Tag Archives: Angaleena Presley

Reviews

Album Review: Pistol Annies–Interstate Gospel

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Rating: 7/10

It’s been a long five years since the last Pistol Annies album, enough time for each of the Annies to record two solo projects of their own. The Annies are good for the mainstream, and it’s great to see them return, for country music in general as well as for the fans who have been starved for new material for so long. As for Interstate Gospel, it’s not as immediately or as inherently captivating as the group’s first two records, but these songs grow on you and get better with each new listen, revealing subtleties that weren’t as often present on their previous efforts.

The instrumentation is definitely better on this album. “Got my Name Changed Back” offers extended dobro and electric guitar solos, and “Sugar Daddy” takes a long time getting to the point with drums and bluesy guitar licks before Miranda Lambert ever sings the opening note. The title track is also a standout instrumentally, with the piano unleashed to add to the gospel feel of the song. It feels like some of the polish from their previous records was abandoned, and that really suits all of the Annies, especially Ashley Monroe, whose voice soars on these songs and reminds us again that much of the production of Sparrow just wasn’t flattering to her at all.

The songwriting is definitely a strength of this album. Sometimes it’s in a clever one-liner like “even old Moses was a basket case” or “Jesus is the bread of life, without Him you’re toast,” both in the title track. There’s the irony in “Best Years of my Life” which perfectly illustrates the plight of this character–these are supposed to be her best years, filled with love and happiness, but instead she spends her days bored and getting drunk or high to “try to drown this worthlessness.” And the honesty in the writing is unflinching, from the portrait of the character in “Cheyenne,” burned by love and coldhearted as a result, spending her nights in bars and casually breaking men’s hearts, to the grim self-reflection in “Milkman”–“If Mama would have loved the milkman, maybe she wouldn’t judge me.” “Masterpiece” is beautiful melodically and lyrically, and the Annies made a smart decision by having Miranda Lambert sing lead for the entire song, as her emotion is pouring out in every syllable. You can sense that this track, like several others on the record, is indeed very personal to Lambert.

It’s hard to say whether this is a feature or a flaw, but this album does feel more Lambert-influenced than their first two. It suits these songs, for this record feels very much like Miranda’s story, or at least a story that started as hers and became something relatable to the others as well. But there’s also something special about the songs where all three women sing a verse, where there’s no true lead, and the selections feel unlike anything we would get from any of their solo albums. If you were hoping for more from Presley or Monroe, you might be a little disappointed by Interstate Gospel. But it’s hard to second-guess the decisions when Miranda Lambert turns in performances like “Masterpiece” and “Cheyenne,” bearing her heart on her sleeve for us all to hear.

This showcasing of Lambert, however, can contribute to some vocal issues as well, particularly from Angaleena Presley. The harmonies are beautiful as always, but Presley sounds checked out on much of her solo parts, with the exception being her lovely performance of “5 Acres of Turnips.” This song doesn’t really feel like it fits the narrative of the album, but it’s a great track and certainly Presley’s strongest. Maybe it’s her strongest simply because it doesn’t fit the narrative and isn’t part of Lambert’s story first. Angaleena also sounds like she’s having fun on the title track, and this one is helped along by Monroe and mostly by the vibrant, energetic instrumentation behind them.

As for Ashley Monroe, the only song where she takes the lead is “Leavers Lullaby,” and honestly, I’m just not sure what to make of this. It’s overproduced and one instance where there’s definitely too much polish. That said, the songwriting is great, and she sings it beautifully; it’s just a shame that it ends so quickly. This is her only lead song, and it feels far too short. There certainly could have been another verse, and there absolutely could have been more Ashley Monroe on this album. That said, she shines on so many of her verses, perhaps most notably in “Best Years of my Life.”

This record doesn’t immediately grab you in the same way as the Annies’ first two, brimming with humor and fun and badass personas. That’s still a part of the record; in fact, “Sugar Daddy” is basically “Hell on Heels” 2.0. But this is a more mature, thoughtful album from the group, taking more time to reveal its beauty but offering some of the best material from the Annies so far. There are some vocal issues, and often, this album feels more like a Miranda Lambert breakup record helped along by her sisters than anything, but sometimes, that kind of kinship produces the best and most honest reflections. Not necessarily the album we may have been expecting from the Pistol Annies, but a strong one and a solid addition to their discography.

