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Reviews

Album Review: Colter Wall–Songs of the Plains

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Rating: 6/10

Colter Wall could be a timeless voice of this generation, and I believe he will be. When I first heard his voice, coming straight out of the past and echoing the ghost of Johnny Cash, I got chills. And his stories match his voice; he weaves tales of hopping trains and plowing fields with a natural ease, and not dated by his language but rather enhanced by it, for his turns of phrase would seem more forced if he modernized them, a direct contrast to so many of his peers who seem to choose their words carefully and intentionally to evoke days gone by. But unlike so many of these–Joshua Hedley and Zephaniah O’Hora come to mind immediately–Colter’s not trying to revive classic country. He’s not trying to bring back the outlaw era, an exercise so worn out by now that the effort to be an outlaw has become a cliché. Rather, Colter Wall goes even beyond that, seeking to keep alive the oldest forms of country and folk music, going back to the days of Wooddy Guthrie and Roger Miller for his inspiration and preserving those primitive styles and traditions in his songwriting.

Songs of the Plains seems like a natural progression for Wall, an album made in tribute to his prairie homeland in Canada and featuring some traditional tunes from his home country as well as Colter’s originals. The idea is fresh as well, keeping Colter firmly within the parameters of what he does best while also dispelling the notion created for some by his last album that he could only sing about these things for so long and in so many ways before it became stale and uninteresting. Perhaps it is the power and magic of his voice, or perhaps it’s because people have been so starved for this sound and in some cases have never been exposed to it at all, but there’s no doubt that Colter Wall’s music is resonating with many and opening windows to the past. There was the concern that he’d be a niche performer, but that niche has made him unique and seems to be what many have been longing to hear, even if they didn’t quite know it themselves. Songs of the Plains doubles down on all of it, more sparse and primitive in numerous places than Wall’s previous efforts, and it should have been a fantastic listen.

Indeed, it could have been a fantastic listen. Certainly the opener, “Plain to See Plainsman,” stands out as a brilliant ode to the prairie and starts off the record in fine fashion. Colter Wall’s love for his homeland is on full display here, and it’s one of the highlights of the whole album. “Thinkin’ on a Woman” is an excellent moment as well, a classic country heartbreak song that should have been written fifty years ago when it would have been a mainstream hit. As for the covers, “Calgary Round-Up” was a great choice, and “Night Herding Song” fits in well after it, almost like an outro. It’s hard even to distinguish these as covers given how naturally they work on this album. And then there’s “Manitoba Man,” an original which comes out of nowhere near the end of the record to remind us all that Colter Wall’s voice is not just special for its timbre but also for its ability to capture raw emotion. I think this one may be overlooked among the other songs, and that would be a shame, for it’s definitely a standout here and in Wall’s young discography.

But too often, this album is just a scattershot, frustrating listen. “Wild Dogs” is the worst misstep, and although not Colter’s original work, it was a terrible choice for a cover and just makes for a very weird, unnecessary moment. The song itself is just awful and strange, but it’s not fair to dwell on the writing as much as the choice by Wall to cover it here. AS for Colter’s own writing, the lyrics are mostly strong, although some songs feel underdeveloped. “The Trains are Gone” is just boring and forgettable, and “John Beyers (Camaro Song”) just feels too short, as if Colter stopped writing in the middle of the story. Also, you can find the same melodic line in “saskatchewan in 1881” that was present in “Bald Butte” on his debut record. I enjoy both these songs, and this might be more easily excused if the same melodic line didn’t come up again in “The Trains are Gone.” It just seems like such a lazy songwriting decision and one which Colter Wall is better than making.

There are some lazy production decisions as well. On the surface, the production seems perhaps more interesting than that of his first full album, with harmonica and steel adding color to some of these tracks. Many criticized the production of Wall’s self-titled record as being too plain, too sparse, and even boring. Personally, I felt Dave Cobb did well by getting out of the way and letting the songs speak for themselves, and I enjoy the fact that Colter often needs nothing more than his voice and a guitar to bring those songs to life. But when you’re relying so heavily on a voice and guitar, the guitar work needs to be better. There is noticeable, constant buzzing of the strings in several of these songs, most obviously in “John Beyers (Camaro Song.”) This song, as mentioned, also seems too short, and the whole thing just comes across as unfinished and rushed. The buzzing guitar strings return in “Wild dogs” and in “Thinkin’ on a Woman” and really, in places all over this record. This is something you hear inevitably with acoustic guitars, and hearing it on occasion can even add to the live feel of a song, as the imperfection brings the human touch to the recording. But it is so constant in some of these songs that it becomes distracting, and the obvious question is why did Colter wall accept these recordings as the final versions he wanted to send out to the public? Once again, he is just better than this.

