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The Best Albums Of 2018 – So Far
May 1, 2018
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We're almost half way through the year – that's right people, it's May already, deal with it – and I feel a tad overdue in handicapping the year's five best Country albums, according to me.
Since 2013, I've posted a list of what I considered the best collections of the year, and because there's simply a ton of music coming at us year-round, I began a mid-year check in 2014. The key descriptor here is “according to me.” It's my list and my rationale, because: my column. Like belly buttons, we all have opinions, and yours may be different than mine. I sure as shit hope so, anyway. Country music is more diverse than ever – I keep saying that year after year, and I'm delighted to say I believe it's truer now than ever.
I believe my preliminary lineup of six LPs reflects Country music's current spectrum. When we circle back to this lineup in December, it'll be a more disciplined and concise five choices, which may or may not resemble the list you're about to see. A lot can happen between now and the end of the year. For example, artists still coming with new releases yet to be heard (by me, anyway) include Kenny Chesney; Carrie Underwood; Sugarland's return; Steve Moakler; and a deluxe edition of Luke Combs' “This One's For You,” my #1 album pick from last year. Yes, I loved that one so much the deluxe version may be a contender in 2018, too. Because: my column.
Here's where we sit in May, according to me:
Although I have no particular order for the mid-year peek, I'm starting with two female artists who have brought us music from polar opposites of the spectrum: Kacey Musgraves' “Golden Hour” and Ashley McBryde's “Girl Going Nowhere.” Before I get into the music, a few quick, broader thoughts about Country radio's continuing and perplexing void when it comes to female artists in general.
I listen to as much Country radio as possible, both locally and nationally, via stations’ online streams. But, I also I love Top 40 radio and often toggle back and forth between it and Country. Top 40 features more female artists than Country – at least 13 on a recent Top 30 songs at Top 40, and a mere four at Country, one of which featured a Pop artist (Bebe Rexha). I continue to believe this is something our format needs to figure out. We're out of whack in that sense. In the past 10 years, we've seen Country radio shares extend into the 18-34 demo on a consistent level. Country ranks #2 behind Top 40 among Millennials with radio listening.
We've seen the micro-trends, like “Bro,” emerge – and run their course. More contemporary sounds (Pop, Rock, even some R&B and Hip Hop) have become a bigger, more accepted part of Country radio's musical texture – which, I believe, has helped attract those Millennials. But, we haven't established or truly identified a consistent class or “movement” for females. Could we be even stronger with younger radio users if we did establish a steady balance? This is a gaping hole for us, and I have no earthly idea how we effectively address it. At the same time, I honestly don't believe radio programmers have malicious intent or anti-female bias in this regard. Every PD I speak with – male and female – is looking for hit songs, no matter the gender. This format is so good at self-correcting – usually.
Are Kacey Musgraves and Ashley McBryde our two silver bullets in that regard? I have no idea. It’ll take more than a pair of ladies to ignite a needed “movement,” but this is a great start. I think they've each recorded brilliant projects worthy of everyone's attention. Musgraves has delivered a deep, spacey, slick, introspective album that doesn't feature the clever, lyrically catchy songs from her past work, like “Merry Go Round,” “Biscuits,” or “Follow Your Arrow,” yet still comes out as memorable. “Butterflies” is a natural single, and – for a while – was considered alongside the smart “Space Cowboy,” which comes the closest to Musgraves’ previous wordplay. But, my personal favorite? A song called “High Horse,” which is hooky, with tempo and a passive-aggressive “eff-you” message. Interestingly, the album starts with a tune called “Slow Burn,” which sums up the entire listening experience for “Golden Hour.” I'm saying this not critically, but as an observation: this is the first true “stoner” Country album I can remember in years. I can't stop listening.
Actually, I should say I can't stop listening to Musgraves, except for when I put on McBryde’s “Girl Going Nowhere.” She came to the All Access offices and knocked us over with just a guitar. This woman is a force of nature. Then, I saw her two more times – also acoustically – and had a similar reaction. I was one hundred percent in by the time I saw McBryde open for Luke Combs at the Ryman in Nashville two nights before CRS this year. For any doubters, see her full band show. That's when it all comes together. They're a tight, working unit that sounds great and – with the exception of McBryde – all have amazing beards. If the album is all that's available to you, that's fine, too. The title track must be a single at some point. “American Scandal” showcases her vocal range. “Radioland” is a rocker. “Southern Babylon” is soulful. “A Little Dive Bar In Dahlonega,” the first single is – so far – an unappreciated story song. This entire album is gritty, spunky, strong storytelling – all of it written or co-written by McBryde – that gives me hope about that aspect of Country music making a valiant return. Not that anybody asked me, but I'd follow the current single with “Livin' Next To Leroy,” the best story of the bunch, which – spoiler alert – ends with a dead guy. Sorry.
