“I’m so glad that chapter of my life is over.”
Ruston Kelly tweeted those words out while introducing “Faceplant,” one of the (many) pre-release songs from his full-length debut album, Dying Star. They could just as easily be applied to the album as a whole, which exorcises a boatload of demons over the course of 14 beautiful, despairing songs. It’s a heavy listen: Kelly doesn’t try to glamorize his portraits of heartbreak, nor is he anything but candid about his personal struggles with addiction. Kelly overdosed in early 2016 and ended up in rehab. Later that year, he released his debut EP, called Halloween. He’s been building buzz ever since, and seems poised to explode with Dying Star. He also fell in love, getting married earlier this year to country music star Kacey Musgraves.
Over the course of the past 10 years, few albums from the 2000s have stuck with me quite like The ’59 Sound. One of the undeniable truths of being a consummate life soundtracker is that most of your favorite albums end up being inextricably linked to certain periods of time. You play those records so much when they’re new to you that they become a collage of moments and memories from your life. It’s a beautiful thing when that happens, but it also tends to mean your favorite LPs eventually fall out of regular rotation, as you reach for new music to play that role for new moments and memories. Most of my favorite albums fit into this category. My other 2008 classics—records like Butch Walker’s Sycamore Meadows and Jack’s Mannequin’s The Glass Passenger—are albums I revisit only every month or two, not because I don’t love them, but because they hold so many pieces of my past self within their songs. Those albums could never be life soundtracks to me today, because they already played that role at such vivid and crucial junctures of my life.
The ’59 Sound is different. It’s the rare “favorite record” in my life that isn’t tied to any one specific moment or season or year. It’s a record that has grown with me over time, one that has meant a dozen different things to me from one year to the next. Where other records I loved back then have drifted more into the background, The ’59 Sound is a record I’ve played regularly—probably once every couple weeks, at least—for the better part of the past decade. A part of the reason is probably my initial indifference to the album. The ’59 Sound got a lot of hype in 2008, but my first listens told me it was something dated and backwards-looking: songs stuck in the past that didn’t have relevance to my present. (Note: this opinion is my worst first impression of all time.) Because I was never infatuated with this album like I was with many of the LPs that came out around the same time, I never “wore it out” in the same way.
If it takes more than 10 minutes for Lori McKenna’s The Tree to break your heart, you might not have one.
McKenna has always excelled at crafting tearjerkers. In addition to nine previous albums full of (mostly) sad songs, she also wrote or co-wrote songs like Tim McGraw’s “Humble and Kind” (happy sad) and Brandy Clark’s “Three Kids, No Husband” (sad sad). Her latest co-write to move the needle is a Carrie Underwood song called “Cry Pretty” (badass sad). Suffice to say that McKenna is familiar with tears and exquisite, aching pain.
Even by McKenna’s standards, though, the first 10 minutes of The Tree are a doozy. In those 10 minutes, she manages three songs—“A Mother Never Rests,” “The Fixer,” and “People Get Old”—that are bound to put a lump in your throat. The first is a tribute to great moms and all the hard work they do to raise their kids. The second is about a family patriarch who tries to cope with his wife’s ailing health by tinkering with tools and projects. And the third is about McKenna’s father and the slow and steady march of time.
Passwords is Dawes’ fifth record of the 2010s—and their fifth great one. It’s also the first time that they haven’t taken a substantial leap forward in terms of sound or approach. Ever since their 2011 breakthrough, Nothing Is Wrong, Dawes have been switching producers with every record, always searching for that new groove. Nothing Is Wrong was a wash of gorgeous 70s-influenced Laurel Canyon folk, earning the band almost as many comparisons to Jackson Browne as Brian Fallon got to Bruce Springsteen. 2013’s Stories Don’t End had flickers of a 90s folk rock record, modernizing and streamlining the band’s songs with a more studio-driven approach. 2015’s All Your Favorite Bands went in the opposite direction, embracing the band’s live, jam-oriented roots for a record full of loose guitar solos and spontaneous energy. And 2016’s We’re All Gonna Die brought in mad scientist producer Blake Mills (Alabama Shakes, Perfume Genius, John Legend) for a bold, expectation-shattering disc—a career left-turn that prompted at least a few comparisons to U2’s Achtung Baby.
