The Kentucky Gentlemen and S.G. Goodman lead the way with Album of the Year contenders.
Mary Chapin Carpenter
Personal History
A few great lyrics (“Bitter Ender”) that hint at the feistiness of her past, but even most of those are delivered with the same liturgical solemnity that has made her output in this century just ungodly dull. Her history as an artist is so much more vital than this.
How does one record a line like, “I want to stay out late in a crowded dive bar/Where the windows steam up from the inside/I want to dance with my friends til I can’t stand up/Like a champ face-down ringside,” in a way that wouldn’t disturb the shoppers at a Hallmark. It’s just baffling.
The Kentucky Gentlemen
Rhinestone Revolution
A debut album that’s been a long time coming, and they just nailed it. Every track is a pop-country banger that reaffirms the value of the form, and the POV is unapologetically black, queer, and *country*. Of course, they sing the fire out of all of it, too.
Shelby Means
Shelby Means
On the heels of Bronwyn Keith-Hynes, another erstwhile Golden Highway member makes an auspicious solo debut. The Gaga cover (justice for Joanne!) highlights her playful approach to the bluegrass genre she’s mastered. A bit more quality-control in the songwriting, and look out.
Gareth
Steal Your Thunder [EP]
When he foregrounds Irish folk flourishes into his modern country, he’s onto something. But too much of this begs the question of why someone who can really and truly sing would try his damnedest to sound like Jelly Roll so much of the time. The talent’s there, though.
Sol Helio
Indigo Star
A course in contemporary Americana by way of Norway, Helio impresses for her ability to maneuver between styles while retaining a consistent POV. The raw power of her singing carries the day when she gets perhaps a little too stomp-clap-hey with it all.
Imogen Clark
Choking On Fuel
As a showcase for her just-killer singing and mastery of country and folk forms, every second of this is delightful. Some of the lyrics scan a bit purple, but even those more awkward moments are still interesting for her POV. Closes with an ace Sheryl Crow cover, too.
Anderson East
Worthy
I mean, sure. The production here is far more Americyawna greige than on his best work, but the floor for his albums is always still listenable. He can pull off moody, brooding material like this quite capably, but much of this just runs together as an overlong collection.
S.G. Goodman
Planting By the Signs
Her best yet, with a more pared-down production aesthetic that keeps the focus on her knottiest and cleverest songwriting and most deeply-felt singing to date. An album that trades, wisely so, in vigilance for internal signs of change as much as external.
Dylan Scott
Easy Does It
He’s never had a distinct identity– he’s the Russell Dickerson of Jordan Davises– but this is so desperate to cling to terrestrial radio that every last dreadful trend of the past five years of mainstream country is represented here in hope that something sticks.
Christian Nodal
¿Quién + Como Yo?
More straightforward, less genre-blurring arrangements here than on prior albums, but his mastery of norteño has always been a huge part of his artistry. And he remains an exquisite singer: His vocal tone on this collection is just a marvel.
…a month ago or so “bitter ender” got me interested and looking forward to hear the whole thing soon. now i learned again that being careful with one’s dreaming ain’t that stupid an advice. lurking dullness – never thought i’d conclude that about something coming from mcc.
is dylan scott ever getting out of the woods of country’s shallow stream? the album cover says: no. its content too, although, i was not as appalled as i thought i might be.
the bravado of a kentucky colonel times two. the gentlemen from down there double down on southern tradition by no giving a damn about it. refreshing.
“big one” would potentially be a great powerballad, but ms. clark decided for some odd reason to make it something half baked instead. trying it the irritating way ain’t forbidden, but what good would it serve? “if your heart never breaks” also feels like something being kept under a lid quite unneccessarily. imogen clark gives “down under” a whole new meaning.
sol helio’s – or is it indigo star (both great brand names for a beer actually)? – “let’s make love” may be among the fastest risers on any dominatrix’ playlist. let me rephrase that: …on any list of music enjoyed by representatives of the leather clad side of the entertainment industry. not for the faint hearted the way that idea is presented the norwegian way.
I agree that Mary Chapin Carpenter’s aversion to any sort of tempo or life in her songs in the past couple decades is baffling and frustrating! She had some great hooks back in the day. I can’t fathom why she has decided to make her music so painfully dull on her last few albums!
I actually really like this Mary Chapin album and The Things We Are Made Of. I agree that this last decade her albums have been quite boring and one note. I feel like she just don’t have the vocal chops to do more so she’s staying in the folk/coffee house lane. I’ve seen her live twice the past few years and when she does her hits she changes them to sound like this too. Her vocal range is gone. But the songwriting is still there….
Figure her loss of vocal range is because of smoking or just age generally?