Posts Tagged ‘Abigail Washburn’

100 Greatest Albums of the Decade, Part 1: #100-#91

Sunday, November 29th, 2009

Ah, the naughties. The decade began and ended with pop crossover queens, with Shania Twain and Faith Hill at the top of their game in 2000 much like Taylor Swift and Carrie Underwood reign supreme today. In between, we had the roots music boom, best exemplified by O Brother and the platinum-selling Nickel Creek and Alison Krauss & Union Station; the post-9/11 patriotic explosion, which brought Toby Keith and Darryl Worley to the top of the charts; the near-total banishment of women from the country radio dial for a good part of the decade, which started to fade as redneck pride ascended, thanks to a certain woman trying to make Pocahontas proud; and far too many tributes to country living and island-flavored beach bum songs to count.

All of this made for a fascinating decade to be a country fan. As radio worked its way through all of the above (with the notable exception of roots music), the internet made it far easier for acts to be discovered without ever getting a single spin of traditional radio play.  With MySpace, YouTube, Facebook, and the explosion of country music blogs, the barriers have been torn down between artist and audience in a way that was never possible before.

The motley crew of Country Universe has a diversity of tastes that fit within the widest boundaries of country music, as reflected our collaborative list of the 100 best albums of the decade.  Five of our writers contributed to the list, with all writer’s selections being weighed equally.  We’ll reveal ten entries a day until the list is complete. A look back at the greatest singles of the decade will then follow.

    The 100 Greatest Albums of the Decade, Part 1

    Abigail 100

    #100
    Abigail Washburn, Song of the Traveling Daughter

    Song of the Traveling Daughter is the debut album from Uncle Earl claw hammer banjo player Abigail Washburn. Produced by Béla Fleck and featuring Ben Sollee, it is a subdued album filled with intriguing instrumentation and influences.  Standout songs include “Nobody’s Fault but Mine,” with its interesting Civil War period influence; the upbeat “Coffee’s Cold,” originally performed by Uncle Earl; and “Song of the Traveling Daughter,” based on the classical Chinese poem “Song of the Traveling Son.” – William Ward

    Recommended Tracks: “Nobody’s Fault but Mine”, “Coffee’s Cold”

    Kim Richey 99

    #99
    Kim Richey, Rise

    Her ambitious swan song for Mercury Records was perhaps her least accessible record, with an emphasis on eclectic arrangements instead of hook-laden melodies. It’s also her most deeply rewarding record, one that is remarkably introspective and fully delves into themes of faith and mortality that her earlier work had only hinted at before. – Kevin Coyne

    Recommended Tracks: “A Place Called Home”, “No Judges”

    Little Big Town 98

    #98
    Little Big Town, The Road to Here

    The quartet’s second album catapulted them to the forefront thanks to the swampy anthem, “Boondocks,” and was a breath of fresh, earthy air to mainstream country music. Packed with tight harmonies and songs ranging in style from bluegrass-leaning to Fleetwood Mac-inspired, the album served as a window into the raw talent and potential of one of the best groups to hit country music in quite some time. – Tara Seetharam

    Recommended Tracks: “Boondocks”, “Live With Lonesome”

    Dolly 97

    #97
    Dolly Parton, Halos & Horns

    A gorgeous, gospel-heavy album, with tasteful bluegrass elements. Parton is effervescent as usual, and rid of any self-consciousness, which makes “Hello God” overwhelmingly stirring. A response to the September 11 tragedies, the song has Parton pleading and philosophically wrestling with God, in the sincerest of ways. – TS

    Recommended Tracks: “Hello God”, “John Daniel”

    Brad 96

    #96
    Brad Paisley, Part II

    Sometime back before the Future, before the smirking social commentary and the endless odes to his wife, Brad Paisley was just a silly little neotraditionalist writing silly little neotraditional songs about the twists of everyday life and love. Part II captures him at his most unassuming and tuneful, waxing breezily about courtships and feeling out his new place as a neotrad spokesperson with a few classic roots songs, plus a cute Bill Anderson/Chuck Cannon co-write (“Too Country”). – Dan Milliken

    Recommended Tracks: “Wrapped Around”, “Come On Over Tonight”

    Patty 95

    #95
    Patty Loveless, Strong Heart

    More so than any Loveless album since leaving MCA, Strong Heart draws on her pop and rock influences, with a healthy dose of Ronstadt thrown in for good measure. The contrast between her hillbilly wail and the pop-leaning arrangements of several songs manages to make her sound even more rural than she normally does. Arguably her last mainstream project, she proved that she can sound just as good chasing radio as she does ignoring it. – KC

    Recommended Tracks: “The Last Thing On My Mind”, “My Heart Will Never Break This Way Again”

    Sara 94

    #94
    Sara Evans, Real Fine Place

    One of the finer female vocalists in the genre, Evans is a fantastic interpreter on her fifth album, carefully treading both traditional and pop country waters. The warmth and purity to her tone is prominent on this album, and this is particularly true of the songs with more traditional arrangements, on which she shines the brightest. – TS

    Recommended Tracks: “Cheatin’”, “These Four Walls”

