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 2018

2019 has wearily made its appearance. Having just returned from a trip out to South Carolina to watch my son play in an All-American Bowl, exhaustion barely allowed us to watch the ball drop before we were all deep in dreams.

At this point, I am usually two clicks away from posting my Top Ten list, but not today; today I am staring at a blank page and a flashing cursor. I’ve been tracking my music purchases and shifting positions, so the list has some form to it, but there will be some last-minute shifts for sure.

In truth, I almost said fuck it. I mean I don’t really have a blog anymore. I write one post at the end of the year that my wife and mom will read, but that’s about it. Okay, you; you’ll read it, and I appreciate that, but that is it, just my wife, my mom, and you.

So why do it?

Because I am a sucker for tradition, and I don’t have it in me to quit.

Before diving in, let’s talk about the albums that didn’t make it because of my rules (Oh yeah, I do have rules. See any of my other Top Tens from past years for a list of the rules. Ain’t nobody got time for that today) but still deserve a mention.

Live CDs, unless they are a live recording of brand new songs, are a no go. It’s apples to honey dew, and that’s not how I get down. That being said, City and Colour released Guide Me Back Home, and it is a gorgeous recording. HIGHLY recommend. Jason Isbell and the 400 Unit dropped Live from the Ryman, and it too is worthy of a purchase.

Similarly, EPs are not in contention. I mean, I love that an artist put out 5 amazing songs, but I want more. I deserve more, and so do you. That being said. Nasir by Nas is incredible and is currently my son’s get-up disc before basketball games. Nasir is 7 songs, so it almost made to cut, but I decided more was needed. Boygenius by Boygenius is the collaboration we have all been waiting for, and Your Smith put out Bad Habit, which hopefully foreshadows the great things to come from Caroline Smith’s new project.

With the formalities out of the way, let’s dive in.

 #10 – Amos Lee – New Moon

New Moon was a hard one for me. It barely made the list. Loma, Ume, and August Greene all made a run at it, but the strength of Lee’s vocals and the lyrical content won me over. Here is my issue with New Moon, the production, the treatment of the songs covered their pure beauty. If you stripped anyone of these 10 tracks down to Amos and his guitar, it could have been song of the year for me. And to be clear, it wasn’t the production on every song. “Hang On, Hang On” is everything I love about Lee’s work. “Don’t Fade Away” is uncluttered, allowing the listener to really embrace the emotion of the lyric. Unfortunately, the power of “No More Darkness, No More Light” is clouded by an electronic rendition that seems out of place to these ears, and to select that track as the opener just baffled me. Was that Lee’s decision or some suit trying to grab a younger audience? I don’t know, but I do not approve. “Louisville” elicited the same response from me. There were pluses and minuses for me, and that is why it landed in the 10 spot. On voice alone, there is no other male singer that I would rather listen to. Lyrically, it is definite Top 5, just questions some of the production decisions.

 #9 – Foxing – Nearer My God

You want some last-minute changes? I bought this yesterday after reading an RFT Article. Embarrassingly, I didn’t even know they released new music this year. I am really good about checking iTunes new releases every Friday, going to the Wiki page for new releases, etc., but somehow Nearer My God escaped me. For fans of Foxing it is what you would expect, but better. They got some polish with Chris Walla in the booth, and they are just better musicians. You cannot tour as much as they do and not perfect your craft. The harmonies on “Nearer My God” stand out, as does the musical tapestry that “Five Cups” weaves. As someone that has called St. Louis home since 1998, I loved seeing tracks called “Crown Candy” and “Lambert.” I’d be lying if I said I don’t need to spend more time with this recording, but the elements are all so strong, that it demanded relevance.

#8 – Lori McKenna – The Tree

The Bird and the Rifle snuck up on me in 2016, so when I caught wind that McKenna was releasing new music in 2018, I was ready. Picking up from her 2016 release, The Tree features her incredible way with words and that storyteller’s voice. The combination makes it impossible for me to shift the album to background music. When it is playing, I am there, in the story, watching the images McKenna paints appear before my eyes, each character and old friend that I am happy to see. This is the album that men struggling to appreciate the women in their life and women fighting for their self-worth need to hear. So many tracks with strong messages that need to land on eager ears.

#7 – Jeffrey Foucault – Blood Brothers

I am pretty sure I once said that Foucault was one of the best songwriters of his generation. That has not changed. Blood Brothers opens with “Dishes;” and, out of the gate, I am left thinking, damn, I could never write something that good. It is pure poetry:

Swing the axe
In the hour before daylight
Note the sparks
That attend to the blade
A thing made free
Of itself leaps apart
And the heart divided
Would do just the same

The disc never lets up. The production is clean and understated, highlighting the lyric, the vocals, and the emotions being offered. I’d be hard pressed to pick a favorite track. It is such a complete album. It’s the kind of disc that may get lost on the shelf from time to time, but when you put it on, you immediately regret not listening to it every day.