Steve Moakler loves to sing for the everyman.
That’s what drove much of his last LP, last year’s stellar Steel Town. It was all over 2014’s almost-as-good Wide Open, especially songs like “Humble Operations” and “Rather Make a Living.” It was certainly there in “Riser,” the song that he and Travis Meadows wrote for Dierks Bentley back in 2014—and the song Bentley loved so much that he built an entire album around it. Like Bruce Springsteen, someone who has become an increasingly evident influence on Moakler’s music over the course of his last three albums, Moakler has a talent for finding beauty in unexpected, unglamorous places.
“Finding beauty in unexpected and unglamorous places” is more or less the mission statement of Born Ready, Moaker’s second album in 15 months. The title track and leadoff single is about long-haul truckers, while early highlight “Breaking New Ground” turns hard labor into a metaphor for perseverance and resilience. Even the album’s big love story song gets the title “One of the Boys,” underlining the everyman theme further.
Born to Run was the album that sparked my appreciation for Bruce Springsteen’s music, but Darkness on the Edge of Town was the album that made me a fan.
In 2015, when Born to Run turned 40, I wrote about the day I fell in love with it. A chance discussion about Springsteen at a family reunion sent me reaching for the Bruce albums on my iPod the next day, as my family traversed an epic snowstorm to drive back home. I had five Bruce records on my mp3 player, but I’d never really given full attention to any of them. They were all records from my parents’ CD collection, and at the time, I still stupidly believed (perhaps self-consciously) that older music couldn’t be my music in the same way as something released in my lifetime.
On that snowy drive home, I cycled through the Bruce albums on my iPod: the bombastic, optimistic dream of Born to Run; the scrappy underdog symphony of Greetings from Asbury Park; the deeply ‘80s-sounding Born in the U.S.A.; the resilient recovery rock of The Rising; and the sparse storytelling of Devils and Dust. I loved Born to Run immediately. I liked The Rising a lot, too. I had trouble getting over how dated Greetings and Born in the U.S.A. sounded to my ears at the time, but I liked the songs. And Devils was fine, but mostly didn’t move me.
Parker Millsap’s last record was Biblical. On 2016’s The Very Last Day, Millsap—just 23 years old at the time—wrote songs about Lucifer, the apocalypse, preachers, fire, and forgiveness. It was an intense, ambitious set of songs, and it only worked because of Millsap’s big hurricane of a voice. Here was someone with the kind of unhinged bellow that could sell a song about the devil trying to entice a pretty girl to climb into the front seat of his car. Here was a singer who could sell the desperation of a story where a preacher’s son had to come clean to his dad that he’d fallen in love with a boy. As a piece of writing and a display of vocal work, The Very Last Day was easily one of the most impressive albums of 2016.
On the follow-up, called Other Arrangements, Millsap drives pointedly in the opposite direction. This record sheds the stakes, ambition, and Biblical themes of its predecessor for a straighter, simpler proposition: pop music, circa 1963. The average song length is less than three minutes, and the best tune on the record—the propulsive, infectious “Gotta Get to You,” clocks in at 2:03. Instead of shooting for larger than life, Millsap is trying to serve up small, perfectly honed nuggets of throwback rock ‘n’ roll glory.
“It’s quiet in the streets now/But it’s screaming in your head.”
Augustana frontman Dan Layus sings those words near the outset of Can’t Love, Can’t Hurt, his band’s second major label LP. He sings them in a low register, at a near-whisper. It’s the calm before the storm, both for the song (called “Hey Now”) and the album. Eventually, the song crescendos into a big anthemic burst of sound—one that suits Layus’s big, craggy voice perfectly. The album, meanwhile, delves deep into roots rock in inventive, versatile ways, twisting the threads of the genres under that umbrella in half a dozen different directions. From country to Americana to southern rock to the glossy pop-roots sounds of 90s radio bands like The Wallflowers and Counting Crows, Can’t Love, Can’t Hurt crisscrosses the heartland and comes back with rewarding treasures from every segment of the musical map.