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Reviews

Song Reviews: The Three New Pistol Annies Tracks

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I think I speak for all Pistol Annies fans out there when I say that new music from them has been long overdue. We’ve been waiting anxiously while the group hinted for months about a new album. Finally, they’ve given us three new songs at once, and their third album, Interstate Gospel, will grace our presence on November 2nd. I will say that while country radio is inevitably going to ignore whichever song they ultimately choose as a single–because let’s face it, it’s three women singing country which doesn’t belong anywhere near mainstream country radio–it would be nice if the label actually did choose a dedicated single and at least give it a shot and adequate promotion. But let’s get to the music.

All three tracks were written by Miranda Lambert, Ashley Monroe, and Angaleena Presley.

“Got My Name Changed Back”

This is just great, a fun, catchy song about freedom after getting divorced. It’s refreshing to hear a song like this where the result of the divorce is happiness, as opposed to loneliness and regret. There’s a stigma surrounding failed marriages, and it’s nice to hear Miranda Lambert singing about it positively. She leads this track, with some backing “yeah yeahs” by her fellow Annies. That part can be a bit overdone, but equally, it will add to this live, and it makes this one probably the most likely to have any semblance of a shot at radio.

The best thing about this one is the sound. The annies simultaneously display more of a rock edge and more twang than on their previous efforts. We have solos for the dobro and the electric guitar, showcasing more of a rootsy sound while also embracing a rougher quality. Their sound, on this one as well as the others, appears more defined and unique. It seems to take away a little of the underlying polish from their last two records, leaving the instrumentation more uninhibited.

Probably my favorite of the three, but maybe not the best one to make new Annies fans, as it’s thematically much like a Miranda solo song and features her primarily vocally.

Rating: 8/10

“Interstate Gospel”

The title track primarily features Ashley Monroe and Angaleena Presley. This provides a nice contrast to the Miranda Lambert led “Name Changed Back,” and it was a smart decision to release both of them, giving listeners a taste of all three singers’ voices. This one again showcases that raw, rootsy sound, with prominent acoustic guitar and twangy piano. It’s also excellent to hear Ashley Monroe not sounding so polished and proper after her last solo album; this is the sound that suits her voice, and it further proves the point that most of Sparrow wasn’t flattering to her traditional country voice.

Lyrically, this is the most lightweight of the three; most of the story here is in the instrumentation and mood. It’s just a rambling song infused with the spirit of the highway, and it will probably be better judged in the context of the album. Personally, I would not choose it as a lead single because there’s not really a strong hook. It’s fun and catchy like “Name Changed Back,” but it will shine better in album context than it does on its own.

Solid track, but the least impressive of the three.

Rating: hesitant 7/10

“Best Years of my Life”

Here, we have a lovely ballad, a good contrast thematically and lyrically to the attitude in the first two songs. This one features all three Annies prominently, and for me, this is when the group is at their best vocally, something independent from any of their solo work and special for its own reasons. The narrator here is a bored housewife, typical of many Pistol Annies songs; this woman is taking pills and getting high to pass the time, staying married to a man whom she says “don’t love me, but he ain’t gone yet.” she calls her mom to say she’s all right, and ironically says, “these are the best years of my life.” The subtlety in that irony is unique to country music and a great example of clever songwriting.

Speaking of songwriting, there’s a weird line at the beginning of this song where basically, Ashley Monroe tries to squeeze in as many syllables as possible with: “I picked a good day for a recreational Percocet.” When I first heard it, I was a bit annoyed and thrown off by the rhythm and pentameter, and then the weird lines continued in Presley’s and Lambert’s verses, and by the time I’d heard it three times, I got used to it, and it became part of the song’s charm. but I’ve noticed that people either tend to love or hate this little quirk, as it can be quite distracting.

Well-written, sentimental track, and the best display of all three singers’ voices and harmonies.

Rating: 8/10

In short, all these tracks hold promise for the upcoming album. Now can November 2nd please get here so we can hear the rest?

Playlists

My Top Twenty-Five Albums of 2017

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And now for the list you’ve all been waiting for, for the one I’ve been preparing for all year, and for the one that represents the heart and soul of what we do here. I debated much on how far to extend this list…should it be ten, or twenty, or follow suit with several of my lists this year and be thirteen? IN the end, I found that after reviewing seventy-eight albums so far in 2017 and featuring twenty-seven so far in Memorable Songs, not to mention others I’ve heard and did not include in that feature, that eight stood out above everything else and should be considered most essential on this list. Another fifteen stood out a little under that, and then it became a question of whether to cut the list of twenty-three down to twenty or search for two deserving others to round it out to twenty-five. I opted for showcasing more music, but as you’ll see, I’ve separated the most essential from the rest because those eight still stand proudly above the rest and should be recognized as such. One more note for any of you who might be newer, this list reflects the evolving, changing nature of music and my reactions to it throughout the year, so rating should not be considered a huge factor at this point–a factor, yes, but second to how well the music has held up over time.

