2015: It’s The Greatest Hits Edition!

Well, it’s that time again. The Christmas decorations have been put away, the food and sweets have been consumed in exhaustive amounts, and the trash has all been swept out from another Times Square New Years Eve celebration. It’s January of 2016 now, and usually that’s the time people have prepared their quick-to-be-broken resolutions, trim the caloric leftovers caused by all those food and sweets, and prepare for the long road of despising much of the year ahead.

But enough about my intended plans.

These earlier days of the new year are also an excellent time to look back. To take a wistful glance at the greatest hits and a look at the best of what was in a 2015 with plenty of was nots. And when it came to music, while the content may not have quite been as strong as the year before, my choice for the Top 10 Albums of the Year was certainly still just as difficult.

So let’s get to the heart of the matter now, starting off with….

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10. Tobias Jesso Jr, Goon

2015 was a big year for the Canadian-born singer-songwriter, who rose from the ranks of several years of struggling obscurity to co-writing songs for Adele’s new album 25 by year’s end. But in between that the biggest springboard to Jesso’s newly risen star has been none other than his stellar solo debut Goon, which took Jesso’s recently learned piano wielding skills to wounded heights akin to the likes of John Lennon, Carole King and Harry Nilsson. And while not exactly blessed with the strongest of singing voices, Jesso makes up for that with a keen sense of winsome poetry, a touch of wry humor, and an embodiment of the soul of Brill Building songwriters past.

And if 2015 has been anything as we start off this list, it’s a great reminder that this generation of talent hasn’t forgotten the power of what made the musical past so potent. And for Jesso, well… talk about a hell of a year.

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9. Jason Isbell, Something More Than Free

I was first introduced to Jason Isbell back in 2013 with the release of Southeastern, and while it didn’t immediately capture my attention the album was ultimately a soul-destroying reflection on death, sobriety, and the burning up of the skeletons in Isbell’s closet. It marked the strongest solo album to date from the newly-clean and focused artist, and Something More Than Free came along this year as the next logical chapter in that train of thought.

The record doesn’t quite carry the dark potency of Southeastern, but being once again reunited with super-producer Dave Cobb and a brighter point of view has done nothing to slow the brilliance of Isbell’s creativity. He still writes with all the intricate lyrical nuance of one of the best country folk musicians in the business (i.e. a modern Kris Kristofferson in many ways), and has the acumen to jump from folk to blues and rock n roll and back again, with the vocals to match.

I do maintain that Isbell’s live performances surpass his albums overall, but Something More Than Free marks the continued strength of passage of an artist coming up from the darkness and back out into the light. And I for one, am ready to hear each story all along the way.

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8. Gary Clark Jr, The Story of Sonny Boy Slim

When Gary Clark Jr hit the scene with his 2012 debut record Blak and Blu, it was a revelation to the world of blues. Hailed by the likes of Alicia Keys and other such luminaries, Clark’s mixture of blues, R&B and soul seemed like the next recipient of the scepter as older artists of the craft such as BB King, Buddy Guy, Jimi Hendrix, Stevie Ray Vaughan and Eric Clapton have either died too soon or started to slowly fade into the sunset (with King unfortunately passing away this year).

And while some have called Clark’s blues credentials less than “authentic” because of his genre-ranging style, The Story of Sonny Boy Slim laid some of those unjust criticisms to rest (at least from my perspective). Clark brought his sound closer to the bone on this one with the gospel of “Church” and the croon of “Our Love”, while still showing how much he could shred on tracks like “Grinder” and “The Healing”. It may not have come in at number 1 on this list, but it is the latest in some of the finest work that young blues still has to offer this world.

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7. Glen Hansard, Didn’t He Ramble

In 2015 there were certainly a number of surprises that ranked on this list, and while Glen Hansard was right up there he wasn’t the most unknown to me by any means. In 2007 the Irish-born former street musician and member of The Frames was brought to prominence when he and Marketa Irglova starred together in the John Carney music film Once, and probably broke a few million hearts in the process with the tender wrenching ache of breakthrough single “Falling Slowly”.

This time around Hansard went solo with the gentle grace of Didn’t He Ramble, and while some longtime fans didn’t necessarily agree with some of the instrumentation present, in my opinion it was impossible to ignore Hansard’s usual penchant for songwriting as well as sheer accessibility. “Grace Beneath The Pines”, “Paying My Way” and “Stay The Road” kept that highway to the heart lines wide open, while “Wedding Ring” and “Lucky Streak” painted those same lines with a lighter brush of charm along the way.

It’s music like this that keeps my heart searching for just a little more. Just a few more stories please, as long as they’re as good as this.