As listeners, we typically assume that a debut album is an artist’s mission statement. Simply put, an artist’s first album is supposed to establish what that person or band sounds like. It’s supposed to lay the foundations for the rest of their career and give listeners some idea of what to expect later on down the road. But what happens when a debut album proves to be an anomaly? When the first record establishes a sonic identity that the artist doesn’t want to chase on future releases?
For more than a decade now, Cary Brothers has been asking precisely that question.
Brothers burst onto the scene in 2004, with a December release called All the Rage. It wasn’t until the next year, though, that he got his big break, thanks in large part to the Garden State soundtrack. Brothers’ beloved contribution, the song “Blue Eyes,” had already been a Hotel Café favorite when Zach Braff scooped it up for his quirky coming-of-age dramedy. Garden State took the song and immortalized it for listeners and movie fans who were of a certain age at the time. While the song gave Brothers the kind of boost that just about any songwriter would kill for, though, it also meant that he got the musical version of typecast. “Blue Eyes” was a singer-songwriter song, and Brothers’ full-length debut, 2007’s Who You Are, was a singer-songwriter album. You could hardly blame early Cary Brothers fans for making the assumption that he was an acoustic singer-songwriter, period.
There’s a song on the new Donovan Woods album Both Ways called “Next Year,” about the very-human tendency to put things off. “We’ll do it next year,” Woods sings—five words we’ve probably all spoken a time or two before. Those words could refer to a lot of different things, depending on your situation. They could be about a trip you’re going to take, or a renovation you’re going to do on your house, or something fun you’re going to do with your kids. Too often, though, next year never becomes this year. It’s just always next year, always tomorrow. And eventually, all those things you were going to do pile up and you realize that you’re running out of time to actually do them. That’s what happens at the end of the song, where Woods sings about an ailing father and his wish to see the Grand Canyon. Instead of making plans for later, the dad and his son just get in the car and drive. Because, as Woods states, “There ain’t no next year.” The sand in the hourglass is almost gone. It’s now or never.
Kacey Musgraves released one of the two or three most important country albums of the decade back in 2013. The LP—her breakthrough, Same Trailer, Different Park—tossed a whole slew of country conventions in the garbage disposal with an “I don’t give a fuck” smile. Musgraves sounded sarcastic, but not disrespectful. Jaded, but not overly cynical. Instead of praising hometowns like most of her contemporaries, she painted them as havens for close-minded, philandering burnouts. Instead of steering well-clear of anything resembling a progressive political message, she sang about kissing lots of boys…or kissing lots of girls, if that’s what you’re into. Compared to the bro country wave that was on a cruise at the time, Musgraves was a breath of fresh air.
In the years since, a lot more artists like Kacey have come out of the woodwork—to the point where there’s no longer even a point in painting an “us vs. them” battle between the country mainstream and the “insurgency.” These days, most of the biggest “insurgent” heroes are shifting a boatload of records, scoring Grammy nominations, and selling out major headlining tours. It shouldn’t be understated how instrumental Musgraves was in creating an environment where that kind of harmonious balance could happen.
Chris Porterfield is one of the most honest songwriters alive.
It might not seem that way from a cursory listen to the music of Field Report, the band Porterfield has fronted now for three albums. As a writer, he couches much of his observations about relationships and human struggles in layers of metaphor. But start to peel back the meaning of the songs and you’ll arrive at deeply moving messages about the heart and what keeps it beating. That was the case with 2014’s Marigolden, a starkly intimate record where Porterfield came clean about his struggles with alcoholism. That album often felt like a dreamscape, like coming down from the haze of a buzz for the first time in weeks, only to find that the clarity of an undrunk mind felt as surreal as being on an alien planet. “The fog’s been lifting, and I’m doin’ alright,” Porterfield sang on a sublimely beautiful song called “Summons,” “But I still can’t look nobody in the eye.”
Not too long ago, Brian Fallon sounded like he was broken. Get Hurt, The Gaslight Anthem’s fifth (and as-yet, last) album, sounded like a band on its last legs. Written and recorded in the wake of a grueling, never-ending tour schedule—as well as Fallon’s divorce from his first wife—Get Hurt felt like the end of something. When Fallon resurfaced on 2015’s Painkillers, his solo debut, he was retreating from the fallout of it all. “I don’t want to survive/I want a wonderful life” he sang in the first single, but the most revealing line came on the closing track: “You can’t make me whole/I have to find that on my own.” That song, and that album as a whole, were the sounds of a man whose recovery was still a work in progress.
