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I'm Here All Week ... Try The 'VilleBy R.J. CurtisExecutive Director, Country Radio Broadcasters |
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Top Five Albums Of 2017 – According To Us
December 15, 2017
Have an opinion? Add your comment below. -
It's almost 2018, and I still haven't given up on the album. Call me old school, but I love spending quality time with a new, (mostly) never-before-heard collection of songs from one artist. I don’t think that will ever change. You can have your streaming services, and build custom playlists all day long; I like those, too, but that feeling of an established artist with fresh things to say, or a new artist I've recently discovered releasing a full collection of songs is always exciting and interesting.
Every December since 2013, I've shared the year's top five albums – according to me – with you in this space. Last year, I included All Access Asst. Editor Monta Vaden, and then-Editorial Asst. Briana Galluccio's lists,too. Athena Puharic joined us earlier this year when Briana got a great opportunity with MCA Nashville. Athena is a P1 Country fan with defined taste in music and a large appetite for new music. So, her top five albums are included here, as are Monta's – I think Monta has incredibly good taste, and a very educated ear for Country music. She's still young, but her point of reference is deep, wide, and credible.
Picking just five is hard. Any year-end list should be something you sweat over and scrutinize. And hey – we're not passing out participation trophies here. That's great for youth soccer, but these are the best of the best of 2017 (according to us), with some honorable mentions. Our criteria are albums we kept coming back to again, and again, involuntarily. Favorite songs on these are a moving target; they come and go – and come back again – the longer you live with these projects.
Here we go again – the Top Five Albums of the Year (2017) – according to us.
5. Brett Young – “Brett Young” (BMLG Records)
As early as March of this year, in this space, I started thinking about what would make my list in December. Brett Young's full album debut, "Brett Young," was on my first list of five, and he stays here. Fun fact: his 2016, six-song EP was an honorable on mention last year's Top Five list.
Young's debut single, “Sleep Without You,” topped the charts. So, too, did the follow-up, “In Case You Didn’t Know," and it happened very quickly. This was no turntable hit, either; it's already RIAA certified multiplePlatinum. His current single, "Like I Loved You," is #3 after 20 weeks. The quick traction for both of these songs is incredible when you consider how long it’s generally taking new artists to get daytime spins and move a song up the charts. This album is loaded with radio hits, with Young penning 12 of the 13 cuts here. What’s next after “In Case You Didn’t Know?" Personally, I'd go with "You Ain't Here To Kiss Me," but hell, just pick one.
4. Sunny Sweeney – “Trophy”
Sweeney also made my first list, and I haven't felt any reason to replace her all year. You could argue, "But where are the radio hits, what are the sales?" And I'd argue back, "Don’t care. Can't stop listening. Never get tired of this album."
It's important to share that I’ve been a Sweeney fan since her 2006 independent release, “Heartbreakers Hall Of Fame,” then cheered the next two albums, 2011’s “Concrete,” and 2014’s “Provoked.” You don’t have to already be a Sunny aficionado to appreciate “Trophy,” but after listening, you will be. In 2016, Brandy Clark’s unconventional “Big Day In A Small Town” easily made my top five albums list; Sweeney has earned similar recognition in 2017, and for similar reasons.
On “Trophy,” Sweeney teamed up with the incomparable Lori McKenna for four songs that make me wish they’ll keep working together from now on. Inspired by Sweeney and her husband Jeff’s real-life struggle to have a child, “Bottle By My Bed” is a melancholy tune about a woman’s frustration watching all her friends become parents. Also touching, “Grow Old With Me” (self-explanatory). And, proving that McKenna and Sweeney can pivot from sad and sentimental to snarky as hell, there’s the title cut, which Sweeney explained onstage at a Nashville show earlier this year. Apparently, Jeff’s ex refers to Sweeney as his “trophy wife.” And thus, an album title was born. A haunting intro, followed by defiant lyrics, where Sweeney admits, “I know what you call me, the word fits me to a tee,” then snarls back, “He’s got a trophy now, for puttin’ up with you.”
A lot of what you’ll hear on “Trophy” reflects how content Sweeney is in her marriage to Jeff, but it’s not all lovey-dovey here. On “Pills,” a reformed and rehabilitated Sweeney catches up with an old party pal – who isn’t either of those things – asking “Are you still taking them pills?” The final cut is “Unsaid,” a painful, one-way conversation with a non-specific, and no-longer-with-us loved one: “Cuts to the bone seeing your name written in stone.” Yes. Yes, it does.
