lover will be glad you did. Your neighbors will be glad you did. Your co-workers will thank you.
And there we have MY Top Ten of 2011. I am sure for many of you there are CDs that you feel deserved a spot on this list, and I would love to hear about them, so please feel free to comment with your Top Ten of 2011.
Singer/Songwriter/Poet. I genuinely love music more than most love life, without it I am a sad puppy with wet nose on cold glass watching my owners drive away.
