Tag Archives: Robyn Ludwick

Reviews

Album Review: Darci Carlson (self-titled)

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Rating: 8/10

As you all know, I refuse to write about something unless it gives me a passion for it. Often, that passion comes because an album is fantastic. Occasionally, it’s because an album is horrendous. The most special time is when it’s unexpected and fresh and new, something that’s truly being underappreciated and deserves more recognition. These instances are when I’m the most thankful for this outlet, when artists like Darci Carlson come along and blow me away. It’s one thing to enjoy music–hell, I absolutely love Brent Cobb’s album from yesterday–but it’s quite another when an artist makes me excited to talk about them and shine a spotlight on their work for people who might not otherwise know about them. I’ve actually attempted to talk about Darci several times, but every time I sit down to write, I end up listening to her new self-titled album again instead.

This is most certainly not going to be for everyone like it is for me. As Carlson says on her excellent cover of “Outlaw Women,” she definitely doesn’t give a damn about society. She’s going to take hits in high heels on “Daddy’s Girl,” flirt with men for a free tank of gas because she’s “far too pretty to be left alone in this dirty old city” on “Wild Reckless and Crazy,” and run from a man while high on cocaine in the opener, “Rat City Bound.” You’d almost think “Outlaw women” was her own song since it fits in here so effortlessly. The point is, this is not the album to show to your grandma, or your priest, or anyone who might be appalled by such scandalous behavior.

It’s all normal stuff you see in outlaw country, sometimes done by certain artists to the point that it becomes a parody of itself, but it’s fair to say that it holds more power and originality when delivered in the female perspective, similar to Robyn Ludwick’s latest album. Unlike Ludwick’s songs, however, you get the distinct feeling listening to Darci Carlson that these accounts are personal, or at least altered versions of things that really happened to her. Robyn Ludwick is a storyteller, interpreting the hard side of life and humanizing characters who don’t get a fair shake in society or in country music; Darci Carlson comes off more as a participant in that side of life, simply giving voice to her own stories and experiences.

She’s got absolutely the perfect voice for that endeavor as well, a voice unlike anything I’ve heard in current country music except for possibly a very slight resemblance in certain songs to the aforementioned Ludwick. She’s more like Melissa Etheridge meets Bonnie Tyler, with a rasp that fits these stories excellently. It’s perfect because these are lyrics reminiscent more of classic rock than country, only delivered with twang and backed by country instruments. The production is gritty as well. There’s a rock edge to most of these tracks, and the piano in the spirited “Don’t Call me Baby” sounds like it came straight out of some saloon in Lonesome Dove. It’s all very worn and familiar, dated but in a charming, comforting way. She says in “daddy’s Girl” that she’s “all thrills, no frills,” and that’s a good description for the raw feel of the production. It’s not smooth or polished, and that’s another thing not everyone will enjoy about it. It’s also something which will make it even more appealing to those who will like this record.

As for the themes, it’s actually pretty well-balanced. The hard living echoes throughout, but it’s not a one-sided portrait of being an “outlaw” for the sake of it. “Wild Reckless and Crazy” is first presented as a triumphant tale, but then there’s a stripped-down version which completely turns the song on its head–instead of an anthem for questionable behavior, it becomes a self-aware and reflective commentary on her state of affairs. Each is probably correct, depending on the present moment, two sides of a complicated coin. “Daddy’s Girl” sees Darci declaring that being alone “sounds way more fun than being stuck at home with a man” and that, although she does believe in love, “I’ll be damned if I can find one I can’t get sick of.” Yet she’s got a sentimental side like all of us, even the most jaded, and it comes out in songs like “To the Moon and Back” and “Indian summer.” They’re not sappy by any means; the former features the line “even strung out on dope, you’re still heaven-sent,” but they represent another side to Carlson and show that she’s not one-dimensional, just doing the outlaw thing to brag or simply for the sake of being an outlaw.

I’m enjoying the hell out of this. It’s cool and different and most importantly, it’s not getting enough love. As I say, it’s not going to be everyone’s thing, both because of the material and because of the production style, but this record is strongly recommended if you like your country dark and gritty, and especially if you don’t give a damn about society.

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Reviews

Album Review: Emily Herring–Gliding

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Rating: 7/10

How often on these endless reality shows and talent competitions do we see judges and vocal coaches stress the importance of individuality? They are not only looking for raw talent, but something unique and fresh and different. And why not, when so much of popular music continues to pump out more of the same ideas from different voices? Any music class will tell you that music cannot expand further, that at this point, it’s just rehashing old ways and modes of doing the same things–this is one of the biggest criticisms of contemporary music by those who study classical and believe modern music to be somehow inferior to that discipline. So it’s up to those makers of modern music to work within the confines of their craft to continue to stand out and present us with new ideas. And country music is often regarded as one of the most restrictive genres in which to create things, so it’s even more impressive when you see a country artist proving all of these theories wrong.