Essential Albums

25. Kody West–Green

Standout Tracks: “Green,” “Ledges,” “Ogygia”
This album starts off an exciting trend here–a good amount of debut albums making this list. It’s been a great year for debut records, and Kody West is certainly the most interesting thing to come out of the Texas/Red Dirt scene this year. Not the best album from that scene, but something new and refreshing, blending the traditional and the modern, the country and rock influences, into something cool and promising. Check this out while you can still say you were ahead of the curve with West.
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24. Nikki Lane–Highway Queen

Standout Tracks: “Jackpot,” “700,000 Rednecks,” “Highway Queen,” “Forever Lasts Forever”
So many boring, mid-tempo albums in the independent/Americana scene in 2017. This is fun and vibrant, a breath of fresh air and personality. This is an artist coming into her own and being herself in the best way possible. It stands out above many others simply for the jolt of energy and life it offers, proving that you can make a good album in this scene and write smart hooks without being so serious all the time.
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23. Robyn Ludwick–This Tall to Ride

Standout Tracks: “Freight Train,” “Texas Jesus,” “Bars Ain’t Closin’,” “Lie to Me”
I’ve been saying this since it came out, but if you can get past the hookers and cocaine all over this record, it’s a great listen. The melodies are engaging and the sentiments relatable, and credit to Robyn Ludwick for exploring these subjects, so often ignored in country, and giving a voice to these characters. Her knack for portraying people usually so ignored and misunderstood by society is remarkable, and though not as blatant a form of social commentary as say, the next album here, this one still has a lot to say and does it in a really interesting way.
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22. Rhiannon Giddens–Freedom Highway

Standout Tracks: “At the Purchaser’s Option,” “Julie,” “Better Get it right The First Time”
While we’re here, I’d like to say that not including “Better Get it Right the First Time” on my Spotify and Apple Music playlists was a complete oversight, and it should have been there, though I have no idea what it would have replaced. That said, this album is better all the way through, as a whole, as it tells the story of African-American history and heritage that is more story than song, more reflection than sermon, and teaches the past while still looking hopefully into the future. Some might wonder why it isn’t higher on this list, and that goes back to a rating thing–this album is not perfect, but it’s very good and received an 8.5 here. Yet it’s just something you respect more than you enjoy, and while it’s a great album, it’s not the album you’re going to pull out and listen to over that much. Still, it’s got something to say, and it does so in fine fashion.
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21. Turnpike Troubadours–A Long Way From Your Heart

Standout Tracks: “Pay no Rent,” “The winding Stair Mountain Blues,” “pipe Bomb Dream,” “A Tornado Warning”
I know, I know, it’s Album of the Year for a lot of people. Turnpike did receive Album of the Year here in 2015 for their excellent self-titled release, and while this is still a great album, in the spirit of honesty, I have to say it’s not the best of their material for me like it is for a lot of people. Brianna and I reviewed this together, and she’s got a considerably more favorable opinion of it than i do. That said, the songwriting here is in some places the best of the band’s career. They’re consistently churning out good quality country music, and you can’t go wrong with any of their albums.
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20. Shinyribs–I Got Your Medicine

Standout Tracks: “I Gave up All I Had,” “Trouble Trouble,” “I Don’t Give a Shit,” “Tub Gut Stomp & Red-Eyed Soul”
This is the exact opposite of Rhiannon Giddens’ album before it–it’s the antithesis because it’s bright and fun, and you’ve got to be in a certain mood to appreciate it. It doesn’t take itself too seriously, and it’s nearly perfect for what they’re trying to accomplish here. I hold back slightly because again, you aren’t going to pull this out quite as much as some others, and also there’s only really a smattering of country here, but this is just warm, infectious music that puts a smile on your face, something we all need these days. Give this a chance.
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19. Steve Earle & the Dukes–So You Wannabe an Outlaw

Standout Tracks: “Walkin’ in L.A,” “Fixin’ to Die,” “This is How it Ends” (ft. Miranda Lambert)
I’ve had a strange relationship with this record–at first I loved it, then several people pointed out the pretty much sloppy production on the album, and I grew to not like it as much despite not being able to hear all the production issues myself. When reviewing albums I loved this year, I went back to this and found what I loved again–so I get it if you don’t like this album because of the production, but honestly, I enjoy the hell out of this and think it’s one of Steve Earle’s best in a good long while.
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18. Dori Freeman–Letters Never Read

