Oh lort, make it stop!
This section of the post is typically reserved for highlights of the year that was…and in this case the highlights seem to really have been deflated by events from the past few months.
Though it did feel like we had a few months there, back in the summer where things were going to be OK. For example, complete with a (then) full-course of two Moderna vaccine shots, we managed to head downtown and dine INDOORS at a several of our favorite restaurants WITHOUT OUR MASKS ON! Then the Delta Variant™ decided to rear it’s infectious head and that all went to pot.
Though right as Delta was moving in, we were getting ready to move on.
After several years of feeling like my job in Maryland was a bit of a dead end, I polished up my vita and started sending it around. To my surprise I was interviewed and got on with the University of North Carolina System Office (which oversees all 16 public higher education institutions in the Old North State). So in the middle of the Delta Variant wave, we packed up our wares and moved to Raleigh North Carolina.
We’re loving Raleigh so far, but this move hasn’t been all roses and rainbows. My partner spent the first couple months after the move job-searching. This added a dense fog of anxiety over our home until she finally accepted a position with a data visualization/tech company that works with higher education institutions.
Newly established in the City of Oaks, if missing our friends, and dealing with the existential question “what if only one of us is employed come January” wasn’t enough, in the early fall we also learned that a dear friend - and one of my longest-running friendships - was diagnosed with metastatic lung cancer. This news came on the heels of losing one of the long-standing members of my online music community earlier in 2021 - a stark reminder that this pandemic is not the only force out there taking away our loved ones.
Lastly, and the most recent heartbreaker for our family was the loss of our 11 year-old Weimaraner, Mosby, who left us on the afternoon of Dec 20, 2021. Though he went peacefully and painlessly on a day like most every other, surrounded by those who loved him most and his creature comforts, I am closing out 2021 with a HUGE piece of my identity missing. Each successive day gets a little easier, but every turn in this house, and every “on this day” social media memory going back eight years is currently a reminder of why the house is so silent right now.
But hey, 2021 wasn’t ALL bad…
Here’s a list of the things we’ve been thankful for since Jan 1 of 2021
We’ve remained COVID-free despite the variants and case spikes
We bought a 1993 Pro Craft V-180B Bass Boat, and a 2009 Toyota Tundra so we could tow it (which also meant I had to sell my badass 1979 Ford F-250).
We did see live music this year (more on that later)
We did take a vacation this year (to Disney, which was…. But I did get to fly the Millenium Falcon while there)
We’re loving North Carolina and look forward to exploring more of the region when the air is a little clearer.
Oh - and we decided to get married in 2022…appropriately (for us) in Kentucky at a bourbon distillery.
Of course another year of working from home meant that music was flowing freely from the jukebox while NOT in a Zoom meeting…and as in years past, here’s the list of “Elevens” (that is, records that could have been among our ten favorites on any given day) followed by our “Top Ten” favorites. Each album cover photo is a link to the record on Spotify (or bandcamp). But first, we hope you’ll listen along while you read to our playlist of “standout tracks” from each of the records listed below.
::The Rank Stranger’s Top Songs of 2021: A Playlist::
::Baby Goes to Eleven: Thirty Records that JUST missed the Top Ten Cut::
::(In Alphabetical Order)::
Aeon Station ::OBSERVATORY:: If there is one record that is likely to generate chatter into 2022, it will probably be Kevin Whelan’s Aeon Station. Known as one of the principal songwriters in New Jersey indie rock icons The Wrens, Whelan, alongside Wren Charles Bissell had been famously continually working on the follow up to the Wrens’ critically acclaimed 2003 record THE MEADOWLANDS. There was a revealing writeup in Pitchfork over Whelan’s impatience with Bissell leading to the formation of Aeon Station and the release of OBSERVATORY. Whelan notes that many of the songs on OBSERVATORY would have shown up on the Wrens’ next album whereas others were penned specifically for this release. The Replacements’ breakup spawned Paul Westerberg/Grandpaboy; Uncle Tupelo’s breakup spawned Son Volt and Wilco…perhaps we’re getting two for the price of one with Whelan (and presumably Bissell in the near future) releasing records as solo artists.