Sleepwalkers, Fallon’s sophomore solo LP, is the natural conclusion to the trilogy that began on Get Hurt. It’s also the most wholly satisfying album of the three, blowing up an array of different influences to make the most vibrant, lively LP that Fallon has put his name on since the early Gaslight Anthem days.
More than any band I’ve ever loved, I associate The Dangerous Summer with a specific time and place. For three tumultuous summers, as I flailed about recklessly in the no-man’s land between youth and adulthood, there was no band on the planet that meant more to me. The summer of 2009 was encapsulated in the strains of their debut, Reach for the Sun, which caught me in the wake of my high school graduation as I wondered what the next chapter would hold. Their sophomore record, War Paint, played a similar role in the summer of 2011, which followed the worst semester of my life and forced me to question my dreams, my college major, and my entire view of my future. The summer in between was the one where I fell in love with the girl who I would marry, and I still remember driving home late at night from her house, feeling every note and every word of songs like “Northern Lights” and “Never Feel Alone.”
The Dangerous Summer never meant as much to me outside of those summers, or away from that town. This band was the soundtrack of growing up and of magical, lively Julys and Augusts in the town where I grew up—summers where the nights seemed to stretch on forever and the possibilities felt like they were truly endless. Once I finished college and left my hometown behind, it felt like The Dangerous Summer might not have anything left to say about my life. Hearing them again in the summer 2013—the summer after I finished college and tried to make a play for adulthood and the “real world”—the songs played like pale imitations of what I’d loved before. True, that year’s Golden Record was simply a sizable step down from the band’s peak. Even if it hadn’t been, though, I’m not sure it would have resonated with me personally. Again, this was a “time and place” band, and hearing them outside of that time and away from that place felt almost grotesque. It made me miss everything I’d left behind.
2017 was a frustrating, infuriating, and often heartbreaking year. From the politics to the abuses and scandals that trickled all the way down to our little music scene, it felt like every day had some scrap of bad news to serve up. It was a year where we really needed something to lean on and keep us resilient and resolute, and the artists featured on this list responded to that call of duty admirably.
The 25 records featured below are eclectic and far-reaching. Some are achingly personal reckonings with personal demons and mental illness. Others are scathing indictments of the political status quo. Some explore the cycle of getting older and losing your youth, while others revel in the excitement and confusion of being young. Some are pop records, while others are hip-hop or folk, country or post-hardcore, emo or classic-tinged rock ‘n’ roll. They are all distinctly different, but they all had at least one thing in common: for 30 or 40 or 50 minutes at a time, they all made 2017 feel a little more bearable.
So, without further ado, I give you Chorus.fm’s Top 25 Albums of 2017. In the words of one of the artists featured below, I hope you find something to love.
I’m not sure I’ve ever seen a music year quite like 2017. In terms of personal classics, it didn’t stack up to my favorite music years on record, like 2004 or 2015. But for maybe the first time ever, I would have been comfortable putting just about any album from my top 30 in my top 10. Indeed, every record up to about 19 or 20 was ranked in my top 10 for at least one draft of this list. Clearly, the breadth of good music from this year was stunning, and I feel fortunate to have been able to experience it.
Above all, this year was one of huge discovery for me. Of the 40 artists featured below, only 18 have made year-end lists of mine in the past. A few of the remaining 22 were artists I’ve known for awhile who realized their considerable potential in 2017. Most, though, were completely new finds for me, and a fair handful released debuts. Looking at those numbers, I can’t wait to see what new things will grace my ears in 2018. For now, though, I’m bidding farewell to 2017 by recounting the music that played as my life soundtrack during it. Here’s hoping my discoveries can become yours.
