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Top Five Albums of 2016 – According To Us
December 15, 2016
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I still love the album.
I know, I say that every year in December when trying to pick my top five of the year. But it’s still true. Singles give you a peek. Albums show you what’s really beneath the surface. Albums are like tattoos, permanent for life; what the artist was really thinking at the moment they made it.
I’ve seen a lot of year-end lists over the years, and lately, they’re getting longer and longer. Last year, one publication named 50 albums for the year’s best. Fifty! This year, I’ve seen two lists of 40. Sorry, and no disrespect to the thousands of great artists that make compelling music, but I just don’t believe there were 50, 40, or even 30 “great” albums made this year. A list that long feels dangerously close to a participation trophy, and I thought most of us agreed we don’t agree with that reward system.
Maybe five is too few. But man, we’re talking about the year’s best! We are including honorable mentions, so each of our lists – mine, Assistant Nashville Editor Monta Vaden, and Editorial Assistant Briana Galluccio will have close to 10 selections.
Five albums is a really painstaking, difficult process of elimination. And it should be. We should be listening to a lot of albums, and the ones we’re drawn to should be played over and over, so we’re sure. I went back and spent hours with the ones I was considering. I feel good about my top five, as I know Monta and Briana do, too.
If you don’t, that’s fair. And that’s why music is so wonderful. I can hear an album that connects with me on a personal or emotional level and it may not do a thing for you. We’re both right, and both artists are relevant.
So, enjoy our lists. Deconstruct them. Argue and/or praise them. But whatever you do, for Gawd’s sake, keep listening to music. Keep listening to entire albums. Working in Music City has taught me how hard every artist making music works and how much of themselves they pour into their art. We owe them at least a listen, right?
So, here we go, the top five albums of 2016 – according to us.
RJ Curtis:
1. Maren Morris – “Hero” (Columbia Nashville)
I hate to say “I told you so,” but I kinda did. Remember that time in June, right before “Hero” was released and I wrote: “I’m just going to go ahead and call it right here: Maren Morris’ debut album, ‘Hero,’ is the best album of 2016… This release is a triumph for women in Country, Country music overall, and mainstream music, no matter the genre.”
Now, in December, I stand by that.
Since “Hero” was released, Morris has gone on to accomplish the following: earned a top 10 single with “My Church,” with the follow up “80s Mercedes,” now perched at #11 and climbing; nominated for five CMA Awards, winning Best New Artist with a breakthrough performance on CMAs; opened for Keith Urban’s “RipCord World Tour;” voted to CRS New Faces Show by Country radio; earned four Grammy nods – more than any other Country artist; performed on “Saturday Night Live.” And that’s a partial list.
Look at any tally of the year’s most acclaimed albums and you’ll see that “Hero” is at or near the top. That’s because Morris has perfectly articulated how young females navigate the emotional minefield of relationships in the year 2016 – then unabashedly bared her soul about everything that goes with those emotions. She has accurately represented the trials and tribulations faced by 18-34 females, coming as close to the kind of heart-on-her-sleeve songwriting and storytelling as Taylor Swift first did in Country, and then continued with her terrific Pop album, “1989.”
The state of female Country artists – dire just two years ago – is now stellar. A look at Grammy nominations last week is irrefutable, and promising evidence: 15 of the 20 nominees in the Country category are women, including all but one best Country Solo Performance, and three of five Best Album nominees. Morris is nominated in both categories. Morris and Kelsea Ballerini are also nominated in the general category for Best New Artist. This female artist empowerment has been a long time coming and certainly overdue. Morris isn’t the only reason for it, but the significance of “Hero,” with its resulting acclaim and appeal during the six months since its release, has accelerated this much needed female momentum for Country music.
2. Brandy Clark – “Big Day In A Small Town” (Warner Bros./WMN)
I now present to you exhibit B as further evidence that Country’s future with female artists is in terrific shape. This underappreciated album, and its underappreciated second single, “Love Can Go To Hell,” are proof of the depth Country enjoys with female artists right now. By the way, they’re not totally underappreciated, because both are Grammy nominated. Some have said this is not a concept album – I totally disagree. When you listen to “Big Day In A Small Town,” in track order, you can vividly picture a small community – maybe one you know already – with all the characters and drama that go with it. In “Homecoming Queen” we meet someone haunted by a former, promising reality; “Broke” is a self-explanatory, self-deprecating tale of financially dire straits, where there “We dig our own ditches, we roll our own smokes/And we're secretly wishing that grandma would croak.” There’s the desperate, “Three Kids, No Husband,” and the open letter to a dead father, “Since You’ve Gone To Heaven,” where Clark explains, “The whole world’s gone to Hell.” When I listen to this completely interesting album – as I have done dozens of times – I can easily picture it being adapted to an off-beat, quirky, eleven part mini-series that would run on HBO or Netflix. Clark is a masterful storyteller, and this collection of songs stands out in 2016.