Standout Track: “Fade”
American Aquarium ::SLAPPERS, BANGERS, AND CERTIFIED TWANGERS VOL 1 & 2:: When BJ Barham had to virtually rebuild American Aquarium from the ground up after the mass exodus of original members in the wake of 2015s WOLVES, he pulled together a group of Austin and Nashville crackshot players. This version of the band flanked Barham on two studio releases, but as a way to keep things moving during the pandemic, Barham probably didn’t have to twist the band’s collective arm too hard when convincing them to record two volumes of 90s “Prime Country” cover songs. The band sounds completely at home on these recordings, but likely the best part of these two volumes is how Barham approaches songs made popular by female country artists. Not only does he present the songs in his characteristic baritone, but he doesn’t gender-correct the lyrics. It actually makes these cuts all the more powerful.
Standout Track (Vol. 1): “Heads Carolina, Tails California” (made popular by Jo Dee Messina)
Standout Track (Vol. 2): “Strawberry Wine” (made popular by Deana Carter)
Anne Freeman ::KEEP IT CLOSE:: Early in their career, the Beatles were not bashful about mixing their more country influences into the pop blueprint of their songs. The same bones are evident from the opening notes of Anne Freeman’s “City Watched Me Burn” where jangly guitars are augmented by a one-four backbeat often heard in country music. It’s probably not out of line to also say there’s a healthy dose of Neko Case in these songs. Regardless, this Oxford, Mississippi university administrator by day seems to have a bright future ahead of her moonlighting as a power pop band frontwoman.
Standout Track: “I’ve Got A Knife”
Avstin ::NOCTURNE:: Avstin is the solo project of Frederick, MD musician and artist Austin Bristor (indeed, Spotify lists the record under Austin’s full name, but there appears to be another musician named Austin Bristor out there, but based out of Florida). Prior to his solo project, Bristor was playing with Frederick alt-rock up-and-comers Flooring (whose 2018 record WALK JOG is also worthy of a spin. But on NOCTURNE, the 90s alt-rock throwback of Flooring is largely absent. In its place are atmospheric musical landscapes that sound as if Explosions in the Sky teamed up with Death Cab for Cutie and asked Sigur Ros’ vocalist to sing (but, you know, in English). To beat all, Bristor is the sole artist behind all the sounds and production of the record.
Standout Track: “Red Bud”
Bat Fangs ::QUEEN OF MY WORLD:: Every pre-teen or teenage girl should listen to Bat Fangs. If you have a young woman between the ages of 11 and 17 in your family - or somewhere in your life, go pick up a copy of QUEEN OF MY WORLD (preferably on vinyl…which may mean you will also need to buy the girl a turntable…that’s fine…do that too. And while you’re at it, buy her either a Gibson SG + Orange amplifier - or a drum kit) and give it to them to spin. QUEEN is the “NC/DC” duo’s sophomore release, and though not quite a sophomore slump, QUEEN does have a little less umph compared to their self-titled debut. Don’t trip, the songs are still explosive, but slicker production and too-perfect takes make this record a little stiff. In the words of East Hall Recording owner/producer Chris Moore, “Perfect is boring.” Luckily, there is still a LOT to fist-bump to on this record…and the band is not to be missed live!
Standout Track: “Talk Tough”
The Blips ::THE BLIPS:: Fan of Vulture Whale, are you? Fan of the Glory Fires, are you? Fan of Conor Oberst, are you? Then you’re likely to be a fan of The Blips - which features Wes MacDonald (Vulture Whale), Eric Wallace (The Glory Fires), and Taylor Hollingsworth (Connor Oberst’s Mystic Valley Band) alongside Birmingham, Alabama stalwarts Will Stewart and Chris McCauley who, together, blend 60s garage, southern power pop, and southern rock into a really fun record. This is both a guitar player’s record and a songwriter’s record with a variety of sounds to keep things interesting throughout.
Standout Track: “One and Done”
The Boys With The Perpetual Nervousness ::SONGS FROM ANOTHER LIFE:: If there is a theme to this list so far, it is that songwriters are not always confined to their main band. Nearly every other release featured above is from artists who also cut their teeth with other outfits. The Boys with the Perpetual Nervousness are no different - joining together Madrid’s Gonzalo Marcos from El Palacio de Linares and Scotland’s Andrew Taylor from Dropkick - who put out the best Teenage Fanclub record this year by any band not named Teenage Fanclub. SONGS FROM ANOTHER LIFE is twenty-six minutes of jangly Fanclub meets the Byrds with gobs of melody and vocal harmonies.