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6. Butch Walker, Afraid of Ghosts

This year featured a lot of wonderful music, wonderful songs, and as I just mentioned in that Glen Hansard bit a moment ago, a lot of stories. But none perhaps more beautifully poignant than Butch Walker’s emotional masterpiece Afraid of Ghosts.

Inspired by the death of Butch’s father Butch Sr, Walker’s traditionally pop-rock oriented sound took a broad left turn into a lo-fi, bare bones mosaic of textures the likes of which Bruce Springsteen’s Nebraska might certainly appreciate. And with Ryan Adams at the helm producing the kind of sound his own records lack for currently, Walker couldn’t have found a better set of companions to take this cathartic journey alongside.

As a result, Ghosts shines with the kind of magic that’s as deeply prolific as it is personal, and shows off the deepest and darkest light of Walker’s creative career after his more than 20 years in the industry.

Thankfully (much like a story we’ll get to later), Butch Walker stepped out from behind the shadow of the producer’s chair to give us this. It’s deeply sad that it comes from this place of remembrance and eulogy, but Ghosts is undeniably relatable and immersive all the same. Don’t let this one pass you by.

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5. Wilco, Star Wars

In the years since becoming a Wilco fan (around the Sky Blue Sky era), I began to slowly wish for an album that could be as diverse and bizarrely odd-rocking as staples Yankee Hotel Foxtrot and A Ghost Is Born. Sure, Sky contained the kind of roots-rock and quieter moments that lead man Jeff Tweedy could pull off in his sleep, but after muddy retreads Wilco (The Album) and The Whole Love it felt like the band was past due for a record that felt… more cohesively dynamic. More sure of the direction it wanted to take.

Then in June of this year, the group rediscovered that spark with the surprise release (and curiously titled) Star Wars. And while it isn’t a Yankee or Ghost (or an intricate concept album about Luke Skywalker and the Sith Empire), it was a shot of electricity hearkening back to the band’s knack for exploration. From the moment “EKG” and it’s opening clatter of explosive instrumental defibrillation kicks in, Star Wars is an adventure of Lou Reed-esque Velvet Underground psychedelics, caffeinated jitter-rock, and lyrics that dash from off the wall to that same quiet still Wilco has made it’s specialty amidst all the tumult.

It’s the type of album that takes the muscle of the past and breathes the life of where the band is now into it’s every ligament. And coming from this sole perspective, it was eagerly missed.

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4. The Lone Bellow, Then Came The Morning

In 2013, a little country-folk trio out of Park Slope in Brooklyn started to come out of the woodwork of the still-newly relevant folk scene popularized by the likes of Mumford and Sons and The Lumineers with their initial self-titled debut. And while they’ve progressed and started to show the world their electrifying stage persona, the comparisons might still remain but Zach Williams, Kanene Pipkin and Brian Elmquist have begun to forge into a realm entirely their own with 2015’s Then Came The Morning.

With The National’s guitarist Aaron Dessner at the production helm as opposed to well known Civil Wars producer Charlie Peacock, the shiny folk-based residue of their first LP was replaced by instrumentation that wiped off the polish in favor of something more organic and…. flavorfully ornate. Morning edged much further towards bigger sounds in retro rock, country and gospel while splitting singing duties between all three vocalists this time around, and as a result the band looks poised to take their success onward and upward in 2016. All while helping to define a little “Brooklyn country” along the way.

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3. Adele, 25

With powerhouse albums 19 and 21 already under her belt since her debut in 2008, Adele Adkins had already easily reached the echelon of mononym status reserved for the likes of Prince, Cher, and Sting. And while she may not have made any doves weep with envy (yet), one had to wonder if the third time would still be the charm with this past year’s release of 25.

Well luckily, despite a four year wait the British balladeer had no plans of settling into a slump. Buoyed by the strength of monster singles “Hello” and “When We Were Young” and backed by strong co-writers Tobias Jesso Jr, Bruno Mars, Greg Kurstin and Ryan Tedder, Adele once again owned every note to come out of these 11 tracks. Whether it was wrapped in jazz, stripped to the nuts and bolts acoustics, or soaring on gilded wings into the highest heavens, 25 was one of the most impressive this year simply because of how controlled every ounce of it’s strength was. Rarely do albums come along that feel so perfectly grasped, and as usual Adele makes no question when it comes to owning her music. In fact, she doesn’t own it…. she dominates every fiber.

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2. Ivy, Beck & Neill, Live at Rockwood Music Hall

This year offered several boosts to the Brooklyn country music scene, and arguably one of the best was the debut of Ivy, Beck & Neill’s Live at Rockwood Music Hall. It was the first proper recording for the band (and the only live album on this list), and ranks in this high for good reason.

