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.
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?
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.
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.
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.
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.
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.
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.
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 2nd 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.
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.
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.
