Eric Church

ON TO SOMETHING GOOD: Top 10 Records of 2015


Every year since 2000 I have shared a list of ten favorite records, and with the same annual caveat—i.e., that these aren’t necessarily the best records of the year, that I lay no claim to objectivity or to authority, that these are just my favorites, etcetera whatever.

But no such false modesty this year: Who’s to say that these aren’t the ten best albums of 2015, or that my own perceptions of quality aren’t plenty compelling and persuasive? The ten records I’ve celebrated here are all—I am just sure—cosmic in their significance, ravishing in their humanity, exemplary in their songcraft, seductive in their creative expression, unique in how they change the weather in the room.

Yes, I feel that strongly about them. Or, as I have said before, they are abounding in revelation and rich in entertainment. They’ll make you laugh, they’ll make you cry, they have beats you can dance to, and so on.

I’m telling you that these records are worth hearing; worth owning; worth cozying up to; once dressing down and being dressed down in return. You won’t regret it, or at least I haven’t.

A few curiosities: Though I never think about genre when putting these lists together, I feel like each year brings a particular emphasis on some particular trope of American song, and this year, for whatever reason, seems to have been a particularly rich one for country. Also, I have noted that, through some weird coincidence, my past lists have tended to be a little bit slanted toward males, but this year’s picks are more or less evenly split between male and female auteurs.

But enough preamble: A couple of special distinctions follow, and then the list itself.

Sam Phillips: The Man Who Invented Rock ‘N’ Roll
Lead Belly, The Smithsonian Folkways Collection
Bob Dylan, The Cutting Edge

 samphillipsleadbellycutting edge

The best and most easily and widely recommendable music I heard this year is a package of recordings from the 50s and 60s; the Sam Phillips anthology is as essential as the Harry Smith anthology of yesteryear, and for basically the same reasons. Why wouldn’t a person buy it? The Lead Belly collection is exhaustive but never exhausting thanks to the man’s rich humor, deep soul, and beautiful humanity. And two discs of newly-unearthed Dylan outtakes have confirmed and contextualized my deep and abiding love of his electric trifecta—reason enough to keep it in the player.


Kendrick Lamar, To Pimp a Butterfly
Adele, 25


The former is immediately iconic, and like the album itself seems to contain multitudes: It speaks to layers of history both overt and underground, to humor and heartache and a riot still goin’ on. The latter can be plastered on as many Target and Wal-Mart displays as you like but will not lose its soulful magnetism.


And… THE TOP 10

10. Kacey Musgraves
Pageant Material
Kacey’s country has plenty of room for the Opry, the outlaw, and plenty of high and lonesome—emphasis on high. Would crack the top ten for the steel guitar player alone

9. Boz Scaggs
A Fool to Care
Alternate titles: Rhythms & Romance; Love in the Ruins; Money Won’t Change You, except maybe it will. Listen to how these songs move, and then listen to what they’re telling you.

8.Bob Dylan
Shadows in the Night
Reminds me of three things: 1. Bob Dylan can still surprise. 2. Bob Dylan can still be a masterful and controlled singer when he’s of the right mind to be. 3. Love is always just a song away.

7. Alabama Shakes
Sound and Color
A promising band becoming a great one. Sound, color—and don’t forget the funk, swagger, soul, and fire.

6. Eric Church
Mr. Misunderstood
Last time, he told us he was an outsider; this time, he makes me believe it, with killer country reared on gospel, steeped in the blues, and unafraid to crank up the funk or to move from barroom ballads and murder tales into paeans to his toddler.

5. Kamasi Washington
The Epic
the epic
Epic not just because it’s lengthy or because it’s weighty but because it takes you on a journey—from Coltrane’s spiritualism to hip-hop’s new world order.

4. Bettye LaVette
Not as explicitly autobiographical as The Scene of the Crime, but also not any less her story; these songs of tribulation and triumph alternate between tearjerkers and shitkickers, and are sequenced so perfectly you’ll want to just keep listening over and over.

3. Kendrick Lamar
To Pimp a Butterfly
Audaciously hopeful, or hopefully audacious? Only hip-hop could create such an expansive funhouse of history, and only a visionary like Kendrick could tilt each carnival mirror toward the present.

2. Rhiannon Giddens
Tomorrow is My Turn
She is everything we keep hoping our Americana stars will be: Rooted in the past but living for the present; authentic, yes, but also funky and fun. This deeply traditional album is closer to Technicolor than to sepia; it’s got twangers and bangers, and its reverence never outweighs its imagination. And let’s not let the obvious go unstated: She is one of the most gifted vocalists working today, in any idiom.

1. Ashley Monroe
The Blade
“I thought that we would go all the way/ But you caught it by the handle, baby, and I caught it by the blade.” The year’s best album– country, roots, Americana, singer/songwriter, or otherwise– balances on the razor’s edge separating joy and sadness, songs of hopefulness and devotion in dialogue with honky tonk weepers, broken-hearted laments, and testaments to love’s abiding fracture. Just as skillful: The balance between tradition and modernity, between songs with crusty roots and songs with sleek hooks, songs that are smart about their happiness and joyous even when they ring with lamentation. Ashley Monroe has enough sense of history to make an album that’s weighty and well-crafted, and enough sense of herself to keep it crackling with personality. She doesn’t reinvent this music, but she may as well be rewriting it– making a masterful country album cast in her own image.


First Impressions: Eric Church, Mr. Misunderstood

churchLord knows I’ve had my doubts, and even my concerns—but I’m now more than happy to believe Eric Church is misunderstood, an outsider, a purple unicorn, or any other damn thing he claims to be. I don’t even laugh when he sings about having a “guitar full of freedom.” Unleashed by the same corporate overlords who midwifed Songs of Innocence but thankfully closer to Black Messiah in its defiant expectations obliteration, Mr. Misunderstood is a tight little set that clocks in at 10 songs in 39 minutes, and in that time packs plenty of outlaw swagger, rock and roll thrills, alt-rock namechecks, Dixie-fried funk, Bourbon Street blues, and guitar heroics. Church writes songs that start off like campfire rounds before erupting into sheets of white metal. He snags Rhiannon Giddens for harmonies and Susan Tedeschi for a duet. He packs his songs with music and murder, rebellion and regret, more badassery than any country bro in years—and then he brings it all down with a song trumpeting the toddler wisdom of his three-year-old, turning from the tough shit to down-home sentiment like he’s Waylon Jennings and it ain’t no thing. The title song lifts a melody from Wilco and even namechecks Jeff Tweedy—don’t worry, I like it anyway—but one-ups Being There by being several things at once, mutating from wistful lament to balls-out rock, double-timing and then triple-timing, exploding and scaling back down. “Mistress Named Music” is a travelogue about following the muse, finding its genesis in Pentecostal hymnody but working up a head full of blues. Church left his prog rock inclinations on the last album, thank God; he takes some electric solos here and they all feel vital. “Chattanooga Lucy” is twisting southern funk like Lowell George wrote on his best days. Tedeschi’s turn is on “Mixed Drinks About Feelings,” a barroom blues that’s more Nola than Nashville. “Record Year” is showy in referencing Stevie Wonder, subtle in working in John Lee Hooker; it’s a weeper but not really, because his baby left him but now he’s got a great excuse to sit for hours and listen to records. I’ll drink to that. I mean, look: This record makes you feel things like Jason Isbell’s do, and it’s got nearly as many twists and turns as a Miranda Lambert record but in a fraction of the time. It’s catchy enough to get played on the radio but greasy and funky and hard enough to appeal to people who say they only like real country. In fact, it’s the country record of a lifetime—no misunderstanding about it.