Sweeney is still her spicy, sassy self on “Trophy,” but she’s dug deeper here; this is easily the best album she’s ever made.
3. Little Big Town – “The Breaker” (Capitol Nashville)
Speaking of Lori McKenna, she's all over my next choice, too, contributing five songs to Little Big Town's "The Breaker." Compared to 2014's "Pain Killer," which I listed as that year's best album, “The Breaker” feels more buoyant and wistful.
The album's money song has been the Taylor Swift-penned "Better Man," which earned Swift a CMA award for Song Of The Year; it's also up for a Grammy in January. There’s a four-song sequence that solidifies that breezier mood for me: “Lost In California” summons images of chillin’ with a friend and sharing a joint, or – updated for 2017 – an edible gummy bear. Next, “Free” is a spacy, sentimental stroll down memory lane, perfectly setting up the next cut, “Driving Around,” which epitomizes that feeling of having no set destination, no obligations, listening to the radio up loud with the right friends. “We Went To The Beach” is a great story-song conjuring up innocent, youthful memories. These songs, in this order, is why sequencing an album still matters and can make it a better listen.
Back in March, when – surprise – I called this one as one of my favorites, I mentioned what I referred to as dark horse cut on this album, "When Someone Stops Loving You,” a spot-on description of how painful living amid the ruins of a failed relationship is. That was single #3, and it has moved slower than I expected, but I think that has a lot to do with radio's constant craving for tempo, the generally slow growth of ballads, and the song's intense subject matter. No matter how far back that break-up may have been for you, this song makes the heartache feel like an open wound all over again. My next, dark horse choice for a single? "Drivin' Around." If I ruled the world, that would be an early Spring release, and it would be a Country radio mainstay through Summer.
2. Chris Stapleton – "From A Room: Volume 1" and "From A Room: Volume 2" (Mercury Nashville)
What was my first thought after listening to Chris Stapleton’s “From A Room: Volume 1” several times back in May? How soon before “Volume 2” gets here?
Well, it's here, and it's awesome, just like Volume 1. Both albums have a lean nine cuts on them, and it is for that reason I'm considering these two projects, by the same artist, with almost the same title, one album. Even if I hadn't, they'd both be on this final five list. They simply have to be.
When it comes to radio, Stapleton is kind of like that football team opponents hate to play. So good, and at the same time, so confounding, it's nearly impossible to game plan for them. His airplay success has been, shall we say, limited. Only now have we seen "Broken Halos" from "Volume 1" start to show signs of research and genuine programmer interest. But, Stapleton moves units when to comes to sales more consistently during the past three years than any other Country artist. Consider: this week (12/11), Stapleton occupies three of the top five positions on the Country albums chart, with "From A Room: Volume 2" debuting at #1 with 125,000 equivalent album units. In May, upon its release, "Volume 1" (another on this week's top-selling albums list) debuted at #1, selling more than 200,000 copies. Also in this week's top five album sales: 2015's "Traveller" (#4) which has sold 2.1 million copies since its release.
Part of his appeal is that Stapleton flies in the face of recent conventional wisdom when it comes to modern-day Country success. He's not pretty and athletic, but his voice is. The studio work is raw, and sounds live – which makes his live shows even better. No pyro, nothing flashy – just music performed at its very purest. Stapleton is a terrific, versatile songwriter. Before anybody knew who he was, he'd penned some of the biggest mainstream songs on Country radio for other artists. Nothing about these two records is mainstream, however, and it starts with the songs. He's also got great ears, and the ability to interpret other artists songs in his own, unique vocal style ("Tennessee Whiskey," "Last Thing I Needed the First Thing This Morning"). His wife, Morgane, is the perfect singing, musical, and life partner; the two seem completely lost in each other performing live. Then, there's producer Dave Cobb, who actually runs Studio A on Music Row where these albums were cut. He brings a special touch to Stapleton, and is a major part of this overall sound.
I think these two projects need to be heard as one, extended album of 18 cuts. It'll be a true musical journey, and a different one with each pass. Stapleton has been top-of-mind, and at the top of the charts, for more than two years now; he's not sneaking up on anybody, but there are still wonderful discoveries and surprises to be found on "From A Room: Volume 1" and "Volume 2."
1. Luke Combs – “This One’s For You” (River House/Columbia Nashville)
This is the best Country album of 2017. "This One's For You" isn’t just solid – it’s fantastic.
Like Stapleton, Combs won't be appearing on the cover of "GQ" anytime soon. "Field & Stream," "Outdoor Life," and/or "Bassmaster?" Probably a safer bet.