Standout Tracks: “Cold Waves,” “If I Could Make You My Own,” “over There,” “That’s All Right”
The album to check out for that long-lost Appalachian sound. For me, not quite as good as her outstanding debut–tied for unofficial Album of the Year in 2016–but still a solid collection of tunes. Dori didn’t change much, or anything really, with this approach, but why should you when it worked so perfectly the first time?
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17. John Moreland–Big Bad Luv

Standout Tracks: “Love is Not an Answer,” “No Glory in Regret,” “Sallisaw Blue,” “It Don’t Suit Me (Like Before”)
Some of this is the best songwriting of the year. And it’s not just his lyrics, it’s the production and, most of all, the warm, engaging melodies that keep you coming back and listening. In fact, a lack of accessibility may be this record’s only flaw, as it’s almost too deep, and he’s almost writing too much on another level. That said, this is poetry at its finest and set to melodies that really allow it to shine and grow over time.
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16. Jaime Wyatt–Felony Blues

Standout Tracks: “Wishing Well,” “Wasco,” “Stone Hotel”
Another debut record, and one of the most exciting of the year. This is easily the project that has grown the most for me throughout the year, as Jaime’s music only continues to get better. A nice little album that draws on her own experience in the best way possible to tell a story of second chances and starting over, and to actually create something I’d call outlaw country, if that were a style.
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15. Jason Isbell and the 400 Unit–The Nashville Sound

Standout Tracks: “Last of my Kind,” “Tupelo,” “If we Were Vampires,” “Something to Love”
And here it is, the album that produced the 2017 Song of the Year. Once again, Jason Isbell delivers with a slice of that incredible songwriting, and on this album, it also gets backed up by more interesting and diverse production. Not a perfect album, and I still don’t know what the hell “Chaos and Clothes” is supposed to be, but this is his best and most accessible album to date.
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14. Kasey Chambers–Dragonfly

Standout Tracks: “Ain’t NO Little Girl,” “Jonestown,” “Shackle and Chain,” “Talkin’ Baby Blues,” “Summer Pillow,” “Golden Rails”
More standouts here because we’ve got a double album on our hands. Much like Dori Freeman, Kasey Chambers isn’t necessarily breaking any new ground here, and this isn’t quite on the level of her excellent 2015 record Bittersweet, but this is an expansive showcasing of all her styles, from more traditional to rock to bluegrass to pop. She can do it all very well, and it continues to baffle me how little love we give her in the States.
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13. Travis Meadows–First Cigarette

Standout Tracks: “McDowell Road,” “Sideways,” “First Cigarette,” “Pray for Jungleland”
This album has to get Production of the Year, not necessarily because it’s the most impressive display, but because it is the album where the production contributes most to the overall story and general enjoyment of this record. It’s a little journey through his life, nostalgic for the past but content with the present, and the extra care taken to do things like make all of the songs flow into each other so that it’s as if you’re taking the trip right along with Travis, makes this a special listen.
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12. The Infamous Stringdusters–Laws of Gravity

Standout Tracks: “Freedom,” “Black Elk,” “This ‘ol Building,” “Maxwell”
Well, I didn’t get to nearly as much bluegrass as I’d have liked this year, but this is one badass bluegrass record and the best one I’ve heard in 2017. It’s got all the wonderful instrumentation we expect from this genre, but it’s also got great storytelling, not to mention a youthfulness and vibrancy permeating the whole thing. This is the album to send people’s way who think bluegrass is stuffy and boring and old-fashioned, trust me.
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11. Crystal Bowersox–Alive

Standout Tracks: “A Broken Wing,” “The Ride,” “Marlboro Man,” “Let me Walk Away,” “NO Mistake,” “Mine all Mine”
I don’t know why more people didn’t pay attention to this throughout the year, but now’s your chance. This is a live album, but it’s not your typical one recorded for a huge audience and just providing live versions of previously released material. This was recorded in an intimate setting for sixty people over the course of three shows and features mostly new songs. It’s a unique album about being alive that captures perfectly her current state of mind and explores all the joy and pain that being alive has to offer. And this is, without question, the best album vocally of the year.
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10. John Baumann–Proving Grounds

Standout Tracks: “Old Stone Church,” “When Ophelia Comes to Town,” “Here I Come,” “Holding it Down,” “The Trouble With Drinkin'”
This album is the perfect balance between both sides of the Texas scene–the side with more depth and incredible songwriting, and the side with cool, vibrant songs that would sound awesome in a live setting. And if you wonder why only one of these songs made my Apple Music and Spotify playlists, it’s honestly because I could have picked almost the entire album and decided to limit myself.
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9. Justin Payne–Coal Camp (EP)