This record is ultimately just not up to the standards Colter Wall has set for himself. The idea behind it was fantastic, and there are some excellent songs on this album. “Plain to See Plainsman,” “Manitoba Man,” and “Thinkin’ on a Woman” particularly stand out as being timeless additions to Wall’s discography. But the album as a whole just feels rushed and underdeveloped. It’s a collection of little things, but all those small decisions add up to a finished product that seems unfinished. Clean this record up a bit, and it improves significantly. Just a little more care was needed to make this album what it could have been. The potential and talent in Colter Wall remain endless, but unfortunately this album as a whole falls short of that potential.

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Collaborative Review: Joshua Hedley – Mr. Jukebox

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Joshua Hedly’s debut album Mr. Jukebox is one that was an interesting listen for us both. It’s very cool that it’s so traditional, but it leads to a lot of the same authenticity debates that have been plaguing country, and whether something has to be completely traditional-sounding to be considered “real country.” It brought up some interesting discussion points, particularly as we both liked the album less with more listens.

Conversation

Megan: So let’s talk about the parts of this album we did enjoy, because it was kind of a strange experience for us both over the course of listening to it. I know a big draw obviously for you would be the sound.

Brianna: Oh yes, the sound played a big part in my feelings toward this album. Right away, it was easy to see that this would be very traditional. I loved the piano, fiddle, and steel guitar used throughout. It all really goes back to the 50s and 60s, and the sounds that were popular then.

Megan: It goes back to that in such a way that I can’t help but be impressed by it. Even down to his inflections and phrasing, it sounds classic. I wasn’t a huge fan of his voice like I know you were, but he definitely is convincing at the style.

Brianna: I agree about it being really convincing, as far as the musical tone. As for his voice, you’re right. I was really impressed at his talent. He’s just a singer who I really appreciate, and for me, when I can find someone who is working within the field of traditional country, and also has singing talent, I’m a happy camper.

Megan: I mean, I wasn’t moved either way by his voice. Not especially great or especially bad, at least for me. For me, it was the songwriting I initially liked. I shouldn’t say initially, I still do like a lot of these songs on paper. The first time I listened to this, it didn’t blow me away, but I thought it was solid. Was it like that for you? You probably actually liked it better than me at first.

Brianna: Oh yeah, at first, I was ready to be blown away. Hearing him sing on “Counting All My Tears”, I just knew it was going to be great. So, when I was first listening to this, I sort of liked it more. But the more I listened to the album, the weaker it became. Yes, I still like it, but now? Not as much. I’d say for me, about four of these songs really stand out completely.

Megan: Which songs? And what made it weaker? I know it got weaker for both of us, but I think we’ve got somewhat different reasons for that.

Brianna: I love “Counting All My Tears” for its slower tempo, as well as the way his voice just fits with the song. It’s really the only one of the slower songs I believe in. I could really be convinced that he’s really sad about his past relationship not working out. “These Walls” is one I like, just because he’s saying that the walls could tell a story about a relationship gone wrong. I love the upbeat “Let Them Talk”, just because the narrator doesn’t care about what others say, he’s happy with the woman he’s found. My favorite is the title track, though. “Mr. Jukebox” is awesome, as it’s from the perspective of the jukebox, telling stories about all the people around it.
What made it weaker was the fact that I honestly started finding the other songs sleepy or uninteresting. A lot of them are slower, but just because a song is slow doesn’t mean it has to be sleepy. Plus, a lot of these songs are about pain or trying to fix a relationship, and bored is the last thing I should feel. What about you? What are your standouts, and what brought this album down for you?

Megan: Slow songs don’t have to be sleepy is a great point. Jason Eady is the poster child of this quote. Anyway, I agree wholeheartedly that “Mr. Jukebox” is the best. It was the lead-off song and had me really excited for this. He’s best doing this sort of upbeat, shuffling traditional thing. Also agree on “Let Them Talk.” As for the slower songs, I enjoy the lyrics of “Weird Thought Thinker” quite a bit. I think I’d like this more in another singer’s hands. “Counting All My Tears” I’d agree on as well, I think he does sound more convincing in that one.
Which leads me to my biggest issue. It’s so caught up in trying to be traditional that it just feels like he’s doing a style. As we’ve pointed out, he’s doing it flawlessly, but I really don’t feel like I know much about Joshua Hedley after this other than that he really likes and respects traditional country. There’s nothing wrong with recreating this style, that’s what Zephaniah Ohora did last year on an album we both love. You loved Zephaniah long before me, so you’re probably a better authority on this, but I believe him when he sings. Not every word and phrase and chorus is throwback just for the sake of it.