Featuring a sparsely acoustic backing band, the trio of Trisha Ivy, Mike Beck and Amanda Neill dazzle the New York City room with twining harmonies and as much sense for gleeful energy as gorgeously dusky gloom. Listening to Ivy and Neill sing together is like finding the kind of blues-folk collaborative spark Melissa Ethridge and Natalie Maines would be jealous of, and when you add on the band’s talent for songwriting and a rare kind of chemistry to go along with it… well, as IB&N’s song “Texas” goes, you got all you really need.

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1. Chris Stapleton, Traveller

Going into the category of both my biggest surprise of the year as well as biggest breakthrough, Chris Stapleton’s Traveller is a powerhouse album of country music that reminds me of why I’ve never lost faith in the genre. Despite the presence of so-called “bro country”, despite the nasal goose-honk vocalizing, beer swilling, tractor riding mainstream stereotypes that litter today’s excuse for the charts…. Chris Stapleton flies in the face of it all. And not only that, he’s written with great success for many of these artists as he’s had notable collaborations with the likes of Luke Bryan, Brad Paisley, Kenny Chesney, Tim McGraw, Luke Bryan and Darius Rucker with plenty still to spare.

Thankfully, Stapleton finally stepped out from behind the shadows of ghostwriting this year to deliver a debut that had all the heart and soul of what made old school country music so relevant in the first place. Plus, unlike his “peers” from today’s industry Stapleton brings to his writing a sense of gritty hard soul with a killer voice to match scenes of whiskey, women, religion, having the blues and getting stoned. Not to mention having his extremely talented wife Morgane alongside to harmonize, which is just icing on the cake.

In closing I’ll say this much, Chris Stapleton’s coming out party performing with Justin Timberlake at the CMA’s earlier this past year was just the overdue match to light the hot streak he was already on. And if you don’t believe music can save your soul, just put on Traveller and it’s closing track “Sometimes I Cry”.

Something tells me, you might just change your mind.

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Album Review, The Lone Bellow “Then Came The Morning”

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(not the right cover, blame Google images)

It certainly seems as though waiting on The Lone Bellow to offer up their second album has been a lifetime in the making (give or take an impatient infinity or two). After a point the release process started to feel like a war of attrition as announcements like album title, track list and singles started to slowly bleed through to the spotlight like sand through an hourglass. So it goes in the casual day to day to life of a music fan when confronted by the notion of a far off release date though I suppose.

But thankfully time can be a blessing (at least in this regard), and as I write this we stand upon the eve of the official release for Then Came The Morning. I’ve had many thoughts and emotions about this record after almost a solid week of listening now, and while I could include more notes and details about the blessing of having songs like Marietta or Fake Roses in the world (or the band’s appearance on the Letterman show tonight), I’m simply going to let the video I made speak for me.

So go check out my Youtube album review for The Lone Bellow in the little link down there below, and DO check out the Bellow on Letterman tonight. I’ve heard they’re going to be accompanied by an 11-piece band, and it promises to be a good one!

First Thoughts: The Lone Bellow, “Then Came The Morning”

This is only my 20th post on record for my WordPress blog, but oh… is it a big one. As I type this I perch cross-legged on my bed here in Upstate New York, while my girlfriend (the biggest Lone Bellow fan I know) is in Brooklyn blasting the band’s latest record Then Came The Morning out of her television set thanks to NPR First Listen. Not exactly a high rate of quality over our shared phone call, but it’s more about the sharing than it is the inner audiophile.

For you see, this is our band. It’s been since our initial discovery of their work in early 2013 (as I chronicled a few posts ago), and since that time their debut and every live show since has been building to this moment. This next step, the divide between the brilliance of a musical beginning and the wonder of what the next steps down the path might hold for a trio as gifted as these Bellow are. And Then Came The Morning is holding up it’s end of the bargain. 

I’ve covered a lot of music and heard a lot of songs since I started making music as essential as the life blood in my veins, but few have made an impact and a cut as deep as The Lone Bellow. Few bands have left a space of anticipation in my heart as deep and nerve-wracking as a chasm waiting for that next bit of new material, this next bit of material. Then Came The Morning soars like birds would be envious to (“Call To War”, “Telluride”), snaps along a jagged blues rocking edge (“If You Don’t Love Me”,  “Cold As It Is”, “Heaven Don’t Call Me Home”), and cuts to the very marrow of music at it’s most real (“Watch Over Us”, “Marietta”, “Fake Roses”).

