[鄉村] CountryUniverse: Top 20 Albums of 2011
#20 Beat the Devil and Carry a Rail / Noam Pikelny
His tenure with the Punch Brothers and his winning of the first annual “
Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both
earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his
second solo album and first since 2004. Joined by an all-star roster of
fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its
lead artist’s extraordinary technical skills and for the banjo’s
wide-ranging potential. – Jonathan Keefe
Recommended Tracks: “Fish and Bird” featuring Aoife O’Donovan, “Boathouse
on the Lullwater,” “My Mother Thinks I’m a Lawyer”
#19 The King is Dead / The Decemberists
The indie favorites take their hyper-literate brand of folk-rock for a rustic
spin, achieving new concision in the process. Colin Meloy’s wild narratives
and wilder lexical choices sound right at home in these short-and-sweet song
designs, and the Americana field is richer for having them. – Dan Milliken
Recommended Tracks: “Don’t Carry It All,” “June Hymn”
#18 Concrete / Sunny Sweeney
That solo women disappeared from country radio was one of 2011′s major
talking points within the genre, but Sunny Sweeney’s Concrete provided some
of the most compelling evidence that it wasn’t a lack of strong material
that kept female artists off radio playlists. Balancing a keen traditionalist
bent with a thoroughly modern point-of-view, Sweeney’s fully-drawn
characters and clever spins on familiar country tropes proved that an album
that sounds “radio friendly” doesn’t have to be light on actual substance
or craft. – Jonathan Keefe
Recommended Tracks: “Amy,” “From a Table Away,” “Fall for Me”
#17 It’s Already Tomorrow / Foster and Lloyd
Their first time around, Foster and Lloyd were one of the coolest country
acts going, blending in a love of traditional country music with some ’60s
post-British Invasion rock vibes. It’s Already Tomorrow, their first album
in 20 years, shows an impressive return to form. Radney Foster and Bill Lloyd
have released some terrific solo albums, but there is a definite magic that
happens when they record as a duo. – Sam Gazdziak
Recommended Tracks: “Picasso’s Mandolin,” “That’s What She Said,” “Can
’t Make Love Make Sense”
#16 This is My Blood / The Dirt Drifters
As mainstream country music becomes increasingly slick and polished, it’s a
refreshing change to hear something gritty and rough around the edges. The
Dirt Drifters’ debut on Warner Bros. certainly qualifies. If you’re looking
for country-rock that takes its cue from run-down country roadhouses instead
of ’80s arena rock, this album is for you. – Sam Gazdziak
Recommended Tracks: “Always a Reason,” “Married Men and Motel Rooms,” “
Hurt Somebody”
#15 Ghost to a Ghost/Gutter Town / Hank III
Hank III’s entire artistic persona is built on indulging in every type of
excess he can think of, so it was hardly a shock when, for his first
recordings after a less-than-amicable departure from Curb Records, he dropped
four full-length albums of new material on the same day. While not all of his
ideas are good ones– the less said about Cattle Callin’, the better– the
double-album Ghost to a Ghost / Gutter Townproves that Hank III is driven to
his spectacular highs not just by the various recreational drugs circulating
through his bloodstream but also by a real fearlessness and creativity and a
sense of respect for his bloodline. – Jonathan Keefe
Recommended Tracks: “Don’t Ya Wanna,” “Musha’s,” “Dyin’ Day”
#14 Ghost on the Canvas / Glen Campbell
A late-in-life swan song by an icon acutely aware of their own mortality. That
’s a fitting description of so many of the best country albums in recent
years. This is the best of that subgenre since Porter Wagoner’sWagonmaster.
– Kevin John Coyne
Recommended Tracks: “There’s No Me…Without You”, “Ghost on the Canvas”
#13 Chief / Eric Church
On the heels of an album that was largely a hit or miss affair, Church
delivers a surprisingly electric third album, marked by its edgy sonic
splash. But while its spin on country rock is undeniably enticing –a funky
mix of swampy, trippy and punchy—the album’s soul is Church himself, a more
believable artist this time around than most of his contemporaries. Because
for all its hard ass sentiment, Chief actually walks the walk, as authentic
as it is audacious. Outlaw in the making? Probably, but don’t tell Church I
said so. – Tara Seetharam
Recommended Tracks: “Hungover & Hard Up,” “Keep On,” “Creepin’”
#12 Long Line of Heartaches / Connie Smith
What more can you ask for? Purely straightforward and unadulterated country
songs delivered by the finest vocalist the genre has ever been privileged to
call its own. Smith’s own co-writes with husband and producer Marty Stuart
(The title track, “I’m Not Blue,” “Pain of a Broken Heart”) sit
comfortably alongside top-notch cover material penned by Harlan Howard,
Johnny Russell, and Dallas Frazier, all backed by the sweet sounds of fiddle
and steel aplenty. Long Line of Heartaches is a beautiful reminder of what
country music once was, and could be again. – Ben Foster
Recommended Tracks: “Long Line of Heartaches,” “I’m Not Blue,” “Ain’t
You Even Gonna Cry”
#11 Your Money and My Good Looks / Gene Watson and Rhonda Vincent
There was no chance that this collaboration of straight up country songs
between Gene Watson and Rhonda Vincent was going to garner any attention from
mainstream country music outlets. However, thanks to memorable songs, pure
country production and Watson and Vincent reverently following the spirit of
classic country duet albums of the past, this project was surely one of the
stand out albums of the year. – Leeann Ward
Recommended Tracks: “You Could Know as Much from a Stranger,” “My Sweet
Love Ain’t Around”
#10 Lady & Gentlemen / LeAnn Rimes
On the surface, Lady & Gentleman is a concept album, flying in the face of a
genre whose gender bias sometimes feels like the elephant in the room. But as
with the best concept albums, it’s not the concept that carries it. With her
most thoughtful, vocally mature performances to date, Rimes herself is the
heartbeat of the set, deftly navigating the songs with a blend of reverence
and fearlessness.