3. Jon Pardi – “California Sunrise” (Capitol Nashville)
Here’s when I knew this album would make my year-end, top five list: I was playing it nonstop in the car for weeks, until one day my wife – also a Pardi fan – absconded with it. I eventually stole it back, but in the interim, I genuinely missed this album and felt deprived – wronged, actually – not hearing it. I missed the raw, opening guitar riff of the leadoff track, “Out of Style,” yet could still recite the bogus lyric, “Jesus saves/Beer’s better cold.” I craved the album’s two “Boots” songs, “Dirt On My Boots” and “Head Over Boots.” I realized Pardi must be a George Strait fan, because he cut “She Ain’t In It,” which Strait never did, but came close to. If that song was around 20-25 years ago, it would have been a #1 for The King. I pined for the hooky-ness of “Heartache On the Dance Floor,” and the Eagle-esque feeling of the title track, “California Sunrise,” which I swear to God needs to be a single. I missed every note of every song on this album when it temporarily went away, just like you miss a buddy you enjoy hanging out with when he moves away. With every listen of “California Sunrise,” my appreciation grew – and I have never grown tired of any song. I’ve talked about a return of strong female artists earlier – Pardi represents part of another returning movement: the one back to traditional Country music. This shift is a trickle right now, but has potential to grow into a firehose with depth of its own. Pardi’s music on record – and certainly live – is imperfect, rough around the edges, unpasteurized – and that’s exactly why I love it. His version of traditional Country music has strains of Bakersfield DNA running all through it. Vocals that bend maybe where they usually ought not to; a strong guitar presence, and lyrics that scream blue collar. In the time I’ve had this album, I must have declared seven cuts my favorite – that designation is still a moving target.
4. Keith Urban – “Ripcord” (Capitol Nashville)
Keith Urban on my list? Well, duh. Progressive, experimental, and bold. Urban continues the upward musical journey that started with 2013’s “Fuse” and keeps rising to an entirely different level here. “Blue Ain’t Your Color” might be another career record for him. Want sad – really sad? Give “That Could Still Be Us” an ear. Dark horse killer song? “Gettin’ In The Way.”
5. Brothers Osborne – “Pawn Shop” (EMI Nashville)
The Brothers signature hit (so far) is “Stay A Little Longer,” and it’s an absolute effin’ jam. Actually, this entire album is a head-to-toe, badass, crank-it-up, road trip necessity. If you liked “Stay A Little Longer,” you’ll also dig “Greener Pastures.” Lee Ann Womack adds a lot to TJ Osborne’s bluesy, “Lovin’ Me Back,” which you won’t want to end. TJ is a singer’s singer and his brother, John is player’s player. Together they made one of the year’s coolest albums that sounds better now than when it was released back in January.
Honorable Mentions: Lori McKenna – “The Bird And The Rifle;” Steve Moakler – “Steve Moakler” EP; William Michael Morgan – “Vinyl;” Hillary Scott & The Scott Family – “Love Remains;” Jake Owen – “American Love;” Drake White – “Spark.”
Monta Vaden:
1. Maren Morris – “Hero” (Columbia Nashville)
With the release of “Hero,” we are all witnessing the birth and meteoric rise of a superstar. In my list, I pulled from my most-listened-to albums; projects I have listened to – repeatedly – top-to-bottom, without hitting skip. Maren speaks to my life with every track, but my personal favorites, per the play counts on my iTunes, are “Once” and “I Wish I Was.”
2. Jon Pardi – “California Sunrise” (Capitol Nashville)
Here’s the thing – I’m a Pardi person. I believe in his style – something I call “sexual sandpaper” – which oozes raw confidence and vocal texture that blends perfectly with every infectious hook on this record. If I’ve listened to “Night Shift” and “Cowboy Hat” once, I’ve listened to them at least 200 times. I make no apologies for that.
3. Keith Urban – “Ripcord” (Capitol Nashville)
With three singles impacting before the album even dropped, Keith Urban immediately guaranteed my business on this album. From the moment he dropped his first hints about new music, to the lightning-fast chart rises of “John Cougar, John Deere, John 3:16” and “Break On Me,” he teased us. Slyly, and flirtatiously, Keith slowly introduced us to what may be his most experimental album to date. Pushing boundaries while maintaining his personal center. This album pulls from multiple genres, all of which are grounded by Keith’s lyrical mastery and keen sense of how to use production to his advantage to speak directly to the core of the format. From tempo hits like “Wasted Time” to smash ballads like “Blue Ain’t Your Color,” and from the unexpected collaboration with Pitbull on “Sun Don’t Let Me Down” to the superstar vocal matchup with Carrie Underwood on “The Fighter,” I still find it difficult to pick my favorite track from this record. That fact alone makes it worthy of a top five slot.
4. Ronnie Dunn – “Tattooed Heart” (BMLG/NASH Icon Records)
While this album wasn’t officially released until November 11th, I was fortunate to receive an advanced copy on September 1st. Since that time, it has not left my car CD player. I, along with (hopefully) most of you, have loved Ronnie’s voice for – gulp – decades now. I’m not convinced that there is a more perfectly pure Country voice for our generation, save Chris Stapleton, than Ronnie Dunn’s, and his voice is just as strong – if not stronger – than ever on this project. “Ain’t No Trucks In Texas” was released in 2015, and while it might not have found the chart success I thought it deserved, it served as a preview for what was to come. “Damn Drunk,” Ronnie’s current single (with an oddly familiar voice on background harmonies…) is one of my top five hot picks of the year. The song is a “Damn” smash, and that’s just a fact. I cannot – will not – stop listening to “Only Broken Heart In San Antone,” “I Worship The Woman You Walked On,” and Ronnie’s take on an Ariana Grande penned title track. This is Country music. Period. It grabs you by the heart and the head, drags you on to the dance floor, and waltzes you through every emotion of life with Ronnie Dunn’s pure, laser-precise vocals as your dance partner.