And that’s always been the thing about The Lone Bellow. From the very earliest origin of frontman Zach Williams’ pre-Bellow solo album Story Time to the here and now listening to these new stories, these chances to gather around and be spellbound all over again. They’re real and as honest as ourselves and the faces we pass most days, some of which we know and some we never will. I can sit inside these tales and feel like just for a fraction of a moment, I lived them or broke my heart to them or experienced something truly otherworldly in their smallest sparks of simple joy.

Joys, sadness, a heavy turn before the shadows leave and the sun can rise again…. this band doesn’t hesitate before taking whatever road lies ahead. To Zach…. Kanene Pipkin… Brian Elmquist. Thank you for not only providing those roads for these days ahead whatever they may be, but for bringing two people together in the love of music no matter how far they may be physically.

I sit here now after one whole turn through Then Came The Morning, deep in phone discussion over tracklists, Aaron Dessner production (you magnificent bastard), early critiques and just… soaking it in. Never more excited at the glorious possibility of music from three people who feel so much like friends and beautiful acquaintances. Never more excited to share it with one of the people I care about most in the whole world.

I guess all that’s left to say for now is, so when are you three coming to play some concerts?

To Brooklyn, With Love: A Year’s Retrospective

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A lot can happen in a year. I like to think that in 24 of them perhaps I’ve begun to peck at the grains of sand on this eternal beach; maybe taken something back with me that’s going to last. Though more often than not when I think of the years I’ve had, I come to the conclusion that I’ve been asleep until this last one. That the womb isn’t just nine months, but a gestation of years to not only stand on my own two feet, but to feel the dunes etched beneath them when the moments become mine. When these months became mine.

And if I were to confide that in a postcard and take the time to send it anywhere, I would send it with my thanks to music. I would send it with white roses care of love. And I would send it to Brooklyn, where the brightest stars that could ever hope to burn in my night sky began where music and love met with you.

Enter Brooklyn’s Bandshell in the summer of 2013, when the tail of my comet was just arching across that orange sky with yours. Between the sting of the heavy raindrops that day we crossed paths with a young debuting Brooklyn band called The Lone Bellow, and out under that lit up night sky we were forever changed by Zach, Kanene and Brian’s music. “Watch Over Us” hung like a prayer left wondering, their unexpected take on “Angel From Montgomery” dazzled with raw power, and the trio moved like a wrecking ball of intimate catharsis and razor wired passion. I had never felt more alive seeing three people leave every ounce of themselves bleeding out and spent on a stage before. It would never have meant as much as it has to my life since though, were it not for you.

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The Lone Bellow became our music, our discovery so special that it’s become worthy of a movie like “Almost Famous”. Which is ironic considering that several months after the Bandshell came that hometown show for the trio at NYC’s Carnegie Hall, in which getting second row tickets (on that tip from Zach himself) landed us smack dab in the middle of a family reunion. Thanks to that one little conversation with him at the Bandshell, we went from what were simply good seats to a backstage meeting arranged by his mother and the six best words every obsessed music fan wants to hear, “don’t worry…. you’re with the mom”. It was in the span of this night that I think we actually lived a part of “Almost Famous”, and from then on… well, we’re gonna be forever tied to one of our favorite bands of all time.

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And of course there was your fan request in Geneva’s Smith Opera House this year for new song “Diners”, talking casually outside the Smith with Kanene who REMEMBERED us (which will never cease to blow my mind), crazy speculating on their next album (followed by many continued plays of that homemade “Then Came The Morning” bootleg), and watching the band come home again to Lincoln Center just a month ago to play alongside the likes of the famed Roseanne Cash. I could recount to you a mountain of these memories (and the greatest crowd rebellion known to music at that very Lincoln Center show) and I still don’t think it could begin to be a ripple on the surface of that pond. Every note, every bend, every cue and every Zach as Tarzan chest pound…. is like standing in the echo chamber and behind the wizard’s curtain of music and it’s beating heart. And that’s less of a postcard and more of a love letter when it gets right down to it.

I suppose that’s what this is too. I started to write these recollections imagining them for the consumption of a faceless somebody, but instead that face became etched with so many things so personal to me. This band. This year. You. Getting to write the most meaningful musical words I can think of that I didn’t wanna share with just a somebody, but the ones I wanted to share with MY somebody. Even if we’ve already taken the steps in this dance together and know it’s rhythm, it was this beat I’d been waiting for longer than I ever could have guessed in all these years.

As Zach says in “Two Sides of Lonely”, we were alone together in Brooklyn. Little did I know that was the best place to start, pinkies entwined.

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