Standout Track: “Rose Tinted Glass”
Curtis Harding ::IF WORDS WERE FLOWERS:: Atlanta-based Harding may have come up in the Church and found his way to hip hop working for the record label that featured TLC, Toni Braxton, and Outkast as well as guesting on CeeLo Green records, but his solo work finds him back at the intersection of Gospel and Soul music. The primary format here may be soul, but there’s a modern hip-hop and R&B slickness to this record that leans more toward Goodie Mob than it does the Dap Kings. Still, though, it’s a fine soundtrack to spring evenings with the windows open that tends to set a certain mood.
Standout Track: “Where’s the Love”
Death By Unga Bunga ::HEAVY MALE INSECURITY:: Back in 2018, the band “Death by Unga Bunga” came up in conversation up a few times; mostly folk singing praises of their then-current record SO FAR SO GOOD SO COOL. Thiking it a funny name, on a whim, I pulled the record up on spotify and instantly fell in love. In hindsight, COOL likely should have placed higher than an “eleven” on this list that year - so here’s hoping the same mistake is not being made here. Though not as solid as COOL, the Moss, Norway quintet still do what they do best on HEAVY MALE INSECURITY, and that is wring out every drop of 70s arena rock-n-roll from their songs. Can you say guitarmonies??
Standout Track: “Not Like The Others”
The Dirty Nil ::FUCK ART:: Speaking of 70s arena rock…jeebus. The Dirty Nil are a Canadian three-piece rock band that sound like they’re playing 12 guitars and have 5 singers. It’s just a mountain of sound coming out of so few people. Singer Luke Bentham’s vocal range is a thing to behold. He routinely goes from a low register to a controlled scream - and he does it routinely on FUCK ART. Also - despite coming out in January 2021, that still has not been enough time to ascertain whether the album title means “Fuck you, Art!” or “Art you can fuck to.” Thoughts? Fun fact, the last time Death by Unga Bunga showed up among the “elevens” so did the Dirty Nil. These two bands go together like testosterone and ripped, acid-washed denim!
Standout Track: “Possession”
Durand Jones & The Indications ::PRIVATE SPACE:: Though this year-end list is more devoid of soul compared with past years’ lists, Durand Jones and the Indications kept the party going in 2021 with PRIVATE SPACE. The band has found a nice balance in showcasing the talents of both Durand Jones’ soulful voice alongside drummer Aaron Frazer’s falsetto. Baltimore, MD-native Frazier was busy this year, smacking skins for Yola on her sophomore release (more on that later). The latest Indications record features a band that has settled into a more mature, fresh, organic soul sound.
Standout Track: “More Than Ever”
Hovvdy ::TRUE LOVE:: Likely to be the record most regrettably not in this year’s top ten, Hovvdy’s (ugh, the two “v’s” in place of the “w” is super cringe) TRUE LOVE checks a lot of boxes. An early December discovery via Spotify (you know when they do that thing where you finish listening to a record and it auto-suggests stuff? Yeah, this is how TRUE LOVE first hit these ears), it’s anyone’s guess how frequently this record would have been spun had it reached these ears sooner. Compared with prior longplayers, TRUE LOVE sounds more realized, more serious…older…more wistful; all things that comport with our Current Times™. Will Taylor’s and Charlie Martin’s harmonies are like lullabies easily whisking listeners away from whatever hellscape 2021 ushered in.
Standout Track: “True Love”
Hurry ::FAKE IDEAS:: Philadelphia has long been pumping out stellar music, and Hurry definitely has a place in that melee. Matt Scottoline probably explains the record best with his “15 songs that influenced FAKE IDEAS” interview with Brooklyn Vegan. Forever a sucker for great guitar and vocal melody (and harmony), Hurry’s latest is chock-full of all the above. Scottoline opted to leave the swirly chorus pedal off the board for this record, and it was definitely a welcome decision.
Standout Track: “How to Cope”
Jodi ::BLUE HERON:: Pinegrove multi-instrumentalist Nick Levine released his debut record under the moniker Jodi in 2021. It’s not too far a stretch from Pinegrove, but that sort of thing generates ZERO complaints from this keyboard. Levine’s low-register and soft vocals lilt over rich guitar, bass, drums, keys, and the occasional pedal steel guitar. BLUE HERON sounds like a collection of Pinegrove b-sides with different vocals - and again - this is NOT a bad thing.