Standout Tracks: “Miner’s Soul,” “Piece of my Life,” but it’s better as a whole
Yes, I know, an EP actually made it this high on the list. It’s because Justin Payne’s very special love letter to the coal region of West Virginia is just right at six songs. Plus, it’s got the added awesomeness of actually being delivered by a coal miner. This blew me away the first time I heard it, and it still does.
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Most Essential Albums

8. Zephaniah Ohora–This Highway

Standout Tracks: “Way Down in my Soul,” “High Class City Girl From the Country,” “She’s Leaving in the Morning,” “I Do Believe I’ve Had Enough”
And now for the eight that were impossibly hard to rank. This one is certainly the most country and is a near flawless representation of the countrypolitan sound. And it’s by some guy from New York City, thoroughly walking all over the stereotype that you have to be “authentic” to make good country music. The sheer genius of this is that he doesn’t try to hide anything or be something he isn’t, and that in turn makes it authentic. Also, this is another debut, so imagining where Zephaniah Ohora can go from here is pretty exciting.
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7. Jason Eady (self-titled)

Standout Tracks: “Barabbas,” “Black Jesus,” “NO Genie in This Bottle”
So, Jason Eady produced two of my top five songs of the year which is pretty impressive and insane. It’s also pretty insane that in a year of mid-tempo, boring country/Americana releases, Jason released a completely stripped-back, acoustic affair, and yet because of the sheer beauty in the songwriting and the warmth of the melodies, it manages to rise above everything else and be one of the best albums of the year.
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6. Tyler Childers–Purgatory

Standout Tracks: “Whitehouse Road,” “Lady May,” “Honky Tonk flame,” “I swear (to God),” “Tattoos”
This is my most played album of 2017, and it gets better each time. I wrote all these standouts here, but this one, like some others here, is better as a full listen, as you go on Tyler’s journey of finding love, screwing it up, and turning to vices. And although this isn’t a debut, this is his second album and his first major moment, and it’s a moment that has been very well deserved.
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5. Suzanne Santo–Ruby Red

Standout Tracks: “Best out of Me,” “Better Than That,” (ft. Butch Walker), “Ghost in my Bed,” “Love Fucked UP”
Another solo debut. This, although it’s certainly got some acoustic, country-leaning moments, tilts more toward the rock side of things, and I debated whether to include it this high on a country list for that very reason. But I’d be lying if I said it wasn’t one of the best records of the year for me and another one of the few that blew me away from the very beginning. A hard-edged album that talks of drinking and sex and vices, it’s definitely got something to say. Probably not for everyone, but definitely for me.
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4. Ags Connolly–Nothin’ Unexpected

Standout Tracks: “Haunts Like This,” “Do You realize That Now?”, “Neon Jail”
My only regret here is that I wish it hadn’t taken me till July to hear this because I could have been enjoying it since February. This is nothing flashy, or “unexpected,” but it’s a case of everything just working–the extra touches of instrumentation like the piano and accordion, the wonderful melodies, the lyrics that sink in more and more each time you hear it. This is another one I’ve loved from the start. The definition of a nice, easy listen. And to top it all off, this guy’s British, so he joins Zephaniah Ohora in proving that just being yourself and singing in your own accent about your own stuff can produce the best music.
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3. Angaleena Presley–Wrangled

Standout Tracks: “Dreams Don’t Come True,” “Wrangled,” “Good Girl Down,” “Mama I Tried”
Yep, another one that had me on first listen. This is Angaleena Presley’s self-proclaimed “f you” record to the industry, and in candid, sometimes subtle, often angry and inappropriate, ways, she delivers just that. She addresses her struggles in the business and the discrimination against women, and does so in engaging and entertaining ways that keep this album playable and interesting despite the importance of the messages being conveyed.
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2. Colter Wall (self-titled)

Standout Tracks: literally everything here except “You Look to Yours”
Another debut, another one that throws the authenticity debate out the window, as Colter’s from Canada, and another one that absolutely blew me away from the beginning. Colter Wall and his astounding, throwback country voice have a ridiculously bright future ahead of them, and when you combine that voice with tales like these, of hopping trains and sleeping in lonely hotels, of murdering your girlfriend and spending your days in prison for it, this record captures another time and place in a way that makes it, well, timeless.
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Album of the Year