5. Various Artists – “Southern Family” (Low Country Sound/Elektra Records)
An unlikely pick? Perhaps. But this is my go-to music for around-the-house listening. This Dave Cobb produced concept album tells the story of life in the South – my life. It’s soul-soothing and healing in its raw and undiluted storytelling. Contributions from Miranda Lambert, Zac Brown, and Brandy Clark satisfies the mainstream need for noted names. Cuts from Jason Isbell, Jamey Johnson, and John Paul White appeal to the Americana movement. Many were introduced to Brent Cobb, Anderson East, and Holly Williams via this package. And finally, a Morgane and Chris Stapleton take on “You Are My Sunshine” proves that nothing is what it seems – in the best possible way.
Honorable Mentions: Dierks Bentley – “Black;” Brett Young – “Brett Young” EP; Garth Brooks and Trisha Yearwood – “Christmas Together;” Brothers Osborne – “Pawn Shop;” LoCash – “The Fighters.”
Briana Galluccio:
1. Maren Morris – “Hero” (Columbia Nashville)
This album hit me like an arrow through the heart. Maren just gets it. It’s as simple as that. Detailed storytelling, yet universally relatable emotions. Combine that with Maren’s undeniable talent, and you’ve got magic. Personal favorites? “Sugar,” “Second Wind,” “How It’s Done” – honestly, every single song.
2. Brett Eldredge – “Glow” (Atlantic/WMN)
Okay, so if Maren’s album is magic – like an edgy, cool, badass kind of magic – then Brett’s Christmas album, “Glow,” is pure magic. It hits you in a different kind of way, like the child in you and the old soul in you both really feel this deep in your heart – it’s a past, present, and future kind of nostalgic. At first I hesitated to put a Christmas album on my list, but then I thought about it logically. First, I love Christmas. Second, I asked myself – what albums have you found yourself listening to the most? People might hate me for listening to Christmas music too early, but I’ve had this album on repeat since it came out – truthfully, before – since RJ played it in the office before its release. This album is beautifully three-dimensional. It’s got this nostalgic sexiness – drawing from the influences of Frank Sinatra, Dean Martin, and all the rest of the crooners that transport you into the past – but also, it’s contemporary. More than that, it’s timeless. It’s smooth and romantic and at the same time spiritual – whether you’re listening to the album or lucky enough to hear Brett sing it live. Let me tell you – hearing him belt out “The First Noel” was a spiritual experience. And the original song – the title track – is proof that Brett can combine old and new to create his own long-lasting legacy in the Christmas Standards Hall of Fame (a made-up place that exists in some other universe). This is an album I’ll be playing for my children someday, and their children, too.
3. Brothers Osborne – “Pawn Shop” (EMI Nashville)
Perhaps forgotten because it was released early in the year, “Pawn Shop” was easily one of my most-played albums of 2016. I think it’s because it makes me feel forever young – not in a cliché way, but in a nostalgic, All-American kind of way. I’ll never, ever get sick of “Stay A Little Longer.” And my personal hot pick from the album? “Heart Shaped Locket.”
4. High Valley – “Dear Life” (Warner Bros./WEA)
I genuinely love this album – and High Valley – both of which are underrated. Great music comes with authenticity, and let me tell you, this is real. In a recent All Access “10 Questions,” the duo’s Brad Rempel told me, “this album is kind of like our first time having a diary, where we’re saying out loud things we would say to our diary.” You can’t get more authentic than a diary. Other albums are uniquely badass, sexy, soulful, etc., and they all hit me in the heart, but “Dear Life” hits this completely other part of me – a part of me that nobody ever sees. This album is encouraging, positive, and just good – and by good, I mean it’s got values and love dripping in every word. Tell me you’re not inspired by “Don’t Stop,” or close your eyes and wish someone would sing “The Only” to you. High Valley told me that “Make You Mine” is the center of the target, and the rest of the songs are different, yet somehow connected. My analogy – this album is a united family, each song a sibling – different and unique, but still connected by the DNA.
5. Keith Urban – “Ripcord” (Capitol Nashville)
Keith Urban continues to push boundaries and play with new sounds and concepts, and I love how progressive this album is. I love “Blue Ain’t Your Color,” but truthfully, the song I played on repeat – ask anyone who got in a car with me – was “Habit Of You.” I was excited for this album since Keith announced it, and it went above and beyond my expectations. Smash.
Honorable Mentions: Dierks Bentley – “Black;” Brett Young – “Brett Young” EP; Chris Young – “It Must Be Christmas;” Kenny Chesney – “Cosmic Hallelujah.”
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