Standout Track: “Get Back”
Joe and The Feels ::UNSUPERVISED:: Little Rock, Arkansas supergroup Joe and the Feels is the songwriting outlet for Joe Yoder, who formed the band back in 2018 alongside Little Rock stalwarts Andy Warr and Dave Hoffpauir. Recorded at the Little Rock institution Fellowship Hall Sound, the record sounds seasoned - and unlike that of a typical debut record. But it is still loose in all the right spots. Yoder’s southern howl smacks here and there of some of our favorite Futurebirds songs.
Standout Track: “Beef”
Julien Baker ::LITTLE OBLIVIONS:: Ever since 2015’s SPRAINED ANKLE, these ears have oft wondered what Julien Baker would sound like with a full band behind her. The answer lies on LITTLE OBLIVIONS, which is a sonic combo punch of Baker’s soaring vocals, bone-cutting lyrics, and now lush, synth-driven music to augment what was already a piercing force. Baker’s songs, still heavily emotive, don’t seem to punch as hard in this format, but they still punch like hell.
Standout Track: “Faith Healer”
Ladybird ::INTRODUCING… (EP):: In the mid-1990s (or as the kids say, the “late 1900s”), “alternative-country” was gaining traction. Bands like Uncle Tupelo, Son Volt, Wilco, Blue Mountain, Whiskeytown, The Old 97s etc., were in constant rotation in and around whatever stereo/cd player I had nearby. My musical tastes would evolve with the marching of time, but I’ve always had a soft spot for alt-country, and if there was any band that scratched that itch this year, it was Milwaukee Wisconsin’s Ladybird. Singer/songwriter Pete Freeman had actually been on my radar (read: my social media “people you may know”) for years given he is originally from the Frederick, Maryland area (where I was a rank stranger for exactly four years). I finally gave into the recommendation and am glad I did. Despite probably being a gleam in his father’s eye or maybe an infant back in the mid 1990s, Freeman has done his homework and his simple, country-tinged rock-n-roll is both a breath of fresh air and an exercise in late 1990s nostalgia.
Standout Track: “End of the World”
Lucy Dacus ::HOME VIDEO:: It wasn’t until 2021’s HOME VIDEO that Lucy Dacus found her way on this list for a solo effort. For example, the Boygenius EP was on this year-end list in 2018, but even then, the Dacus-penned songs were the least-spun. HOME VIDEO is hitting all the right spots. Dacus’ vocals are wistful, nicely matching the sonic palate of the record. “Nostalgia” may be the wrong term for the narrator’s wrestling with faith and coming of age in evangelical youth groups, but like faith itself, sussing out meaning from it can be complicated and confusing.
Standout Track: “First Time”
Mike and the Moonpies ::ONE TO GROW ON:: Topping 2019’s CHEAP SILVER AND SOLID COUNTRY GOLD is a tall order, and though Mike and the Moonpies come close with their fiery Texas honky tonk twang, they don’t quite achieve the feat on ONE TO GROWN ON. Still, these songs are the perfect soundtrack to a sultry summer night at the White Water Tavern where you’ve had just enough to make the kind of mistakes you can live with…
Standout Track: “Hour on the Hour”
Ovlov ::BUDS:: Plain and simple - Ovlov continues to scratch this Generation-X, former grunge kid itch that is still here some twenty-five years later. Fuzzy guitars, dark vocals, and huge drums? Yes, please!
Standout Track: “Moron Pt. 2”
Peter Bruntnell ::JOURNEY TO THE SUN:: This record did not receive nearly the number of spins it deserves. Bruntnell was like a clock during the darkest days of the COVID-19 pandemic, routinely streaming acoustic performances on his various social media platforms. It was there where many of the songs that would end up on JOURNEY were fleshed out. It’s also evident that the record was made in the pandemic, as many of the songs are stripped down, and those with drums sound inorganic (i.e., like drum loops). But none of that takes away from the fact that Bruntnell is still writing top-notch songs deep into his career.
Standout Track: “Merrion”
Pinegrove ::AMPERLAND, NY:: One of Pinegrove’s greatest strengths is building out variations of recorded output into whole new landscapes live (or sometimes on subsequent recordings). Prime example of this is the half-realized version of “Angelina” from EVERYTHING SO FAR as compared to how the band played it live with a much more forceful drum and bass; a version which would then find itself on a later recording). AMPERLAND is a “live from the home studio” performance (with accompanying movie) where new life is breathed into the band’s previously recorded songs that - let’s be fair - weren’t all that ‘studio-stale’ to begin with. Recorded output is like a snapshot in time, and AMPERLAND is a snapshot of a band at its best.