And she has plenty of room to shine: rather than trying to rebirth a
collection of classics, Rimes and her team tastefully reinvigorate the songs
with production risks (“Swingin’”), lyrical twists (“Good Hearted Women”
) and the occasional overhaul (“When I Call Your Name”). The result is an
album that stands neither as a tribute nor as a statement, but as a unique
body of work that earns its merits all on its own. – Tara Seetharam
Recommended Tracks: “Blue,” “Wasted Days and Wasted Nights,” “He Stopped
Loving Her Today”
#9 KMAG YOYO / Hayes Carll
Texas has a long track record of producing talented, innovative songwriters,
and The Woodlands native Carll is one of the best of his generation. With an
eye for detail and a wry sense of humor, Carll proves to be a sympathetic
narrator as he bemoans his fate in dealing with politics, the economy and
relationships. And just when you think he’s pure smartass, he breaks out his
sincerity with a song like “Grateful for Christmas.” – Sam Gazdziak
Recommended Tracks: “Stomp and Holler”, “Another Like You”, “Bottle in
My Hand”
#8 American Folk Songbook / Suzy Bogguss
Over the last two decades, Suzy Bogguss has ably covered a lot of musical
ground, including classic country, western swing, pop country, adult
contemporary and jazz. With the unplugged American Folk Songbook, she is able
to add folk to the list. This expansive 17-track set of traditional folk
songs is the most stunning of her genre specific projects.
Without a misstep on the album, it finds Bogguss firmly in her element as
both an effortless singer and adept song interpreter. What’s more, Suzy’s
crystal clear voice blends perfectly with her own crisp, engaging
productions. – Leeann Ward
Recommended Tracks: “Shenandoah”, “Johnny Has Gone for a Soldier”, “
Swing Low Sweet Chariot”
#7 Lorraine / Lori McKenna
A somber coffeehouse album, which admittedly makes for a bit of a plodding
listen-through. Hang around, though; McKenna is chronicling the experience of
the working-class family woman with the kind of depth and character we
usually associate with people named Dolly and Merle.
Which isn’t to say she’s playing with archetypes; as the title-track
tribute to her mother demonstrates, she simply excels at making the personal
feel universal. – Dan Milliken
Recommended Tracks: “The Luxury of Knowing”, “The Most”, “Still Down Here
”
#6 Barton Hollow / The Civil Wars
It’s almost scary how this duo just seems to get everything right. The level
of emotional connectivity in their performances, not to mention their
ethereal harmonies and stellar songwriting, is absolutely spellbinding. Just
listen to the way they can repeat the refrain “I don’t love you, but I
always will” in “Poison & Wine” such that each repetition successively
rises in passion and urgency.
While they will most likely never be mainstream country stars, one would
certainly hope that the excellent Barton Hollow is not the last we will hear
from The Civil Wars. – Ben Foster
Recommended Tracks: “Poison & Wine,” “Barton Hollow,” “Forget Me Not”
#5 Here For a Good Time / George Strait
The best artistic choice that George Strait has ever made is taking more time
between albums. Here For a Good Time is yet another high point in his
ongoing 21st century renaissance. He’s tackling, even sometimes co-writing,
compelling material that reflects the wisdom and life experience of the most
distinguished voice that remains on country radio. – Kevin John Coyne
Recommended Tracks: “Drinkin’ Man”, “House Across the Bay”, “I’ll
Always Remember You”
#4 / Four the Record / Miranda Lambert
If Revolution was Lambert’s commercial crowning moment, Four the Record is
her earned hissy fit – a foot stomp and a “my turn, folks.” That’s not to
say her previous albums weren’t authentic; it’s just that Four the Record
seems to be the most transparent reflection of Lambert the artist to date,
flaws and all.