Brianna: Oh yes. I believe what Zephaniah sings. I don’t, however, believe everything Joshua sings. I’m just not convinced he felt the emotion in the songs, and if the artist is lukewarm on a subject, it will likely rub off on the listener. Or, at least, to my way of thinking. For all I know, he isn’t lukewarm on the topics; it’s just how it comes across to me. Like he’s just going through the motions.

Megan: Do you think it’s a problem with how traditional and not contemporary he’s trying to be, or just more of a problem of him not really finding his sound as an artist? I guess what I mean is, do you think if he develops his songwriting and gives us more originality, he can release a 2nd album with this throwback sound and have it work in this day and age?

Brianna Well, if he released an album with more originality, but with the same kind of sound? I’d be all over it. Lol. Honestly, though, I think it might be both that he felt like he had to use the style he did, and that he is still trying to find his sound. I think he has a lot of potential, and I am interested to see what he comes up with next, I just hope that he doesn’t limit himself as he did on Mr. Jukebox.

Megan: Honestly, I don’t know. I thought at first it was just because of how identical he was trying to be to this style, but Colter Wall sings lines like “drew myself up” and “I made for the creek,” and for me, his music comes off timeless rather than dated. Same with Zephaniah Ohora, although his songwriting is more modern. This feels dated somehow. I wanted to like this more than I do, and I agree that he’s got a ton of potential. The opportunities he’s already had by releasing an album like this in 2018 on Third Man Records are encouraging. I guess I like him and the idea of it all more than the album, lol.

Brianna: I’m not a Colter fan, but I do like that sort of older language. It makes things feel more authentic. That’s always great.
But I agree, I like the idea of this more than the actual album, and that’s disappointing, as a traditional country fan.

Megan: It’s also disappointing because there’s not really one moment I don’t like here, except the awkward cover of “When You Wish Upon a Star.” But other than that, there’s nothing really awful about any of it individually, it’s just an overarching problem.
Overall, I am impressed by the sound and the production and the songwriting. I think Hedley has a lot of potential, and I’m glad to see an album like this get made in 2018. It’s still a positive thing as a whole and has some standout songs, but it lacks identity. I want to hear more Joshua Hedley next time to build on this very cool foundation. Solid 6 from me, I think.

Brianna: That’s a great point that should be made, that nothing is awful about this album. Like you, my only real awkward moment is “When You Wish Upon A Star”, but that’s both because it’s a cover, and also due to the jazz atmosphere of it. Like you, I’d love to hear more of himself on his next album, but I’m also encouraged at seeing something so blatantly traditional be pushed so much this year. I’d like to go with a 7, but I believe a more accurate rating for this would be 6.5, simply due to the fact that I don’t love over half of the album. Still, this is something I recommend any traditional country fan should check out. It’s very possible you all may have different opinions than Megan and myself.

Ratings

Brianna: 6.5/10
Megan: 6/10

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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!

Reviews

Album Review – Zephaniah Ohora – This Highway

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Rating: 9/10

I had never heard of Zephaniah Ohora until Megan mentioned him to me by saying that Trigger over at Saving Country Music had given his album a 9.5 out of 10 rating. Then, she dropped the words “classic country album”, and I was sold. I knew I had to at least give this unknown artist a listen and se what I thought.

I don’t know much about Zephaniah Ohora, but when I saw that he is from New York, I was excited to see what his music would sound like. As it turns out, he made some truly authentic country songs that could be timeless in terms of sound.

To start with, this album features some really well-done instrumentation. I like that on some songs, there is a touch of piano. Personally, I feel that the piano is a much under-used instrument in country nowadays. There’s some really well-done fiddle, too. By far, though, my favorite instrument is the steel guitar, which is fantastic all throughout this album. If I had to point to a specific moment where it really works, listen to the track “For a Moment or Two”. It’s a sad song in which a man is trying to lie to himself that he hasn’t lost his partner, and the guitar really sells the emotions of this song in a moment unlike anything I’ve heard so far this year. If I had to pick a favorite track off of this record, I’m pretty sure this would be it. It’s the only waltz time song on here, and a fantastic way to end the album.