1. Marty Stuart and his Fabulous Superlatives–Way Out West

Standout Tracks: “Please Don’t Say Goodbye,” “Way Out West,” “Air Mail Special,” but really, it’s about the album as a whole
And speaking of capturing another time and place, enter Marty Stuart and this album…only instead of capturing it in the throwback way of Colter Wall, this is done in a vibrant, fresh, forward-thinking manner. It’s an almost psychedelic record, an exact representation of country evolving in 2017 in a way that still respects the roots of the genre. I’ve said this before, but in a genre of lyrics and stories, the risk that Marty Stuart took by delivering this in a thematic way that connected the songs by their music and mood should be commended. It’s almost cinematic, and in an era where the album concept is being lost in the mainstream, and in the independent scene where it’s thriving, the albums are still basically just collections of good songs, this record literally has to be played all the way through to be fully understood and appreciated. A concept record and a fine one, the most impressive one of 2017.
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P.S. Honorable Mention to Kesha, who couldn’t qualify for this list because of genre, and her album Rainbow for being far and away the best non-country album I’ve heard in 2017.

Playlists

My Top Thirteen Songs of 2017

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This was an incredibly hard list to make cuts from, and I already have a playlist ready to publish which includes sixty-six of the best tracks from this year and can be accessed on Spotify and Apple Music. But this is here to highlight the absolute best of the best, and in a ridiculously strong year for songs, that’s even more of a distinction. If you’re wondering why this isn’t trimmed to ten or lengthened to twenty, well, I had to stop somewhere, and this was the number I chose on the midyear list, so…

Very Honorable Mentions

  • Natalie Hemby: “Cairo, IL”
  • Amanda Anne Platt & the Honeycutters–“Eden”
  • Ags Connolly–“Do You Realize That Now?”
  • The Secret Sisters–“Carry Me”
  • Kasey Chambers–“Jonestown”–
  • Colter Wall–“Kate McCannon”
  • The Steel Woods–“Straw in the Wind”

#13: Chris Stapleton–“Scarecrow in the Garden”

From From a Room, Volume 2

This song perfectly explains the reason we wait until mid-December to publish these. An incredible story song of a family farm started by an Irish immigrant and then passed down through generations, through seasons of prosperity and hardship, until the current narrator, the grandson, is faced with seeing the land he loves deteriorate around him. There are also biblical undertones to this, underscoring possible sin haunting the family, as the grandson sees Lucifer in the scarecrow in the garden and reads Revelation with a pistol in his other hand.

#12: Lukas Nelson & Promise of the Real–“Forget About Georgia”

From Lukas Nelson & Promise of the Real

What a brilliant way to write a song, linking the name Georgia with the state and his father’s song “Georgia on my Mind.” Of course he can’t forget Georgia because he’s forced to say her name in the song each night; it makes perfect sense, and even though it’s specific to this woman and that song, it’s universal because we all have associations like this that will forever make us think of certain things and people. “I pray I’ll forget about Georgia, but a part of me hopes that she’ll never forget about me” is right up there for Lyric of the Year. Also the guitar outro is definitely the Instrumental of the Year.

#11: Turnpike Troubadours–“Pay no Rent”

From A Long Way From Your Heart

Written about Evan Felker’s late aunt, but also written in that universal Evan Felker way that makes it somehow relatable to anyone who has ever lost someone. It’s even ambiguous enough to mean a former friend or lover, but at the same time, it’s the detail and unique turns of phrase that elevate this above so many other songs about loss. It’s at once grieving and reflective, sad over the loss but looking back fondly at the memories. And “in my heart you pay no rent” is up there for Hook of the Year.

#10: Angaleena Presley–“Wrangled”

From Wrangled

This is a gorgeous song both melodically and lyrically, and yes, wins Melody of the Year. There are a lot of frank moments of honesty on Angaleena Presley’s latest record, but this one is delivered in such a subtle way. The woman in question is not angry so much as tired, defeated, sick of her life and her husband and perhaps most underrated about this song, sick of the church women around her who seem to enjoy all of this. I think Presley is saying so perfectly what so many women are feeling and probably would like to say, but she’s also not saying it with hatred or in a polarizing way, just a quiet, calm resignation that ultimately speaks more.

#9: Sarah Jane Scouten–“Acre of Shells”

From When the Bloom Falls From the Rose

This one I’m actually struggling for words to explain, as it’s just the beauty in hearing it. A brilliantly written love song; I know in that department this year, we’re all focused on “Vampires,” but this is just as hard-hitting. And the actual Lyric of the Year goes to “How could I ever love somebody else? IN an acre of shells, you’ll find just one pearl. And how could I ever love somebody else when I know that you’re in the world?” What a perfect illustration; stand on the beach and think of the infinite number of shells around you. Hell, think of the number of shells just within your reach or field of vision…and in all that space, you’ll find just one pearl. What a special and simple way to describe someone you love.