And that’s why it soars. Wonderfully weird, the collection of songs is best
described as a tapestry of personalities, punctuated by some of the oddest –
but coolest– production choices of the year. Where the album lacks in depth
of songwriting, it makes up for in fiercely committed, layered performances.
She sneers old school style in “Fastest Girl In Town,” brilliantly spits in
her mother’s face in “Mama’s Broken Heart” and eccentrically celebrates
diversity in “All Kinds of Kinds.” But the album’s shining moments come in
the form of palpable vulnerability: the trio of “Dear Diamond,” “Look at
Miss Ohio,” and “Oklahoma Sky” is nakedly honest – the highest country
music compliment. – Tara Seetharam
Recommended Tracks: “All Kinds of Kinds,” “Mama’s Broken Heart,”
“Dear Diamond”
#3 Guitar Slinger / Vince Gill
At age 54, Vince Gill’s voice shows absolutely no signs of deterioration.
Moreover, his artistry continues to be as strong as it has ever been even
after almost three-and-a-half decades in the business. Following his
critically acclaimed and ambitious project, These Days, a box set of all
original songs, Guitar Slinger somehow manages to stand up to Gill’s
self-imposed high benchmark of excellence.
In fact, in a way, while this album is fresh, the sound of Guitar Slinger
could also be a continuation of These Days, since many of its songs follow
the genre variances of its predecessor, including rockers, easy listening and
traditional country songs. As evidenced by this album, Gill is still at the
top of his game both in musical talent and ability to capture a range of
emotions with diverse themes and expert storytelling. – Leeann Ward
Recommended Tracks: “The Lucky Diamond Hotel”, “Who Wouldn’t Fall in Love
with You”, “Buttermilk John”
#2 The Dreaming Fields / Matraca Berg
Matraca Berg has given us a good portion of country music’s most memorable
compositions of the past twenty years, and her first new album since 1997
shows a pen still full of tricks. With a tight set of tracks that includes
her own versions of songs recorded by Trisha Yearwood (“The Dreaming Fields”
) and Kenny Chesney (“You and Tequila”), Berg displays the same subtle
cleverness, instantly relatable emotional conflicts, and insightful
perspective that have long been the hallmarks of her work.
She tenderly addresses such themes as spousal abuse (“If I Had Wings”) and
the death of a loved one (“Racing the Angels”), but arguably the finest
moment comes with the title track’s wistful meditation on the loss of a
family farm that has remained for generations. Matraca Berg is nothing short
of a musical treasure, and The Dreaming Fields reaffirms her status as the
most talented singer-songwriter of her generation. – Ben Foster
Recommended Tracks: “If I Had Wings,” “Racing the Angels,” “The Dreaming
Fields,” “Oh, Cumberland”
#1 Hell on Heels / Pistol Annies
For all of the lip-service that contemporary country acts give to the idea
that country music tells real stories about real people, precious little
country music in 2011 seemed to be about anything at all. Whether jockeying
for some kind of authenticity cred that their music just didn’t support or
rattling off list after pointless list of rural signifiers without an actual
narrative or a greater point to make, many of the biggest country stars of
the past year seemed completely divorced from the experiences of the real
world around them.
Enter Pistol Annies– ostensibly a one-off side project for Miranda Lambert,
Ashley Monroe, and Angaleena Presley– and their debut album, Hell on Heels.
Not only is it the finest and most detailed chronicle of the current
recession, the album stands as a much-needed reminder of both the depth of
insight that country music offers in its best moments and the
expertly-crafted escapism country music provides when things get a little too
real.
Sure, there’s an element of playing dress-up to what the Pistol Annies are
doing, but that fits perfectly with the album’s focus on finding ways to
escape from day-to-day drudgery. Songs like “Bad Example” and the
tongue-in-cheek, gold-digging title track make it clear that Lambert, Monroe,
and Presley are in full control of their charades: The way Presley drawls, “
Whistle it, ‘Randy,” at the bridge of “Lemon Drop” should erase any doubt
that they’re in on the joke. That sense of fun is reflected in the album’s
light-handed production and in the Annies’ winning performances.
That said, a devastating gut-check of a line like, “I’ve been thinking
about all these pills I’m taking/I wash ‘em down with an ice cold beer/And
the love I ain’t been making,” from “Housewife’s Prayer,” doesn’t
happen by accident. What elevates Hell on Heels into an album of real depth
is that the Annies realize that escapism only has value when you know exactly
what it is you’re trying to escape from.
The color of the bride’s dress in a shotgun wedding, the thrift-store
curtains hanging in a house that the landlord owns, the dings and dents in
the side of a trailer: Pistol Annies get all of these details right, and they
employ them with both a swagger they can actually back up and a sense of
purpose that speaks to something greater than simply proving their country
bona fides. – Jonathan Keefe
Recommended Tracks: “Lemon Drop,” “Beige,” “Housewife’s Prayer,” “
Takin’ Pills”
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