    Sara J 93

    #93
    Sarah Jarosz, Song Up in Her Head

    Sarah Jarosz’ much hyped debut with Sugar Hill Records features Darrell Scott, Tim O’Brien, Jerry Douglas, Aofie O’Donavan, and Abigail Washburn.  Notable tracks include “Shankill Butchers,” a Decemberists cover that outperforms the original; the progressive acoustic “Song up in Her Head,” reminiscent of Nickel Creek; and “Come on Up to the House,” an impressive Tom Waits cover. – WW

    Recommended Tracks: “Shankill Butchers”, “Come On Up to the House”

    Terri 92

    #92
    Terri Clark, Pain to Kill

    This album made Clark a serious contender for Female Vocalist, the only time in her career that she reached that level of success. It’s as radio-friendly as her first two albums, but the material is substantive. This is the best collection of songs that she ever assembled, and by a healthy margin. When Trisha Yearwood finds something to cover from a record, you’ve done a great job picking songs. – KC

    Recommended Tracks: “I Just Called to Say Goodbye”, “Not a Bad Thing”

    Dwight 91

    #91
    Dwight Yoakam, Population: Me

    Genre superhero Yoakam stretched his habit of excellence into a third decade, beginning with the quirky South of Heaven, West of Hell soundtrack and continuing with this solid set. The album is notable for distilling a wide assortment of Yoakam’s mastered sounds into about half an hour, from the Eaglesy (“The Late Great Golden State”) to the Owensy (“No Such Thing”) to the Elvisy (“I’d Avoid Me Too”), all united by the singer’s uniquely buoyant brand of fatalism. – DM

    Recommended Tracks: “I’d Avoid Me Too”, “The Back Of Your Hand”

    - – -

    Sarah Jarosz, Song Up in Her Head

    Tuesday, June 16th, 2009

    songs-up-in-her-head1Sarah Jarosz
    Song Up in Her Head
    stars-412.gif

    Interview emerging country music stars today and it may surprise you—especially if you listen to the radio—that they are all influenced by Hank Williams, Patsy Cline, Loretta Lynn and (if they play mandolin) Bill Monroe. When you find that they also claim to emulate artists such as Garth Brooks, George Strait, Alan Jackson or whoever else has recently gone platinum (with the exception of the Dixie Chicks), it can be almost discouraging to consider that few are even that traditional.

    This brings us to Sarah Jarosz, whose debut with Sugar Hill Records, Song Up in Her Head, presents a very different view of influences and a noticeably different performer in its eighteen year old co-producer.

    Seven years ago, while requesting an autograph from Chris Thile, Sarah Jarosz, not yet a teenager, expressed interest in, someday, playing music with Chris Thile. Since then, she has added Darrell Scott, Tim O’Brien, Jerry Douglas, Aofie O’Donavan, and Abigail Washburn—all who appear on her album—to her most often quoted list of influences. As a result, we are presented with an impressive, but much less calculated list than one might expect from a newcomer. Given that these are some of my favorite artists, it also sets a high bar with this particular reviewer. Fortunately for this recent high school graduate who plays mandolin, guitar, clawhammer banjo, octave mandolin, piano, and toy piano (we will get to that) on her debut album, these lofty expectations are not beyond her ability.

    Song Up in Her Head opens with its title track, a progressive bluegrass number that will remind listeners (in no small part to Chris Thile’s contribution) of progressive acoustic prodigies of the past. While those influences certainly exist, it would be a mistake to use them to typecast Jarosz, who has as much in common musically with Darrel Scott or Gillian Welch as she does with the progressive acoustic scene.

    From the well-written “Tell me True,” which rolls comfortably upon tight lyrics and a repeating chorus, to “Left Home,” and impressive vocal number with the outstanding Aofie O’Donovan singing harmony vocals Jarosz more than establishes her songwriting credentials penning eleven of thirteen tracks on the album. Particularly notable is the balance between youth and maturity that seems to exist throughout these songs. Presenting the experiences of Sarah Jarosz, they only occasionally feel adolescent, always managing to escape the self-importance rampant among pop music acts her age. The finest example of this comes in “Broussard’s Lament,” a challenging song written in the aftermath of Hurricane Katrina that came out of “an interview on the Sunday morning news program “Meet the Press,” with a man named Aaron Broussard. His interview was heart wrenching, and it inspired me to write the tune.”

    Inserted neatly between her songs are two well-chosen covers, Tom Waits “Come on Up to the House” and The Decemberists “Shankill Butchers.” While the Tom Waits cover is notable, “Shankill Butchers” excellent production makes it stand out. Using a toy piano along with Sarah’s compelling vocals, its mood ideally fits the modern nursery rhyme to the degree that it outshines the original recording.

    Despite being an accomplished singer and mandolin player Sarah Jarosz does not go out of her way to list Bill Monroe as an influence—and the thing is she doesn’t have to. Unlike those pronouncing the influences that they feel they should have, with Song Up in Her Head you can hear influences being explored side by side with the effects of her colleagues close mentoring. Sarah Jarosz’ debut is delightfully distinct; supplementing her own talents with the best just-off-the-radar artists available today she has found a voice that will undoubtedly continue to produce eloquent music for another fifty years.


    Writers

    Latest Comments

    Most Popular

    Worth Reading

    View Older Posts