#8: Jaime Wyatt–“Wishing Well”

From Felony Blues

I wish I could give this Opener of the Year, and if it weren’t for a song coming up on this list, I would award it. You think we can’t have fun songs up here in the top ten of the year? Well, Jaime Wyatt can. And it’s because despite this one being easily the most playable and fun, even almost radio-friendly, of the bunch, it’s a deep and personal song to Jaime about second chances and starting over in life. And we can all relate to it, maybe not to her exact circumstances, but to that feeling of praying for better days but learning to deal with what we have–“bought my ticket for the rainbow, but it just hasn’t come through” is another incredible lyric and something we can all understand.

#7: Shannon McNally–“Banshee Moan

From Black Irish, featured in Memorable Songs

If you’re saying: “who?” right now, please listen to this ridiculously underrated song. This is why we have the Memorable Songs feature, as this gets the honor of being the only one here not from an album we reviewed. This is what Keith Urban couldn’t say with “Female” and what Margo Price could have said with “Pay Gap,” but the former was made for radio, performed by a male, and written by committee, and the latter was too shallow for these kinds of sentiments. This is a beautiful, subtle, yet timely and honest portrayal of the discrimination that women do face in the workplace and in society, as well as a call to those women to mourn for all their sisters, past and present, who have gone through this.

#6: Jason Isbell & the 400 Unit–“If we Were Vampires”

From The Nashville Sound

What a beautiful and terrifying way to look at love, knowing you or your lover will one day be gone. It’s both a morbid way to look at things and a reminder to treat each day as if it were your last; indeed, as Isbell sings, “maybe time running out is a gift.” Another thing that hasn’t been praised enough about the song are the little details in the first verse that he lists off; he’s saying “it’s not” to all of these things before explaining that “it is” the fact that one day one of them will be gone which gives him urgency. We get to that part and forget the specificity and the beauty in all of the “it’s nots,” as he lists unique details that could only be specific to Amanda Shires and speak of a love deep and familiar. Add the fact that she sings with him here, and this is just a brilliant song through and through.

#5: Jason Eady–“Barabbas”

From Jason Eady’s self-titled record

IN terms of sheer idea for a song, this has got to be the best of the year. It’s written about the man who was set free in order that Jesus might be crucified, yet nowhere, aside from the title, do we hear Barabbas or Jesus mentioned. It’s both deeply personal to those of faith and universal to all, and this speaks to the subtlety in the storytelling of Jason Eady. Also, we like to talk about Amanda shires and Morgane Stapleton adding a lot to their husbands’ records, but Courtney Patton’s harmony here adds a gorgeous element to this as well.

#4: Aaron Watson–“Clear Isabel”

From Vaquero

This song is the perfect explanation for why we have to separate songs from albums, and even songs from artists. Yeah, Aaron Watson made a pretty light, fun record–and then there’s this, the best story song of the year. It’s the tale of Mariano and his daughter, Isabel, who flee to Texas to escape the cartels of Mexico. It ends happily for Isabel, as she ends up married to the narrator. But Mariano is deported and ends up shot in the back before he can come to America legally. Another timely song that speaks to issues facing us in 2017, but again, not told with hatred, but rather told in the form of a story, to educate and unite as only music can. Add in the instrumental prelude, “Mariano’s Dream,” and this song gets even better.

#3: Angaleena Presley: “Dreams Don’t Come True”

From Wrangled

Well, this definitely gets Opener of the Year. Who opens a record by telling their audience dreams don’t come true, and not only that, “don’t let anyone tell you they do?” It’s 2017, we’re all supposed to be living our lives to the fullest and such; there are so many songs telling us we’re perfect how we are, and if we believe in ourselves, our dreams will certainly come true…and then this comes at you like a complete reality check. Instead of making hit records, Angaleena wound up pregnant. Instead of being famous for three chords and the truth, she’s struggled in the industry to get the recognition she deserves. And it’s sadly a reality much truer for many of us than the platitudes we hear so often these days. Yet this song is told with enough humor that it lightens the blow a little and is delivered as fresh, candid honesty that sometimes not even our closest friends and family can give us.

