World of Strangers
Few artists can make “weary” sound as engaging as Zoe Muth. Even though she rarely picks up the tempo past a casually swinging shuffle, Muth captivates with her artfully turned phrases and dry sense of humor. “Mama Needs a Margarita,” in which Muth adopts the persona of a young mother tired of being left home alone to eat “straight from the jar” alongside her infant, stands as one of 2014’s finest songs.
Little Big Town
Rather than focusing on their unrivaled vocal skill, Little Big Town and producer Jay Joyce approach Pain Killer like a game of “Chicken”: Listening to the album, it appears that no idea that occurred to the band or to Joyce during their recording sessions was deemed too outlandish or too gauche.
Man Against Machine
Garth’s first proper studio album in thirteen years is chock full of all of his best and worst traits, but thankfully errs more often on the side of subtlety over excess.
He’s always been good at straddling the fence between heartfelt sincerity and saccharine sentimentality, and the strongest moments are the ones that explore parenthood. “Mom” is a maternal celebration that would make Boyz II Men teary-eyed, while “Send ‘Em on Down the Road” captures the terrifying truth that finishing the job of parenthood means letting go, no matter how much you want to hold on.
Bringing Back the Sunshine
He’s been coasting on his celebrity status and his brand of aw-shucks humor for years, so it’s encouraging that Blake Shelton’s Bringing Back the Sunshine seems less phoned-in than its predecessors.
American Middle Class
Presley’s upbringing in the hollows of Eastern Kentucky provides her with an endless well of believable first-person details that she uses to create the quirky, cockeyed fictions on American Middle Class. Hers are the types of stories that bait autobiographical readings— always a critical dead-end, even when Taylor Swift insists on dropping hints as to who her songs are about— but what Presley does best is create a sustained mood.
Moonshine in the Trunk
Paisley’s last four albums have established a pattern of something slightly progressive or challenging (American Saturday Night, Wheelhouse) followed by a course-correction back toward baseline (This is Country Music, Moonshine in the Trunk).
PrizeFighter: Hit After Hit
PrizeFighter: Hit after Hit includes the first set of new material from Trisha Yearwood in seven years. That new material, six tracks in total, is uniformly excellent and often extraordinary, adding to her already impressive legacy as the genre’s finest singer and interpreter of the last thirty years. What a pity that the rest of the collection cheapens and sullies that legacy.
Let’s start with those wonderful new tracks. The lead single and title cut, “PrizeFighter”, is an inspiring, get back up when you fall power anthem, featuring supporting vocals by Kelly Clarkson. In true Trisha form, the preview track is better than just about anything else on the radio today, yet still only hints at the treasures that await on the rest of the album.
Sundown Heaven Town
Tim McGraw returning to form is the musical equivalent of reconnecting with an old friend, where spending a little time with them suddenly reminds you why you were such good friends in the first place.
Sundown Heaven Town is McGraw’s strongest album in ten years, his best since 2004’s award-winning Live Like You Were Dying, which I still consider his strongest collection to date. In the years since that collection, he’s been chasing trends more than setting them. Each album had its strong moments, but always fewer than the previous one. His simple formula – find a great song, sing it with enthusiasm, and keep the clutter in check – got lost along the way.
It’s not a coincidence that all of his recent awards attention have been for collaborations, usually with artists who hit the scene well after him. He’s been chasing trends, not setting them.
A big step up from her last few projects, Dolly Parton’s Blue Smoke is her most balanced album since Backwoods Barbie. While it lacks cohesion due to so many different styles being used, there’s a solid entry from every kind of Dolly – country Dolly, pop Dolly, mountain Dolly, gospel Dolly, duet-with-fellow-legend Dolly. While it isn’t likely to be anyone’s favorite Dolly Parton album because of this, it’s also unlikely that any fan of hers won’t find something here that reminds them of why they became a fan in the first place.
Miranda Lambert’s life experience has caught up with her talent.
Platinum is a confident, intelligent record that weaves the themes of nostalgia, femininity, and celebrity together over sixteen tracks. It’s a cohesive set, with lead single “Automatic” making much more sense in the context of the full album. It’s also remarkably, defiantly country, which shows more of a rock-and-roll attitude these days than rocking out does.