As wrong as it may be, the consistently gorgeous arrangements and Kimberly Perry’s compelling vocals almost make up for the lyrical deficiencies found on The Band Perry’s debut album. As it has been with all their singles so far, The Band Perry’s story of style being greater than substance continues with this promising group’s latest single as well.
Countless albums were released in 2010, in mainstream country music, Americana, bluegrass, and all the other loosely associated sub-genres that make up the country universe. Of those albums, our writers particularly enjoyed the following twenty. All four writers submitted top ten lists for th year, and amazingly enough, there were exactly twenty different albums among them. So if you’re wondering if your favorite album just missed the list…it didn’t. But we’d love to hear why we were wrong in the comments.
Enjoy part one now, and look for the top ten on Friday.
Tomorrow’s hits today, should the current crop of hitmakers want something as good on the radio as “Long Time Gone” or “It’s a Great Day to Be Alive”, or just want to have an album cut for the ages like “You’ll Never Leave Harlan Alive.” Scott’s a singer’s songwriter, delivering his songs with enough personality to elevate them above demos but leaving enough room for improvisation, so that any singer can put their own spin on it.
Our look back at the year’s best singles comes to a close, with unprecedented CU consensus at the top of the list. The top two singles of the year were ranked in that order by three of our four writers, and both appeared in the top ten of the fourth writer.
Here’s our ten best of 2010:
The Best Singles of 2010, Part 4: #10-#1
Draw Me a Map
Bentley is getting a lot of deserved attention for sonically diverging from the mainstream to create a bluegrass inspired album. It’s an excellent album, but to his credit “Draw Me A Map” isn’t so far removed from some of the unreleased songs on his first two mainstream projects; It’s just that he gets to shine a finer focus on it for this album, therefore, this seemingly subversive song for radio gets to be released. The inspired blend of Bentley’s ragged voice with Alison Krauss’ angelic voice takes the song to an even sweeter level. – Leeann Ward
Robert Louis Stevenson once remarked that “Hope lives on ignorance; open-eyed Faith is built upon a knowledge of our life, of the tyranny of circumstance and the frailty of human resolution.” He was talking, in context, about marriage. The truth is that no one enters a relationship completely free of burden, and only by submitting to the complications of that truth can we avoid being ruled by them. Wright, for her part, manages the task with simple, earnest grace, probably strengthening her relationship through mere acknowledgment of its inherent weakness. – Dan Milliken
As Dan observed in his single review of “Up on the Ridge”, there was a noticeable decline in Dierks Bentley’s music after his well received Long Trip Alone album. It is purely speculative to suggest, but one can’t help but wonder if Bentley himself felt staleness creeping into his music as well. It’s not farfetched for the idea to be true, since Dierks has proven himself to be an astute artist in the past. So, why wouldn’t he notice if there was, indeed, a shift?
I think that the strongest feature of the iPod is the ability to create playlists. I currently have over 16,000 songs, so playing it on pure shuffle is interesting but not likely to result in hearing a string of my favorite songs.
I have dozens of playlists, but the one that I visit the most is called “Repeat.” It’s an ever-shifting playlist of songs that I don’t tire of. Currently, there are 131 songs on the list.
I’m sharing the first ten that play on shuffle from the list. Share your favorite playlist and ten of its tracks in the comments!
Round 2 – FIGHT!
World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.
Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam
As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward
The 201 Greatest Singles of the Decade, Part 6: #100-81
Alison Krauss & Union Station
A shimmering moment of infatuation. Krauss is entangled in thoughts of her beloved, torn between the exhilaration of liking someone so intensely and the ache of not actually having the person. – Dan Milliken
I’m Holdin’ On to Love (To Save My Life)
A terribly catchy slice of country-pop that, true to Twain, doesn’t sacrifice authenticity for appeal – Twain simply embodies the snappy energy that pulses through the song. – Tara Seetharam
The 100 Greatest Albums of the Decade, Part 9
Nickel Creek, This Side
With Alison Krauss still in the producer’s chair, This Side begins to drift away from the more pure bluegrass feel of Nickel Creek’s debut album. Containing deliciously funky grooves and even tighter musicianship among the trio, Nickel Creek further proves their inimitable creativity and talent on their sophomore project that ultimately secures their popularity among progressive bluegrass fans and perhaps a few unsuspecting traditionalists along the way as well. – Leeann Ward
Recommended Tracks: “Spit on A Stranger”, “I Should’ve Known Better”, “This Side”, “Sabra Girl”
Lee Ann Womack, There’s More Where That Came From
It wasn’t quite the radical return to traditional country music that the album cover and subsequent marketing implied, but There’s More Where That Came From had more going for it than twin fiddles and steel, anyway: the strongest collection of songs that Womack had ever assembled. For those who went beyond the album’s one hit and two subsequent singles, the treasures were bountiful, including a cover of “Just Someone I Used to Know” hidden at the end of the disc. – Kevin Coyne
Recommended Tracks: “One’s a Couple”, “I May Hate Myself in the Morning”, “The Last Time”, “Stubborn (Psalm 151)”
The 100 Greatest Albums of the Decade, Part 4
Pam Tillis, It’s All Relative: Tillis Sings Tillis
By the time she released a tribute to her father Mel, she’d become something of a legend in her own right. So it’s no surprise that she approached Mel’s stellar songwriting catalog as if she was recording any other studio album, taking the best of the bunch and making them her own. Bonus points for preserving the original fiddle breakdown from “Heart Over Mind” while making that classic shuffle a forlorn ballad, and a few more for hitting the archives of the Country Music Hall of Fame until she found a forgotten gem that should’ve been a hit back in the day (“Not Like it Was With You.”) – Kevin Coyne
Recommended Tracks: “Mental Revenge”, “Detroit City”
Dwight Yoakam, dwightyoakamacoustic.net
Yoakam takes a new, inspired spin on the greatest hits album concept, presenting us with a hearty sampling (over 20 songs) of his catalog served acoustic style. It simply works for the country legend. He introduces some delightful new twists and turns to his old classics, and as it should go with acoustic music, the album is driven by unadulterated, raw vocals, coupled with honest storytelling – the purest form of country music. – Tara Seetharam