All 12 songs were co-written by Combs, an everyman storyteller with a giant voice that drives the sound of this album. That’s not to say the songs lack content or depth – they’ve got both. Combs’ baritone, and his discipline for not over-singing or relying solely on his instrument, make these stories resonate. But, your takeaway from “This One’s For You,” and what will ultimately pull you back to this collection of songs, is that voice.
His two-week #1 single, “Hurricane,” was a solid song and massive hit by all forms of measurement – spins, research, streams, sales, Shazams, and Mscores. Next came, "When It Rains, It Pours," with Combs flipping the script on that expression, telling a fun, uplifting tale of how many things can go so incredibly right when someone leaves you. Things like winning the lottery, being the right caller for a radio contest, and – hitting perfectly on that everyman image I touched on earlier – winning the Moose Club raffle.
There’s a thoughtful side, too, with Combs' new single, “One Number Away,” a regretful, reflective tune with a clever John Mayer name-drop and kick-ass line wondering if she feels similar remorse over a recent split. “Are you stuck at a red light with a Marlboro Light on your lips / Does the smoke in your mirror get clearer without my kiss?” These are the thoughts of someone torturing themselves: “I’m one number away from calling you / I said I was through / But I’m dying inside / Got my head in a mess / Girl I confess / I lied when I said I’m leaving and not coming back.”
Combs’ “This One’s For You” is a full-blown traditional Country album by any standard, especially when placed side-by-side with music from Sam Hunt, Thomas Rhett, and other contemporary hit makers in Country right now. But, it’s not twangy or cliché sounding, and – as cliché as THIS term can sound, it’s true – this album sounds real. Combs doesn’t have to try too hard at that, because this appears to be exactly who he is.
Honorable mention: Thomas Rhett – "Life Changes" (Valory Music Co.); Russell Dickerson – "Yours" (Triple Tigers Records); Carly Pearce – "Every Little Thing" (Big Machine Records); Lauren Alaina – "Road Less Traveled" (Mercury Nashville); Old Dominion – "Happy Endings" (RCA Nashville); Midland – "On The Rocks" (Big Machine Records); and Luke Bryan – "What Makes You Country" (Capitol Nashville)
5. John Mayer – “The Search For Everything” (Columbia Records)
First of all, don’t look at this and immediately discard everything that follows. And, don’t try to argue this with me. Don’t do it. Just don’t. There’s no point in arguing, because you’ve likely not listened to this album, and I’m okay with that. So, let me enlighten you to a well-kept secret. John Mayer has been making Country-leaning albums for years now (“Born And Raised” and “Paradise Valley” were both prime for Country cuts, but the format just wasn’t in “that place” at the time), and “The Search For Everything” offers yet another example of why I love all things Mayer. “In The Blood” found some success at SiriusXM, and a few terrestrial stations ventured in to the Mayer territory with it, as well. Equally viable for the genre are “Roll It On Home,” “Changing,” and “Never On The Day You Leave.” Maybe John Mayer isn’t your thing, and that’s just fine, but what I’m telling you is that not only can he shred a guitar like few in our generation, but he knows how to turn a phrase and write a lyric that tells a story. If that doesn’t sound like Country music to you, maybe just try it. You might like it.
4. Brett Young – “Brett Young” (BMLG Records)
Well, I guess I went and broke my own streak. There’s nothing traditional – or bearded – about Brett Young, but that voice is smooth and sensual, and his writing chops aren’t too shabby, either. Brett’s self-titled EP made my “Honorable Mention” list last year, as I was anxiously awaiting the full project’s release in 2017. The album has not disappointed and remains in heavy rotation in my car nearly one year later. Additionally, if your heart doesn’t ache when you listen to “Mercy,” you aren’t human.
3. Midland – On The Rocks (Big Machine Records)
Okay. You caught me. I’m a sucker for “traditional” Country from unlikely sources. Midland had my heart from the time they released their EP to streaming services in October 2016, and their meteoric rise in 2017 only solidified my love for these crazy cowboys. Tight harmonies, hooky choruses, and some of the slickest lyrics I’ve heard in a while are almost enough to make you forget that these three guys are also hilarious, fun to be around, and ruggedly handsome. Listen to “Burn Out” or “Check Cashin’ Country,” then tell me you aren’t ready to put on your Nudie suit and two-step around a dance hall. I dare you.