The top two bestselling albums in country music this year are both by the same guy. Chris Stapleton’s From A Room: Volume 1 (released back in May) and Traveller (released all the way back in May 2015) are unstoppable juggernauts despite the fact that neither ever notched a major radio hit. Depending on just how strong the Stapleton support is throughout the holiday season, there’s an outside chance he could own the entire top three for 2017, thanks to the fact that he just released his second album of the year: From A Room: Volume 2.
A cynical person would see Stapleton’s decision to release two albums in the same year as a shameless ploy to sell more records. There probably is something of a calculated approach there, given that Stapleton 1) still sells albums at all, and 2) thrives on full-length statements rather than singles. What’s probably truer, though, is that Stapleton just cut a lot of quality material while in the studio with producer extraordinaire Dave Cobb, and wanted to put it all out there for his fans to enjoy.
While he’s been coy about the exact details, Bono apparently almost died in 2017.
In general, it’s been a rough few years for the frontman of the world’s biggest rock band. The backlash against U2’s last record, 2014’s Songs of Innocence, was perhaps fiercer than for any other album released this decade (though the hate was more for the gung-ho iTunes release strategy than for the actual music). Then, a few months later, Bono crashed his bike, fractured his face, and shattered his arm. The injury, he later said, may have put a permanent end to his guitar playing days.
Still, neither Bono nor U2 have slowed down much. If anything, they sped up. This year, the band zipped around the globe playing The Joshua Tree for its 30th anniversary. Even at a relatively brief (by U2 standards) 51 dates, the tour grossed $316 million—enough to be the year’s highest grossing concert tour. Meanwhile, U2 have spent months tinkering with Songs of Experience, the sequel to their maligned 2014 album, which was supposed to come out a year ago. Even with the 12-month delay, Songs of Experience still arrives just three years and two months after its predecessor—the band’s briefest album-to-album gap since the early 1990s.
“I remember smelling smoke/I woke up, I was choking/Lorrie grabbed the baby and we made it safe outside.” So begins Turnpike Troubadours’ A Long Way from Your Heart, with a family fleeing a burning house. It’s a stark place to start. The characters in this song lose everything but their lives, a photograph, and a shotgun. But the song that takes those things away, called “The Housefire,” is rollicking and lively instead of being dark and downtrodden. There’s even a ripping guitar solo in the song’s extended outro, while the ever-present fiddle—a crucial element of Turnpike Troubadours down-home country sound—flits through the arrangement almost triumphantly.
“Lord knows that I’ve been blessed/I can stand up to the test/I can live on so much less/This much I’ve been learning,” Evan Felker sings in the chorus, because “The Housefire” isn’t about a burning house; it’s about bidding farewell to material encumbrances and realizing what really matters following a crushing tragedy. It’s about finding hope in a dark turn of fate. In a word, it’s about resilience.
On the whole, those same descriptors apply to A Long Way from Your Heart as a whole. These songs are tinged with tragedy, but they are also populated by characters who carry on regardless. The title of the album comes from the bridge of “The Housefire,” where the narrator starts lamenting the “heavy blow” his family has just been dealt. “I’ll bet you make it, it’s a long way from your heart,” his wife responds wryly. You’ll survive, in other words. ‘Tis but a scratch!
When Travis Meadows sings about hitting rock bottom, you can tell he’s been there. There’s a rawness and pain in his voice that tells you he’s not just playing a character or weaving a narrative. His songs ache with the scars of a hard life. As a child, Meadows’ younger brother drowned, his parents got divorced, and he ended up the odd man out between a mother and a father who started new families and moved on without him. At 14, he was diagnosed with cancer. He survived the disease, but lost his right leg in the battle. Eventually, he turned to alcohol as a crutch. He was already writing songs, and already had a publishing deal in Nashville, but he was such a mess that no one would agree to write with him. It took four trips to rehab before he could make sobriety stick.
Meadows has been off the bottle since 2010. In the interim, songs he’s written have been cut by Eric Church, Dierks Bentley, and Jake Owen—three of the biggest male stars in country music right now. His songs, though, remain haunted by his past. In a recent profile for Uproxx.com, Meadows said that he uses songwriting to admit the secrets about himself that he’s too scared to say out loud. That honesty radiates through First Cigarette, Meadows’ second full-length album and the most starkly intimate LP that anyone has made this year.