That is what we see with Emily Herring’s latest album, Gliding, as she presents a traditional approach heavily blended with influences of Western swing. So many country artists today in the independent realms are doing this east Nashville/Americana sound that by now has been absolutely done to death to the point it’s about the least original and most clichéd thing you can possibly do outside the mainstream, or they’re mixing in the raw rock influences of Red dirt, or they’re making West Coast country with a modern take on the polished Nashville sound. This isn’t any of that, it’s something all its own, and yet it’s more traditional than many records released this year. Herring’s influence comes closer to that of Bob Wills than anything else, but this record is not trapped in that time period either, as she’s got a voice reminiscent of Robyn Ludwick or perhaps Tanya Tucker, which lends itself to harder mixes of country and rock and gives this album yet another unique quality.

But neither Ludwick nor Tucker possess the falsetto of Emily Herring, an addition which renders her able to pull off softer, more vulnerable songs like “Midnight” and “Yellow Mailbox” right along with some of the harder stuff like the title track and the painfully honest “Right Behind Her.” This one is the highlight of the record, as she lays out the truth that she literally doesn’t know if she can go on living without her mother being there for her. “If my mother were to die, I fear that I’d be right behind her,” cuts even more when you know that her mother did die in the final stages of this album’s making. That bluntness in her writing comes out on the closer, “Getting By,” also, as she describes her days as a mechanic and only being responsible for herself, trying to stretch a dime in order to survive.

This album needed some moments of levity to brighten the mood, and they come in the form of two covers, “All the Millers in Milwaukee” and “Semi Truck.” The former especially suits Emily and her voice and allows more of the fun side of her personality to stand out. It also fits more on the record as a whole than the latter because although light, it’s still a breakup song like much of the more serious material. There’s another lighter moment in the Western swing-infused “Best Thing I’ve Seen Yet,” and although it’s not a personal favorite, it adds balance to the album and shows another, more tender side of Emily Herring.

This album is not without its flaws, and it could have used perhaps another jolt of energy and maybe some sharper songwriting in places, but it’s still a good, promising record from Herring and one that is worth checking out, if only for its unique nature. Its propensity to draw from the influences of Western swing, combined with a voice like Emily’s, suited more for classic rock or harder country but somehow lending itself to these songs very well, makes this album intriguing and certainly memorable in the country space. It might not be a record you love on first listen; rather, it’s more an acquired thing, a potential you see in a song or two that unveils itself after a few listens to the whole album. In the end, it’s that potential which shines brightest about this release, and Emily Herring becomes another cool discovery of 2017, even if the year is nearly over. Not an album, and certainly not an artist, to be overlooked.

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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.

Commentary

Some Second Impressions of 2017 Albums

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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!

Playlists

My Top Ten Albums of 2017 so Far

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Editor’s Note: Why didn’t I choose thirteen again? Actually, I was going to, but these ten just stand out above the ones I would pick for eleven, twelve, and thirteen, so they’ll just be in the Honorable Mentions. This has a little, but not much, to do with the original grades given to these albums; it’s more about music that holds up, so some of these might have lower ratings than you’d expect, and there are some that we rated higher that didn’t make this list because I simply don’t go back and listen to them, and for me, that’s what music is all about. It might be a 9 on paper, but if I’m not listening to it months later, that number is arbitrary, so don’t let the numbers factor into it too much at this point. Lastly, just like the songs, these are my picks, not necessarily those of Country exclusive as a whole, and these are, unlike the songs, in order for me.

#10: The Steel Woods–Straw in the Wind

Original Rating: 8/10
This honestly would be higher on the list right now because the first half is excellent, but it does drop off some for me in the back half. Still, it’s a very nice debut from The Steel Woods, tinged with Southern rock, blues, bluegrass, and country; in fact, I’d like to make the point that look how many of these entries are debuts, what a cool year for debut records.
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#9: Chris Stapleton–From a Room, Volume 1

Original Rating: 8/10
Some of you are going to hate me for ranking it this low, and others are going to hate me for saying it’s better than Traveller. But it’s a more consistent effort from Stapleton than his first record, and it’s still holding up nicely.
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#8: Shinyribs–I Got Your Medicine

Original Rating: 9/10
Yeah, okay, this ranks higher as an album than some others that will be higher on this list, and I still stand by that 9 too. It’s definitely the most fun album here. It doesn’t hold up quite as much as some lower-ranked albums coming up because you have to be in a certain mood to play it. But Shinyribs is the type of group you should just let yourself enjoy; they won’t be for everyone, but they should be.
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#7: Robyn Ludwick–This Tall to Ride