Standout Track: “The Metronome”
serpentwithfeet ::DEACON:: Quite possibly one of the most beautiful sounding records on this list, Josiah Wise’s musical moniker serpentwithfeet mixes a pitch-perfect falsetto over crisp R&B and gospel sounds that isn’t afraid to get gothic from time to time. DEACON finds the Baltimore, MD native crafting songs about finally finding love, and being unabashedly, wholly consumed by it.
Standout Track: “Old & Fine”
Silver Synthetic ::SILVER SYNTHETIC:: Had this record hit these ears sooner than mid-December, it would likely be WAY higher on this list. Talk about “checking all the boxes!” Silver Synthetic sounds like a band that has taken all the best parts of SINGLEWIDE-era Dexateens, the greasy-honk of Natural Child, and the southern lilt of the Futurebirds all wrapped into one package. SILVER SYNTHETIC is the band’s debut, and given how heavy it’s been in rotation around here the past week, here’s to hoping the band has more in the chamber for the near future…because this record is about to get worn out!
Standout Track: “Unchain Your Heart”
Snail Mail ::VALENTINE:: The love around here for Baltimore-based artists is strong, and though not among the top ten, the title track to Snail Mail’s VALENTINE get’s my vote for song of the year. Lindsey Jordan has spent the past couple years orbiting the indie rock world on an erratic meteor that might veer off course to crash and burn at an instant. So far, Jordan’s cocktail of equal parts talent + youthful brattiness has served her well, and both of these components are heavily present on VALENTINE.
Song of the Year: “Valentine”
The Sonder Bombs ::CLOTHBOUND:: No, you’re right…that’s an electrified, distorted, heavily strummed ukulele during the breakdown in “Papillon", the opening track on the Sonder Bombs’ sophomore record. Infectious pop melodies throughout, it’s a shame that this record got lost in the shuffle partly thanks to its early 2021 release. However, a spin provides the listener with a mix of power pop, punk, and even 90s alt vibes - replete with, again, angsty ukulele!
Standout Track: “Play it by Fear”
Son Volt ::ELECTRO MELODIER:: Son Volt’s output in recent years has left a lot to be desired. NOTES OF BLUE (2019) is arguably the band’s best work since 2005’s OKEMAH AND THE MELODY OF RIOT. The thread sewing all of these records together, including this year’s ELECTRO MELODIER is Jay Farrar’s songwriting continues to get more “on-the-nose.” Farrar’s earlier Son Volt song lyrics, as well as those with Uncle Tupelo, were usually more cryptic. Here, on songs like “War on Misery” and the single “Living in the USA” there’s no veil shrouding the songs’ meanings. Sometimes this works…but it is possible to be a bit too on-the-nose. All told one of the more solid efforts from Farrar and co. this late in Son Volt’s career. Even fans of Farrar’s solo work will enjoy the blending of band + solo record sounds (give “Diamonds and Cigarettes” a listen, as it sounds like a B-side from SEBASTOPOL to these ears).
Standout Track: “Diamonds and Cigarettes”
Tuns ::DULY NOTED:: In a world that doesn’t seem to give us enough Sloan, Flashing Lights, and Super Friendz, we have Tuns - which features Chris Murphy (Sloan) and Matt Murphy (Super Friendz, Flashing Lights) [PS: no relation, btw] bringing a bit more stripped-down version of the Canadian arena-rock styles oft heard in their primary projects. For years this was a mashup fans of all the above bands dreamed of, and it continues to deliver.
Standout Track: “We Stand United”
The War on Drugs ::I DON’T LIVE HERE ANYMORE:: Plenty of others will be able to sing the praises of Adam Granduciel and his outfit the War on Drugs. As a kid, I remember taking family trips to the K-Mart or wherever, and my pops playing the local top-40 radio station in the car. Mind you, this was the late 1980s…and there is something about the way Granduciel crafts his songs that fit that mid-to-late-80s-in-the-car-with-the-fam-going-to-K-Mart-listening-to-Top-40-radio vibe. The Super-Soft™, yet somehow driving rhythm section that punctuated LOST IN THE DREAM and A DEEPER UNDERSTANDING are still present, but the new color on the palette is the synth sounds, which is where I think the above “K-Mart” vibe mentioned above is coming from. And let’s not forget how understated a guitarist Granduciel is. This record is definitely a grower, and an earlier release likely would have led to a deeper dig into the lyrics, and a greater connection.