#2: Jason Eady–“Black Jesus”

From Jason Eady

This one was only an Honorable Mention on my midyear list, but it has come out of the blue over the past few months to earn its place here. This is exactly the song we need in 2017, not dividing us into races and classes and sexes, yet not preachy and judgmental and ultimately accomplishing nothing with its message. Its subtlety was the reason it hadn’t earned a top spot by the middle of the year, but that’s the exact reason it has earned this now–Jason Eady simply tells a story of two men, one white and one black, coming together, side by side at work, bonding over music. We need more songs like this, spreading unity and peace, and yet at the same time, there are a lot of them that just come off preachy. This song has been covered on two other albums that I know of in 2017, and that speaks to how it’s impacting many people in its own special, subtle way.

Song of the Year: Jason Isbell & the 400 Unit–“Last of my Kind”

From The Nashville Sound

This, as I say, was a ridiculously difficult list to make, but I kept coming back to this song. It’s a picture of nostalgia for days past and people now gone, something we can all relate to, but it’s the aforementioned details in Jason Isbell’s writing that blow me away here. The narrator is unhappy with life in the city; seems like an ordinary theme, but a line like “nobody here can dance like me, everybody clapping on the one and the three” is just insane. It’s a sentiment many of us can understand, yet it also seems to be personal to Isbell, reflecting the dichotomy he experiences as a Southerner with often very different views from those around him. It’s that feeling of being caught in the middle, of never belonging, of life seeming to have passed you by. It’s ironic that he feels like the last of his kind because so many of us feel this way too. Ultimately, this is that perfect balance of personal and universal, specific and timeless, and this, in a very strong list, is the best song of 2017 and the one that has affected me the most.

Commentary

Some Second Impressions of 2017 Albums

3 Comments

Before I get to the flurry of year-end lists, I’d like to address a few things I’ve got significantly different opinions on now than when they were first reviewed. The rating is not the important thing to focus on with these year-end lists because certain things hold up over time better than others, and you will find some albums high on that list that weren’t rated as highly originally. Music changes over time, as do our reactions to it, and there are albums I’ve both overrated and underrated in 2017. This post will reflect these and hopefully shed some light on the upcoming albums list.

Albums I’ve Underrated

Robyn Ludwick–This Tall to Ride
I even said this during my midyear list, but the main reason for the underrating of this was I doubted its ability to be replayed over time, but it holds up quite well and continues to get better. Originally a 7.5, this would get a strong 8 now.

Tyler Childers–Purgatory
This just gets better with each listen. Some albums this year were great at first but had no sustainability (see below.) This still really doesn’t have one defining song, but it’s great all the way through and is one of the best albums of the year. It’s also my most played, with the possible exception of Colter Wall’s self-titled release.

Crystal Bowersox–Alive
I don’t care that this is a live album. I don’t care that a bit of the material appears on Crystal’s previous records. If there is one album I could recommend to all you critics that I see getting criminally overlooked, that I wish you would pull off your back burners and give a proper review to and consideration of in your endless lists, it’s this one. And I’ll go ahead and say it–this is the best album vocally of the year, bar none.

Zephaniah Ohora–This Highway
This one was done by Brianna, and she gave it a 9, as it rightfully deserves, but I have to say, it took me months to come around to this. And this is a brilliant album, definitely one of the best of the year.

Albums I’ve Overrated

And now for the controversial bits of this piece…

Willie Nelson–God’s Problem Child
Still a great listen, but it doesn’t have much staying power or relatability. I don’t really know what else to say.

Sunny Sweeney–Trophy
Look, I know this is high on a lot of year-end lists, and it’s a good record. It’s just, for me, not her best record. It was the album I was most looking forward to in early 2017 because I am a huge Sunny Sweeney fan, and taken as an album, there’s not much to criticize. But it hasn’t held up at all…I wish I could say more, and I did enjoy some of these songs better live, but this just didn’t stay with me.

Chris Stapleton–From a Room, Vol. 1
I’ve said it already, but if Stapleton had combined these releases, this would be a different story. As it is, we’ve got two decent albums, both with some filler, and neither with too much longevity.

Angaleena Presley–Wrangled
This is still one of the best albums of the year, but I would not give it a 10/10 if reviewing today. Still one of the top 5, maybe 3 albums of the year, but I’d have to pull back slightly from that perfect grade.

I’ve got some slightly different opinions on several other albums this year, but these are the most significant and will be most reflected in the year-end list. Above all, music is meant to be enjoyed and played, and these ratings ultimately mean nothing if the music doesn’t hold up throughout the year. I’ve tried to be less rigid in my opinions this year than in the past, and these changes are honest reflections of that. I look forward to sharing all the year-end lists with you all!