Speaking of guys, the rest of my mid-year picks are all dudes. Two of these albums feature some great guitar slingers, Keith Urban and the Brothers Osborne. Urban's "Grafitti U" is the third in a series of albums, starting with 2013's “Fuse” and continuing with 2016's “Ripcord,” that will, in my opinion, be seen a trilogy of progressive, experimental, and daring projects that also delivered some of Urban's most solid radio singles. During this time – even as an admittedly, completely biased fan – I've had no idea whatsoever to expect from his next project. And, I love that. On his up-tempo numbers, Urban brings a sense of exuberance to the chorus. Also, if you remember his single “John Cougar, John Deer, John 3:16,” Urban played a badass bass line. He's picked it up again on “Grafitti U” for the anthemic “Never Comin' Down” and the all-out jam, titled “Drop Top,” which screams summer and driving fast. The latter also features MCA newcomer Kassi Ashton, who adds a lot of energy to an already highly-caffeinated tune. Regarding Urban playing bass again, I always thought some bass players were guitar slashers trapped inside a four-stringed instrument. Is it possible that one the most awesome guitar players we've seen in Country music sees himself as a bass-playing prodigy? The radio single choices are all here: “Same Heart;” the sexy, “Parallel Line;” and a stripped down, basic “Texas Time.” Want some guitar jams? “Drop Top” has one, and so does “Gemini,” which features some rare squawk box from Urban.
In just a couple of years, the Brothers Osborne have carved out their own lane while winning mainstream accolades as multi-year winners of Vocal Duo Of The Year. As many acknowledge that Rock is dead, and Country music now owns those listeners, these guys could not have timed their arrival on the scene any better. Their new release, “Port Saint Joe,” helps them claim ownership of the Rock lane, and while I don’t think it has as many obvious options for radio singles as the excellent “Pawn Shop” from 2016, it's still a great and important listen. Like “It Ain't My Fault,” this album's first single, “Shoot Me Straight” showcases the incredible balance between TJ Osborne's rich, smooth baritone and the nasty, but tasty, guitar licks spewing from John's fingers. It's a long song, and I'm totally okay with that. There are Country rockers here – “Drank Like Hank” and “Weed, Whiskey And Willie” – but the album's best song is the thoughtful, soul searching “While You Still Can.” That alone is worth the price of admission here, but the entire project is a solid listen.
Also, firmly established in the Rock lane is Jason Aldean. His latest, “Rearview Town,” has to be included here, because he's a three-time Entertainer Of The Year, he sells out stadiums, and first-week sales on “Rearview Town” were an almost unheard of 183,000 in equivalent album sales and 163,000 in traditional album sales. You cannot put butts in seats in stadiums without albums that provide sound radio singles and album cuts that augment them. More than ever, Aldean knows who he is and what he means to Country fans. “You Make It Easy” is a slight and welcome departure from his usual musical blitzkrieg, and it marked his 20th career #1. Number 21 might be “Drowns The Whiskey” featuring Miranda Lambert; I also like cut #10, “Like You Were Mine.”
Last, and most certainly not least, on my mid-year best-album peek-a-boo is Dierks Bentley's “The Mountain.” Ever since I heard Bentley cover U2's “Pride (In The Name Of Love)” as a bluegrass arrangement, I've had respect for the guy. Did it work? No. Does Bentley have balls of steel? Yes. My favorite Bentley album is 2014's “Riser,” which made my Top Five list that year. Songs like “Here On Earth,” “Riser,” and “Say You Do” demonstrated that he's a deep thinker. Ditto “The Mountain,” which – in a recent listening session in Nashville – Bentley said contained no ditties. He wasn't lying. It was recorded in Telluride, CO, a place which obviously got him thinking again. “Living,” “Stranger To Myself,” and “My Religion” again show Bentley looking inward. This is not all easy listening, philosophical stuff, though. Bentley teamed with the Brothers Osborne – them, again – for the opening track, “Burning Man,” which is an all-out Rock song and a great way to kick off this album.
So, there you are. Six releases that – so far – are my best of 2018. There's more music coming this year. and some of it will be an unexpected, pleasant surprise. Will it be enough to knock out any of these choices? Hmm … let's talk again in mid-December.
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