Standout Track: “Change”
Yola ::STAND FOR MYSELF:: It’s probably unfair to judge an artist’s current record compared with their prior work; and instead judge their work against all the other releases of the year. If doing the latter, Yola’s sophomore solo record is a certified banger and belongs on many year end lists…but if judging using the former criteria, some of the initial wonder and excitement when first hearing Yola (particularly those of us unfamiliar with Yola’s prior outfit Phantom Limb) has lost its sheen. It’s sad when our brains work that way, because on it’s own, there is a LOT to love here: Soul-soaked vocals, crackshot production (thanks again, Dan Auerbach), and a shit-hot band, to boot. But when you come out of the gate as hard as Yola did on her solo debut, it’s tough to keep up that momentum. Still, there’s little doubt that in a world without WALK THROUGH FIRE, we’d likely be singing as high praises for STAND FOR MYSELF.
Standout Track: “Starlight”
::The Rank Stranger’s Top Ten Records of 2021::
The thirty records above are all great - and highly recommended. It also is a glimpse into the broader spectrum of genres that got heavy play in 2021. But given how relentless 2021 has been (and on the heels of the equally shitty 2020), the records that got the most play are indicative of a regression to more comfortable spaces: That of “sad white guy music.”
Over the past five years, my partner has been a boon to my music listening habits; introducing me to new music that likely would not hit my radar if left to my own devices. As such, my record collection has recently seen more representation from female artists or bands with a significant female presence, as well as nonwhite artists from varying genres (i.e., soul, R&B, HipHop, country, punk).
But the constant beating of Pandemic Life on me, my partner, my family, my friends, and my communities found me seeking refuge in familiar places. All of this is noted not as an apology, but instead as self-reflection for this snapshot in time. With that, here are the ten records that best served as a warm security blanket for me in 2021.
10. The Pink Stones ::INTRODUCING…THE PINK STONES:: See the above blurb on Silver Synthetic. Then take a little more Futurebirds, and a little less Dexateens and about as much Natural Child, then set the band down in Georgia and toss in a pedal steel guitar for good measure. For those who cut their teeth on alt-country and southern rock-n-roll (not to be confused with Southern Rock™), the lilting, road-trip-worthy sounds of the Pink Stones would be a good prescription for those looking to escape the current hellscape of 2021 (and trust me on that…I’m a doctor). This record should probably be listened to outdoors, or preferably in a car with at least two windows down.
Standout Track: “Put Me On”
9. Tigers Jaw ::I WON’T CARE HOW YOU REMEMBER ME:: Sometimes in a relentlessly emotionally-draining two years, you seek refuge and solidarity in emo-punk records. If you’re prone to doing so, it’s tough to go wrong with Tigers Jaw. Hell, the refrain in the chorus of the title track repeats “I see the pain not healing…I see the same things still overwhelm” (see the years 2020 AD and 2021AD for a review). Ever since Ben Walsh and Brianna Collins took over songwriting duties circa 2016, the band has continued to gel around their voices and their pop-punk-emo harmonies. Those who enjoyed 2017s SPIN, will not be disappointed - and for those who are intrigued by this blurb, then you’re in for a hell of a on-two punch from Tigers Jaws’ most recent two studio offerings.
Standout Track: “Hesitation”
8. Valerie June ::THE MOON AND STARS: PRESCRIPTIONS FOR DREAMERS:: On a snowy February evening in 2019, I trekked down to Ram’s Head On Stage in Annapolis, Maryland to see one of my favorite songwriters, Thad Cockrell, opening for Valerie June. At the time, I knew very little about Valerie June, and what with the heavy snow falling outside, and my having an hour+ drive back to my homeplace in Frederick, Maryland at the time, I nearly bailed on her set. But I told myself I’d stay for the first two songs and then decide whether or not to leave. The next thing I knew, I was standing in line to tell Ms. June that her vocals reminded me of all the old Hazel Dickens and Alice Gerrard recordings I’d listened to over the years. Valerie came out from behind her greeting table to give me a big hug and say “that’s the best compliment I think I’ve ever been given…I’ve been big fans of them for as long as I can remember!” Needless to say, I’ve now been a big fan of Valerie June since this night, and THE MOON AND STARS has often been a necessary lullaby for These Times™. The sounds on this album are pretty atmospheric and sparse, but June’s vocals are the constant ground wire holding everything from floating away. Just gorgeous music.