2. Chris Stapelton – “From A Room: Volume 1” and “From A Room: Volume 2” (Mercury Nashville)
First of all, don’t try to dock me points by saying this is two albums. You’re wrong. This is two halves of one whole, and that whole is even greater than the sum of its parts. There’s nothing new about Chris Stapleton these days, and if you’ve not taken the opportunity to give a full and complete listen to both volumes of this project – both of which were released this year, allowing them to be conveniently packaged as one for this list – you’re doing yourself a disservice. This project is real and raw; the stories speak to the heart of human emotion and all of its complexities, filled with joy and sadness in equal parts, wrapped in a bow and delivered in the perfect package that is Stapleton’s vocal delivery. My favorite songs vary with my mood and the day, which means I can be just as moved by “Either Way” and “I Was Wrong” as I am “Second One To Know” or “Up To Know Good Livin’” from “Volume 1” while “Nobody’s Lonely Tonight” or “Friendship” can go up against “Millionaire” or “Hard Livin’.” This complete project was among my most anticipated of the year, and the outcome did not disappoint.
1. Luke Combs – “This One’s For You” (River House/Columbia Nashville)
A top-to-bottom listen with zero skips. With two #1s already under his belt, and a sure-fire smash in “One Number Away” ready to impact at the beginning of 2018, what we are witnessing with the rise of Luke Combs is nothing short of the birth of a future format superstar. In my list, I pulled from my most-listened-to albums; projects that I can put on and play front to back without wishing something had been left off the album. In fact, with this album, I wish for more – I cannot wait to hear more from Luke Combs, as I not only love his songwriting style and his perfectly rough vocals, but I also love that he’s a regular Joe, man’s-man who can probably come over, crack open a beer, and fix my car for me while we discuss our favorite fishing holes. While I love every cut on this album, and everything Combs does live, my iTunes counts will tell you that “One Number Away,” “Lonely One,” and “I Got Away With You” are my favorite tracks.
Honorable Mentions: Thomas Rhett – “Life Changes” (Valory Music Co.); Old Dominion – “Happy Endings” (RCA Nashville); Kelsea Ballerini – “Unapologetically” (Black River Entertainment); and Carly Pearce – “Every Little Thing” (Big Machine Records)
5. Old Dominion – "Happy Endings" (RCA Nashville)
Old Dominion never fails to deliver catchy, lyrically-genius songs. Don’t get me wrong, I don’t think “Meat And Candy” can really be topped, but their sophomore release is packed with jams that are impossible to get sick of. Favorites: “No Such Thing As A Broken Heart,” “Be With Me,” “So You Go,” and “Shoe Shopping.”
4. Thomas Rhett – "Life Changes" (Valory Music Co.)
Let’s be real, though, anything Thomas Rhett does is bound to be my favorite. This project is so incredible; TR proves he can do whatever he pleases with his music and make it work. There’s Country, there’s Hip Hop, there’s Pop… there’s everything! How can you not love this album? Favorites: “Leave Right Now,” “Life Changes,” and “Grave.”
3. Carly Pearce – "Every Little Thing" (Big Machine Records)
Okay, I am obsessed with this album! It’s one of those I play in the background of whatever I’m doing. Carly has already proved her badassery with the success of going against all odds with the album’s lead single, “Every Little Thing,” but took it to the next level with every other song on this record. “I Need A Ride Home” makes me cry; “Hide The Wine” makes me dance around my room; and “Feel Somethin’” makes me feel somethin’.
2. Kelsea Ballerini – "Unapologetically" (Black River Entertainment)
Kelsea’s sophomore release definitely shows a more mature side of her. Although I was a little skeptical of how she was going to top “The First Time,” she totally did. She covers so many topics within this album – growing up, falling in love, breaking up, etc. – and somehow made sure any age could relate. The best tracks, according to me: “In Between” (hands down!), “Get Over Yourself,” “I Hate Love Songs,” and “Music.”
1. Danielle Bradbery – "I Don't Believe We've Met" (BMLG Records)
Danielle could not have handed us a better re-introduction after the past four years, even if she waited four more years. It's extremely obvious how much time and effort were put into the creation of this album, and it showcases her vocals, songwriting abilities, and also relates to any girl in her 20s. In addition to “Potential” genuinely being one of the best songs I’ve ever heard, I love “Red Wine + White Couch,” “Worth It,” and “Laying Low.”
These are OUR picks; you'll likely have yours, and they may be different. That's what makes the world go 'round. It was another fascinating year for Country music, and we all need to raise a glass to the artists and songwriters who keep challenging themselves to come up with inspired, interesting stories that make Country music the strongest, most connective, and most meaningful genre of music available.