#6 – Leon Bridges – Good Thing

My guts says if you loved Coming Home you either hated this recording or were obsessed with it. Put me in the obsessed camp. Good Thing starts out with that neo-soul vibe that makes you appreciate Bridges for reclaiming an era that, despite the art that was being created, was pretty fucked up, but immediately it jumps the listener to the jazziest groove I have heard in a long time. If “Bad Bad News” doesn’t make you want to snap a finger and shake your ass, I’d check your pulse. And the guitar work is sick, like take me to the shrink cause this man just blew my mind, sick. Track to track it is solid. So much smoky goodness. I get stank face just listening to it. If I had to pick one track, “Mrs.” is straight-up the sexiest song recorded in 2018. I promise you babies are being made to that song right now. If you are done having kids, press skip when you come to track 9.

#5 – Caitlyn Smith – Starfire

I could not tell you where I heard about Smith, but I sure am glad I paid attention. Every time I spin Starfire I am left thinking, damn what I great recording. It’s got the Nashville polish without the forced crossover appeal. It crosses over naturally, no 808 and some cheesy embedded country rap needed. Her vocals are powerful and clear. The lyrics are exceptional. She is painting movies that unfold before the listeners with closed eyes. Too many standout tracks to list, but “This Town Is Killing Me” is the song every singer/songwriter that has tried to make it wishes they would have written.

I pour my heart out, three minutes at a time

On a J-45, but no one's listening

They're too busy drinking on the company tab

I scream my lungs out, confess my secrets, all my sins

But they don't give a damn

Cause if it don't sound like the radio? Pass

#4 – The Carters – Everything is Love

I always feel like a poser trying to talk about hip-hop. While I am confident in my knowledge of Americana, Blues, Funk, Country, Rock, and Soul, I do not have the pedigree to adequately explain why one hip-hop CD is better than another, so I’ll just say this, my family has bumped to Everything is Love on several roadtrips. The songs are inviting, Beyonce’s rich vocals juxtaposed against Jay-Z’s expert flow, both sitting on-top very musical tracks. “Apeshit” gets the car hype, “Black Effect” gets us thinking, and “LoveHappy” just leaves us feeling good.

#3 – J Cole – KOD

I am going to be flat out honest, I had never heard of J Cole before KOD, and I only heard of him because I became mildly obsessed with Lost in Vegas which is a YouTube Channel where Ryan and George record their reactions to songs. My initial interest was seeing their legitimate joy when hearing Chris Stapleton kill it. They have also done reactions to Jason Isbell, which were incredible, but my favorite videos of theirs are when they review hip-hop. Like I said above, I do not have the pedigree, but they do, and I learn so much when I listen to them talk about the genre. They did a full album review of KOD, and I was sold. That disc has probably received as many plays as any other album that I purchased in 2018. If you’ve got an hour, go watch that video. They do such a great job of explaining why the album is so good. If you want to listen to one track, “1985” is incredible. My favorite line may seem so simple but it is SO slick.

Congrats 'cause you made it out your mama's house

I hope you make enough to buy your mom a house

As a writer, the way he uses the similar sound of “mama” and “mom a” is fuckin’ genius level shit.

#2 – All Them Witches – Atw

They are back, and they are in the same spot. On the heels of the critically acclaimed Sleeping Through the War which was produced by Grammy award winner, David Cobb, All Them Witches flipped the script and decided to produce Atw themselves. They slayed it. It breathes differently, but it is every bit All Them Witches. Like last year, Atw quickly became Teddy’s get-up CD for football games, so we listened to it A LOT. So many times that even Wendy Mae can sing all the songs. He also asked me to use “Fishbelly 86 Onions” for his highlight video this year, so that held some weight. But we also got to see All Them Witches twice this year. Once in Columbia as a four piece and then in St. Louis as a three piece. They fuckin’ killed it. Watching them makes me miss being in a band more than any band I have seen in recent memory. The interplay. The tightness, but the willingness and ability to take the song where it wants to go on that particular night. You can tell they love what they are doing, and that makes all the difference. Atw feels like a live recording. It has that energy that is often lost when a producer is trying to make a hit instead of an album. I love this entire recording, but “Fishbelly 86 Onions,” “Workhorse,” and “Half-Tongue” standout for different reasons – energy, lyrics, and groove. Still, the track I put on repeat is “Harvest Feast.” I mean, a straight slow blues jam? Come on. Ya damn right I am listening to that one again. I started playing guitar because I have a big ass voice, and I want to play the blues like BB. “Harvest Feast” is just an evolved BB, like if BB and Black Sabbath decided to collaborate.

#1 – Lucy Dacus – Historian

For once I am not alone on my number one, NPR and Paste both agreed with me. Historian has been sitting in that spot since March when it dropped, and nothing came along to bump it off. It is not just Dacus’s mesmerizing voice and her intrapersonal but universally accessible lyrics that helped her make the list in 2016. With Historian it is the band, too. They are incredible musicians. The drummer provided some of my favorite tracks, and watching him do it live it is real treat. The bassist solidly lays the foundations, allowing the rest of the band to have maximum expression as they build the track. The lead guitarist tastefully drapes the songs in covers that were made for new lovers, always adding never detracting from the song. And the auxiliary musicians that they brought in for the recording followed a similar pattern, contributing but never overwhelming the recording. The true sign of a great album is the merit of the individual songs, and there are no throwaways on Historian. I’d have to fight myself between “Addictions” and “Pillar of Truth” for favorite song, but then “Timefighter” would step in and kick the shit out of all of them, me, and anyone who is listening.

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.