Standout Track: “Colors”
7. John Paul Keith ::THE RHYTHM OF THE CITY:: While retreating into the comfort of familiarity, sometimes keeping it simple is a wise move. “Simplicity” seems to be the foundation of THE RHYTHM OF THE CITY, which once again finds John Paul Keith finding inspiration from founding giants of rock-n-roll, crates of rare records littering record stores across Memphis, Tennessee (Keith’s home base), and 70 years worth of Memphis’ vibe and history that seems to pour out of these songs. Maybe “simplicity” is the wrong word here; better described as “deliberate” because despite Keith’s ability to scorch these songs with fiery guitar, he dials in just the right amount on each one. Careful, repeated listens might cause you to go buy a vintage Telecaster and Fender Deluxe Reverb (not that I am speaking from experience or anything)!
Standout Track: “Ain’t Done Loving You Yet”
6. Andrew Bryant ::A MEANINGFUL CONNECTION:: As if dealing with a Global Pandemic over the past two years wasn’t enough, listening to Andrew Bryant’s latest is a reminder that some folk also have been dealing with a passel of personal issues such as staying sober, fatherhood, ending, starting, and maintaining relationships….it’s a LOT. And rightfully so, the narrator on these songs sounds weary, and at times cynical…which actually feels like appropriate emotions that my own Gen. X heart understands all too well. Each successive record Bryant has released has been better than the last - another positive when the breakup of a band (in this case, the Water Liars) fosters a greater yield of good music from each songwriter as a solo artist.
Standout Track: “Reality Winner”
5. Laura Stevenson ::LAURA STEVENSON:: Not being all that familiar with Jeff Rosenstock, (whose prior outfit Bomb The Music Industry! was where Stevenson first hit the scene as the band’s keyboard player), it was not only shocking how damn good Stevenson’s self-titled 2021 release was, but also that it was her SIXTH studio record since 2014! These songs are lush. Equal parts BIG guitars and Super Soft™ tunes keeps the listener’s attention. For the reader who is new to Stevenson (like me), rejoice in the notion that once you’re fully saturated from listening to this record, you have FIVE more prior releases to also check out!
Standout Track: “Continental Divide”
4. Golden and Rust ::GOLDEN AND RUST:: I’ve not written a complete song in over a decade…I’ve got a ton of half-written concepts, but none fully realized. I lovingly blame Joey Kneiser for this. Kneiser has been a major influence on my listening and writing since he fronted Murfreesboro, Tennessee’s Glossary, and despite my studying his craft all these years, with each release, I am reminded that my level of talent is light years away of where it needs to be to craft songs like these. On GOLDEN AND RUST, Kneiser teams up with Nashville songwriter Lew Card, whose own craft is similar enough to Joey’s that the record is nice and even (and not unlike, say, when you have a group presentation or term paper where each individual voice is clearly noticeable). Golden and Rust prominently features some familiar names such as Bingham Barnes (Glossary) on bass, Matt “Mr. Jimmy” Rowland (Glossary) on keys, and Whit Wright (American Aquarium/Nashville session player) on pedal steel guitar: All of whom contribute to the nostalgia for that early-aughts Glossary sound that has been sorely missing from our stereos and stages as of late.
Standout Track: “Ruby”
3. The Hold Steady ::OPEN DOOR POLICY:: For young songwriters who cut their teeth on writing about their own youthful exploits (or in the case of Craig Finn, sometimes just observing other youths’ exploits), what happens when the passage of time ages them out of those scenes? It would be weird for a fifty-something year old songwriter to expect his or her forty- and fifty-something year-old fans to continue to connect with the 24-hour Party Kids’™ world of drug deals, hookups, breakups, overdoses, and general bad decisions. Here’s the thing…those 24-hour Party Kids get older too…and they’re likely still making suspect decisions - just on a smaller scale be it drug use (“Spices”), low key drug deals (“Heavy Covenant”), rehab (“Lanyards”, “Family Farm”), and drug-fueled hookups (“Hanover Camera”). And for whatever reason, all of this works, which is a hopeful harbinger for more Hold Steady records like OPEN DOOR POLICY - arguably the band’s best since their late twenty-aughts halcyon days.