Original Rating: 7.5/10
All right, what is it about this one? Well, it just works its way in. It’s unique and cool, and no, the hookers and cocaine all over this record won’t be for everyone, but if you can get past the dark material Robyn writes and sings about, this is a great record. It’s definitely being underappreciated, and I underrated it, not necessarily because I undervalued the songs themselves but because I underestimated its mileage and ability to be replayed which it turns out has been great.
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#6: Jaime Wyatt–Felony Blues

Original Rating: 7.5/10
Yeah, I said this rating would be misleading when I reviewed it, and it turns out I was right. It’s hard to grade a seven-song project, and when four songs turn out to be excellent tracks, and the other three are good, it’s hard to question this. It’s short, sure, but there’s no filler like there has been on many albums this year. Jaime Wyatt’s is another debut record, and this is probably the most promising one I’ve heard all year. She’s someone you should definitely keep your eye on, and since February, this has gone from being a strong debut to one of the best albums of 2017.
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#5: Kasey Chambers–Dragonfly

Original Rating: 8/10
Please, stop caring that this is a double album, and do yourself a favor by listening to it. This has been massively underrated, both because Kasey is Australian and because it’s a double album, but it’s one of the most consistent and diverse releases of the year–there’s something here for everyone, from traditional to blues to folk rock to gospel to country pop. Go check it out.
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#4: Jason Eady (self-titled)

Original Rating: 9/10
This is going to be a dark horse for Album of the Year; Jason Eady is the only person who could make a completely stripped-back, acoustic record that could be played without electricity (except for some steel guitar) and have it compete with the best albums of the year based on his songwriting and melodies alone. This record grows on me every time I listen to it. Another somewhat underappreciated album, and definitely the best album to come out of the Texas/Red dirt scene thus far this year.
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#3: Angaleena Presley–Wrangled

Original Rating: 10/10
I know, some of you that know how I felt about this record are falling out of your chairs right now that this is #3. I still love it, and these top three are all excellent. The reason this has slid momentarily to #3 is that I come back to it all the time, but not as much to the entire album as to specific songs. But like I said, these top three are all almost interchangeable, and some of the songwriting here is the best of 2017 so far.
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#2: Colter Wall (self-titled)

Original Rating: 9/10
All right, so yeah, this has passed Angaleena. There are still a couple of boring songs, so I wouldn’t give it a 10–although I might change angallena’s to a 9 or 9.5 if I were reviewing her today–but man, what a timeless album. This pretty much blew me away on the first listen–which is the case with all the top three–and just like Jason’s, it’s very minimal, and all you need is Colter’s throwback voice and his stories and melodies. Excellent record. Another debut, by the way.
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#1: Marty Stuart & His Fabulous Superlatives–Way out West

Original Rating: 10/10
Back in March, nothing had blown me away in 2017. I remember talking about the fact that there had been some good albums, but not great ones. I was a little discouraged–and then this came along and blew everything out of the water, and I’m still waiting for something to top it. It’s been a much better year since, and 2017 will be an entertaining year waiting to see if an album can possibly top the musical genius Marty Stuart put into this album and depiction of the West. It’s not a lyrical masterpiece; in fact, none of its songs made yesterday’s list. But that’s what makes it even more special; Marty went into a genre that is lyrically focused and made a western album based purely off the musical styles and mood. It’s, at least for me, a flawless record.
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Honorable Mentions

  • Sam Outlaw–Tenderheart (would have been #11)
  • Kody West–Green (would have been #12, another debut)
  • Aaron Watson–Vaquero (would have been #13)
  • Nikki Lane–Highway Queen

  • Rhiannon Giddens–Freedom Highway
  • Sunny Sweeney–Trophy
  • The Mavericks–Brand New Day
  • Zephaniah Ohora–This Highway (this will probably make future lists, but I need more listens

Albums on the Radar, With Potential to be Reviewed

Being listed here does not mean Brianna or I will review these, it just means we’re aware, and they may be considered, but have not been reviewed yet.

  • The Infamous Stringdusters–Laws of Gravity
  • Lauren Alaina–Road Less Traveled
  • The Secret Sisters–You Don’t Own Me Anymore
  • Ray Scott–Guitar for Sale
  • Glen Campbell–Adios
  • Shannon McNally–Black Irish
  • Joseph Huber–The Suffering Stage
  • Tony Jackson (self-titled)
  • John Baumann–Proving Grounds
  • Jake Worthington–Hell of a Highway
  • Ags Connolly–Nothin’ Unexpected