Tag: John Prine

This year, as we revisit the albums that resonated with each of us, we may not find a tidy, overarching message. However, the diversity herein — of style, content, aesthetic, format, genre, perspective, and background — demonstrates that our strength as a musical community, or zoomed-out even further, simply as humans, indeed comes from our differences. To us, these 10 albums are testaments to the beauty, inspiration, and perseverance we found in 2018.

Rayland Baxter, Wide Awake
His career-launching musical epiphanies happened on a retreat in Israel some years ago, so Rayland Baxter’s decision to isolate himself in a contemplative space to write Wide Awake had precedent. The venue this time was an abandoned rubber band factory in rural Kentucky where a friend was installing a new recording studio. In that quiet, Baxter wrote songs about the noisy world beyond the cornfields, with perspective on its tenderness and absurdity. Later in the studio, his posse set the deft verses to enveloping, neo-psychedelic, Americana rock. Social commentary doesn’t have to plod, as the Beatles proved, and Baxter is farming similar terrain with vibrant melodies, saucy beats and a voice that’s entirely his own. – Craig Havighurst

The Dead Tongues, Unsung Passage
I didn’t expect The Dead Tongues (aka Ryan Gustafson, guitarist for Hiss Golden Messenger and Phil Cook) to be my most-listened-to record of the year. But Unsung Passage is an album I find myself returning to again and again. The ten songs form a sort of travelogue for Gustafson, and you can hear the influences and rhythms of other cultures drifting throughout. It’s the rare record that’s both comforting and complex. –Amy Reitnouer Jacobs

Del McCoury Band, Del McCoury Still Sings Bluegrass
Named after his debut record, which was released fifty years prior, Del McCoury Still Sings Bluegrass seems like a painfully obvious, on the nose title for a record, but upon deeper inspection we realize that, because the album was built on his signature ear for songs and his unfaltering trust in his own taste, it is an immediately digestible statement of McCoury’s worldview. At this point in his long, diverse, uniquely successful career, most listeners would give Del a bluegrass authenticity “hall pass,” letting the more innovative, less bluegrass-normative moments herein by without a blink, but Del, from the outset, avoids letting himself fall into that paradigm. He chooses songs because, well, he likes them, and he doesn’t concern himself with what is or isn’t bluegrass, he just creates music that he enjoys to make with people he enjoys making it with. It’s a simple approach that may border on simplistic, but the result is a resoundingly bluegrass album that doesn’t concern itself with the validity of that genre designation at all. Which, after all, is bluegrass to a T. — Justin Hiltner

Jason Eady, I Travel On
A fixture on the Texas touring scene, Jason Eady offered his most satisfying album yet with I Travel On. First off, he enlisted Rob Ickes and Trey Hensley for these sessions, giving the project a bluegrass groove with plenty of cool Dobro licks and guitar runs. Second, Eady wrote from the perspective of a man with some miles on him – the album title isn’t a coincidence, after all. His expressive country baritone is made for slice-of-life story songs like “Calaveras County” and “She Had to Run.” At other times, Eady looks inward, drawing on themes like mortality, gratitude and contentment. I Travel On may not be the most obvious album for a road trip but it’s certainly a worthwhile one. – Craig Shelburne

Erin Rae, Putting on Airs
Her velvety, maternal vocals and the subtle, understated alt-folk production vibes of Erin Rae’s Putting on Airs might initially disguise the millennial-reckoning being wrought through these songs and their topics; from top to bottom Rae’s brand, her musical identity, defies comparisons with any one era of music making and songwriting. Her talent oozes through her writing, her melodic hooks, and her musical and rhetorical fascinations, which together in this song sequence feel like they epitomize a microcosm that contains all of our generation’s — and this particular historical moment’s — angst, but without feeling simply capitalistic, opportunistic, or “on trend.” Instead, her viewpoint is decidedly personal, giving us a window into her own individual reckonings — with her own identity, with mental health, with family relationships, with being a young southerner in this modern era; the list is potentially endless, determined only by each listener’s willingness to curl up inside these songs and reckon along with Rae. Which is the recommended Putting on Airs listening strategy espoused by this writer. — Justin Hiltner

High Fidelity, Hills And Home
It’s in the nature of bluegrass to forever be casting backward looks at the giants of the music’s early years; nothing wrong with that, but when those who do it get aggressive about how they’re playing “real” bluegrass, well, that’s another story. High Fidelity’s eyes are firmly fixed on the musical past, but they’re also a modern, mixed-gender band who aren’t afraid to let their music do the talking — and what it says is that there’s a lot more variety, not to mention pure joy, in the under-appreciated gems of old than you might think. – Jon Weisberger

Angelique Kidjo, Remain in Light
It’s not simply a remake of the Talking Heads’ 1980 landmark, but a stunning reimagining by the visionary Benin-born artist Kidjo. She doesn’t merely repatriate (er, rematriate) the African influences that fueled TH’s revolutionary stream-of-consciousness masterpiece — which opened the door for many to discover the wealth of those inspirations — she considers and explores the worlds that have emerged in African music in the time since, all brought together via her singular talents and sensibilities. Remain in Light was arguably the album of the year for ’80, and so it may be again for ’18. – Steve Hochman

John Prine, The Tree of Forgiveness
No album this year brought me as much pure joy as John Prine’s latest. His first collection of new material in over a decade —which is way too long — The Tree of Forgiveness shows him in fine form, tossing out clever phrases and humorous asides that add to, rather than distract from, the low-level sadness thrumming through these songs. From the Buddy Holly bop of “I Have Met My Love Today” to the percolating existentialism of “Lonesome Friends of Science,” from the rapscallion reminiscences of “Egg & Daughter Nite, Lincoln, Nebraska, 1967 (Crazy Bone)” to the almost unbearable heartache of “Summer’s End,” every line and every word sounds purposeful and poignant, culminating with “When I Get to Heaven.” Prine sings about nine-mile-long cigarettes and bars filled with everyone you’ve ever loved, and it’s one of the most inviting visions of the afterlife set to tape. I hope he’ll save me a barstool. – Stephen Deusner

Jeff Tweedy, WARM
The album lives up to its name. Following last year’s quieter Together at Last project, Tweedy now hearkens back to his country punk roots from Uncle Tupelo, and makes a perfect accompaniment to his must-read autobiography, Let’s Go (So We Can Get Back). The new music reminds of his strength as a master songwriter and his place as one of the most tender and raw performers of a generation. It might have almost slid under the radar with its release at the end of November, but it definitely belongs on our year-end list. — Chris Jacobs

Marlon Williams, Make Way for Love
Mere seconds into hearing Marlon Williams croon the opening greeting of his song “Hello Miss Lonesome” in 2016, I knew I’d found a euphoric talent. After poring over his debut Dark Child, my greedy ears immediately wanted more, and this year finally brought that much-awaited second helping. On Make Way for Love, Williams moves away from the rootsy Americana that defined his first album, and leans into darker, baroque explorations that nod to Scott Walker and Roy Orbison in equal measure. Exploring heartbreak — from the puerile but pacing “Party Boy,” to the seething “I Know a Jeweller,” to the pitious “Love is a Terrible Thing”— Williams dips into the jagged crevices that naturally appear when the heart cracks wide open. – Amanda Wicks