Standout Track: “Spices”
2. Marie/Lepanto ::GULF COLLIDE:: In our world of streaming services, it is a bold move for an artist or band to not include their latest record on Spotify. Songwriting team Justin Peter Kinkel-Schuster (fmr. Water Liars) and Will Johnson (Centro-matic; South San Gabriel), whose sophomore release as Marie/Lepanto is an example of this boldness. GULF COLLIDE not only had a limited run of 500 physical copies, but remains streamable only via bandcamp. But here’s the thing: This record is so damn good that it’s a pretty easy decision to pause whatever you’re spinning on Spotify and dial up the Marie/Lepanto bandcamp player. And once you’re there, you’re likely to stick around and spin the whole thing. Kinkel-Schuster and Johnson are releasing their best solo career-era songs on GULF COLLIDE. Will Johnson, in particular, fills up that massive early Centro-matic sized chasm that has been around since the band’s 2014 swan song TAKE PRIDE IN YOUR LONG ODDS. However, the fuzzed out guitar leads are more reminiscent of REDO THE STACKS-era Centro, which is welcome to these ears! Indeed, the ‘Standout track” “Eureka Flame” sounds like the proper answer to SOUTH SAN GABRIEL SONGS/MUSIC’s “Proud Son of Gaffney” with the latter half of the song just harmonized howling. Even Kinkel-Schuster amps up his songwriting (harkening back to his Water Liar days), though the true feature on GULF COLLIDE are the two singers’ vocal harmonies - which sound more like a pair who have been singing together for decades, let alone for just two albums.
Standout Track: “Eureka Flame”
1. Drew Beskin ::PROBLEMATIC FOR THE PEOPLE:: Athens Georgia’s most prolific songwriter returns with what might be his finest collection of songs to date - from any of the myriad of projects to which he’s lent his songwriting pen. With a not so subtle nod of an album title, Beskin comes out swinging with “I’m Not Human” - a masterclass in power pop melody and groove. And the record continues along that trajectory til the end. Full of “good earworms” I spent an outsized number of days walking around singing “there’s more bad days than good…” In my mind it was just a memorable line with a poppy melody…until I was in public softly singing it and a stranger remarked “no shit, buddy.” The thing is, this record represents so much of what I listen for in a record: Infectious pop melodies, crisp instrumentation that is not too over-telegraphed, great vocals and harmonies, and clever songwriting where song narrators wrestle with their takes on the daily grind of life, relationships, religion, etc. Here’s hoping Beskin not only continues along this trajectory, but also revives what was once an Athens music scene thicc with music similar to this effort. And with that, I am gonna let the lilting steel guitar line from this record’s standout track float me into 2022…
Standout Track: “Atlantic”
Shows Attended in 2022
Not surprisingly, this is another light list, but at least we made it out to a few…
[1.] Julien Baker w/Thao Nguyen; Haw River Ballroom; Saxapahaw, NC; Sept. 8, 2021
[2.] “Magic” Mike w/ Lydia Loveless, Chip Robinson, and D.J. Lewis; Local 506; Chapel Hill, NC; Sept. 11, 2021
[3.] Kathleen Edwards w/ Mick Flannery; Haw River Ballroom; Saxapahaw, NC; Sept. 16, 2021
[4.] John Howie Jr. and the Rosewood Bluff w/ Dylan Earl; Local 506, Chapel Hill, NC; Oct. 1 2021
[5.] White Water Tavern Holiday Hangout Night 1: Joe and the Feels, Isaac Hoskins, Adam Faucett & the Spectral Class, Nikki Hill, John Paul Keith, Alvin Youngblood Hart, Lee Bains III and the Glory Fires; Little Rock, AR; Dec. 3, 2021;
[6.] White Water Tavern Holiday Hangout Saturday Songwriter Round: Shane Sweeney, Jason Kutchma, John Calvin Abney, Joey Kneiser; Little Rock, AR; Dec 4, 2021
[7.] White Water Tavern Holiday Hangout Night 2: Isaac Alexander, Tim Easton, Rev. Greg Spradlin, Bonnie Montgomery, Cory Branan, Joey Kneiser & Kelly Smith (feat. Lew Card), Slobberbone; Little Rock, AR; Dec. 3, 2021;
[8.] The Dinwiddies w/ Dylan Earl and Willi Carlisle; The Wicked Witch; Raleigh, NC; Dec 18, 2021