I took a chance on Lifted Off the Ground (which, incidentally, I ordered from Amazon with Up on the Ridge). I was never much of a fan of Chely Wright’s; I found her material fairly generic. But, knowing Rodney Crowell produced it and knowing it was material she’d written herself, and in the context of her coming out, I thought maybe I’d see if there was some substance beneath the previously uninteresting superficiality of her music and lo and behold I found an album I loved. “Notes to the Coroner” would be a standout on any album, and it’s a little unfair to the rest of the songs here because most of them are pretty strong in their own right. The lead single, “Broken,” has a great sound for such a readily accessible story about a frustrating time in a mistrusting relationship. Kudos all the way around.

I checked out Freight Train from the library, and I have to say I found it tiresome. I think 2006 ruined me on Alan Jackson. That was the year, you may recall, that he released the Gospel collection Precious Memories and then the Alison Krauss produced Like Red on a Rose. I loved that he finally took some artistic chances–which I felt worked great–only to revert to business as usual ever since. Commercially, it makes sense as neither really went over particularly well with buyers or radio, but I just feel like his post-’06 output has been mailed in to satisfy the fan base that wouldn’t follow him outside that pre-’06 box.

I’ve never been much for Julie Roberts’ version of “Rain on a Tin Roof,” personally. It was honestly what I was thinking of when I said the song is a potential snoozer, though I didn’t want to bring it up in the blurb and distract from the praise for LBT. I like the slightly faster tempo LBT gives it and the chorus harmonies, and think Jimi Westbrook’s lead vocal is beautiful. It’s interesting role reversal to hear the song from a male perspective, where the woman is the roving free spirit and the man is the one waiting at home, both lovestruck and heartbroken.

Like Noah, and I’ve said this on my own blog, I hated “Sideways.” It was far too slick. Direks was trying to do something new when he recorded that song but he failed. The beat is cool when you first hear it but the song wears thin after a few listens.

Thank goodness he came to his senses with Up On The Ridge. This is the album he should’ve made in the first place. I placed it at #1 on my list as well because it shows a modern artist who cares to keep his music country. I just wish “Bad Angel” had won the CMA for Musical Event. Maybe, it’ll score a Grammy.

Because of the polarizing nature of “Giddy On Up,” I never gave any attention to Laura Bell Bundy. I loved “Drop On By” but those are the only two songs I’ve heard from her album. I have to go back and give it a listen since everyone seems to like it. I bet I’m going to enjoy the ballads more, though.

Ghost Train is the best country album from 2010 that few mainstream fans even know exists. More than anything it’s a history lesson that proves just how great country music can be. I’d started to wonder if this kind of country was a thing of the past or at least exclusive to the Grand Ole Opry, but Marty has made it accessible for everyone. With all the recent covers of “Crazy Arms,” I like how Marty took the approach of recording it as an instrumental. I would never thought of that.

Plus, he has the secret weapon in his corner: Connie Smith. It would be a traditionalists dream if they would record a duets project. I would definitely buy that.

It’s funny, the only album I couldn’t get into was Alan Jackson’s. I didn’t buy it because “It’s Just That Way” was far too middle of the road and predictable. He’s been hit or miss for me lately, and I can’t remember his last truly great single. It just seems like the music he’s making of late isn’t up to par with some of his best work. Of course, nothing measures up to the likes of “Wanted” and “Midnight in Montgomery,” or any of his other classic hits. He did come back to form with Zac Brown Band, but as far as his own work goes, he’s missing the mark for me.

My favorite album from this list is Jamey’s because it’s authentic to country music and his gritty reality. Like Leann said, it isn’t perfect, far too slow in places, but no one can argue about the quality of the material. “Playing The Part” should’ve been a much bigger hit single, but the video kind of sunk that one. The concept, with the monkey suits, didn’t fit the song.

It was nice to see LBT come roaring back with “Little White Church.” I had forgotten how much I missed their music until that song came out. This may not be their best album, but they did take the time to find and write some great songs. “Kiss Goodbye” is their best ballad yet, and I love Karen’s vocal on “Shut Up Train.” This is the album Lady A should’ve made.

I don’t agree with “Rain On A Tin Roof,” though. Their version pails in comparison to Julie Roberts’. She just knew how to wrap her voice around that song. I also didn’t like “Runaway Train,” too fast, and I couldn’t get into it. But overall it’s a very solid album.

Great list, and I couldn’t agree more about Dierks Bentley landing at #1.

Revolution was on last year’s list, correct?

My respect for him has skyrocketed with the release of “Up On the Ridge”. It neither feels like a return to form, nor does it sound like a representation of any singular genre. It sounds, above all else, like a celebration of all of Bentley’s musical influences. It’s one diverse, whimsical, salmagundi of a record that is deserving of this praise.

I strongly agree with selections two through four as well. Where I begin to deviate is with Laura Bell Bundy’s release, which harbors a LOT of potential primarily through the ballads, but I don’t see as consistent enough to make the top tiers of this yearly countdown. I also thought Easton Corbin’s debut, though strong certainly, still feels a bit too comfortable stylistically to make the Top Ten, while Alan Jackson’s latest release has some exceptional moments but overall feels like a shadow of his previous levels of greatness.

I would replace those three releases, as they are situated, with Gary Allan’s “Get Off On The Pain”, Kasey Chambers’ “Little Bird” and a toss-up between Randy Houser’s “They Call Me Cadillac”, Taylor Swift’s “Speak Now” and Peter Cooper’s “The Lloyd Green Album” for the final spot (it would probably depend on my mood for the day)