The previous ten tracks aren’t bad by any means, either. The album starts off with “Way Down in my Soul”, which is a love song about how the woman he loves helped him out of a dark time in his life. There is some great fiddle play here, and its a very good opening track. “I Do Believe I’ve Had Enough” tells of a man who’s tired of the city and wants to move back to the country. I don’t think I’ve heard a song with this theme for quite some time, and I really appreciate it, especially since things are even more hectic since the time when songs like “Big City” came out. “Take Your Love Out of Town” is intriguing. The actual music of the song is country, but the tempo reminds me of something the Eagles might have done in the 70s. It’s not derivative by any means, but it just reminded me of the tempo on songs like “Peaceful Easy Feeling”. The actual lyrics involve a man telling his lover to go and be with someone else, but he also says that if the woman misses him, she can come back home. He did her wrong, and he wants her to go, but only if she has no feelings for him. I believe this is a very realistic portrayal of emotions one would feel in this situation, instead of just saying that he wants one thing or the other. Human emotions are far more complex than that, and I appreciate Zephaniah Ohora being willing to capture that fact.

The title track tells about a highway that just won’t end. Given his occupation, I found that this song could be taken literally and metaphorically, where the highway is life. Either way, I like the song, although it isn’t one that completely stands out to me. One that does stand out for me is “Songs My Mama Sang”. It starts off talking about how a boy and his mother would walk their farm fields and she’d sing to him. The boy had his whole life ahead of them. Then, as a young man, he got a job and got lost in the rush of living, but all by himself, he sang the songs his mother used to sing to him. The song is pretty sad, but I like that it isn’t nostalgia for nostalgia’s sake. “High Class City Girl from the Country” is a standout song for me, because it tells of a woman who likes fashion and keeping conversation light, and she’s all about the city life. However, she’s really from the country, and is trying to leave that all behind for the sake of being considered a fine and high class woman. This is true to life nowadays, I’d say, as a lot of people do exactly what the woman in the song did.

Now, we come to a really unique song. “I Can’t Let Go (Even Though I Set You Free” is about murder. Basically, the man in the lyrics tells the woman he loves that she can leave him, but when she tries he shoots her. He can’t deal with the fact that she would no longer be his. It was painful for him to do it, but he just couldn’t let her leave him. In terms of subject matter, this track is definitely different from all the others. You’d expect a song with this theme to be slow, but it’s more mid-tempo than anything. “She’s Leaving in the Morning” is all about a man being left by his woman, who now loves someone else. This song isn’t particularly memorable, but it’s not bad either. “He Can Have Tomorrow (I’ll Take Yesterday” involves a man who is telling the woman he is with that she can go and be with the man that she loves. Although she tried to make him jealous, he isn’t, and he only wants what they used to have. He doesn’t want her future, he wants her past. “Something Stupid” is the only cover on this album. It features Dori Freeman, who I really like. The song itself is all about someone trying to tell the person they’re with that they love them, but said person is very cynical and would only think that it’s a line. I haven’t heard the original, but I liked the lyrics. What I don’t quite care for is how Dori Freeman and Zephaniah Ohora sing the lyrics. Not their harmonies, but the notes they used, the melody itself. It just felt off to me. Like I said previously, “For A Moment or Two” caps the album off beautifully. It felt like Zephaniah Ohora really pulled out all the stops for this song in terms of lyrics and instrumentation. It really shows what he and his band are capable of, and it’s the track I keep coming back to.

Overall, I quite like this album. It truly sounds like it could have come out many years ago, but its subject matter is still quite applicable today. While Zephaniah Ohora doesn’t have a voice that particularly stands out, he is a good vocalist who is good at capturing many different emotions. I have to agree with Triggers review where he talks about how he’s glad that Zephaniah Ohora didn’t attempt to put on a Southern accent or make Southern references. It really gives this album a unique quality, and separates it from everything else out there. The artist knows who and what he is, and he’s not trying to be anything different. I can only think of three downsides to this record. There are a lot of mid-tempo songs, so it could use more speed,. Not all the songs were memorable, as I’ve stated above. Finally, I did find it odd sometimes where the lyrics were placed within the instrumentation. It felt a bit off to me, since the lyrics occasionally came a second or two after I was expecting them. Still, I think if classic country is your kind of music, you need to check this out. You’ll be hard pressed to find anything with this kind of sound or appeal, at least in terms of the albums that have been released so far this year.

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