A Rock and a Roll – Page 51 – Rock Is The New Roll

The Top 100 Songs of 2019 (90-86)

There have been a lot of really great songs released in 2019. This year, we will be revealing our top 100 songs five tunes at a time all the way to number one. Here are our picks for 90-86.

Go back in time to picks 100-96

Go Back in time to picks 95-91

90. Caamp – Peach Fuzz

The bouncy rhythm on this one slightly brings to mind The Velvet Underground’s “Sweet Jane,” which is, in and of itself, somewhat mind-bending since nothing in this band’s background indicates that they would be fans of Lou Reed. The love story inherent in the song is pure “first couple of love rodeos” sweetness where you are sitting in the corner pouring yourself some punch while the current love of your life is in the kitchen cutting up a rug.

89. The Talbott Brothers – Run No More

This road warrior anthem is a slow-burn aural cinematic wonder. This set of rural Nebraska brothers on their 2019 record, Ghost Walker, delivers songs made for the wide-open prairie.

88. Midland – Mr. Lonely

Definitely riding the Hony Tonk Hot Tub time machine, “Mr. Lonely” definitely leans into the dirt floor, dance floor ethos inherent in places like Billy Bob’s and Gruene hall on a Saturday night. With dust bowl nods to Dwight and Buck, this one is a nostalgic winner.

87. Ingrid Andress – Lady Like

She’s on the list of women to watch in Country music, and if this song is any indication, paying attention to this up and coming artist should be no problem. “I drink tequila straight/haven’t brushed my hair in days/and i’ll kiss on the first date if I’m feelin’ It,” the opening lines from “Lady Like,” tells you all you need to know about where this intoxicating new artist is coming from. A self-described unframeable, untameable Mona Lisa.

86. Kassi Ashton – Violins

The scorned lover song of the year, forget everything you thought you knew about Pop Country, most certainly dismiss the fact that you only have a passing interest in the genre, and check this song out. A banger of a song that calls out an ex-lover that is yearning for redemption as she proclaims “You can lay it on all night long but you don’t stand a chance, it’s the same old song and dance.” The video for this song is worth the price of admission alone.

The Top 100 Songs of 2019 (95-91)

There have been a lot of really great songs released in 2019. This year, we will be revealing our top 100 songs five tunes at a time all the way to number one. Here are our picks for 95-91.

Go back in time to picks 100-96

95 – Highwomen – Highwomen

The sister song to Jimmy Webb’s version of “Highwaymen” made famous by the Mount Rushmore of country music, Waylon Jennings, Johnny Cash, Willie Nelson, and Kris Kristofferson. This version focuses on the fairer sex with a supergroup formed by Brandi Carlile, Maren Morris, Natalie Hemby, and Amanda Shires. Taking you back 300 years in the women’s movement, the message sent lamenting the complete dismissal of women in country music should not be ignored. And, thanks to this song, their new album, and these women, the message is signed, sealed, and delivered.

94. Better Oblivion Community Center – Dylan Thomas

Any collaboration between former Bright Eye Conor Oberst and Phoebe Bridgers is warranted to be on any list, and here, on one of the more upbeat songs on their debut album, the twangy guitars and the witty songwriting make this a collaboration worth celebrating.

93. Cherry Glazerr – Wasted Nun

Underneath the fiery, harsh guitar crunch and the stinging guitar licks is a wasted nun bursting to come out. This one is a female empowerment anthem for the new age.

92. Haim – Summer Girl

Singing in a Sunday morning voice with her head close to yours on adjoining pillows as you make plans for a California sunny day, the new Haim single is the laid-back summer jam of the year.

91. Hunny – Saturday Night

Contractually obligated to include any song that name-checks Echo and the Bunnymen, in this case, we are happy to oblige. Lifted from their highly excellent July release, Yes, Yes, Yes, Yes,, this song is perfect for that random pop-up dance party.

The Top 100 Songs of 2019

There have been a lot of really great songs released in 2019. This year, we will be releasing our top 100 songs five tunes at a time all the way to number one. Here are our picks for 100-96.

100. Terry Allen- Death of the Last Stripper

It has been a while since this underrated Texas troubadour has released a new song. Another master class in storytelling.

99. Van Morrison – Early Days

From Three Chords and the Truth Van Morrison takes us back to 70’s Van and the early days of Rock and Roll.

98. Ruen Brothers – A Million Things

2018 favorites The Ruen Brothers continue to sparkle on their new record for 2019.

97. Kurt Baker Combo – No One’s Home

Frequent winners of Little Sten’s Coolest Song in the World in The Underground Garage, Kurt Baker and his combo delivers on a template of Indie tinged Garage Rock.

96. The Limboos – Where Did She Go

The genre defying Limboos with their 2019 release, Baia, combine Surf Rock, Soul, and good old Rock and roll for a record that just might be your party album of 2019.

Classic Album Review: Kiss – Destroyer

A Bernie Sparrow piece as originally published for Cool Album of the Day. Check them out.

It is difficult to pinpoint the exact point in time that KISS ceased being a band and morphed into the soul sucking, cross marketing, American Idol appearing, corporate sell-outs that they are today. After all, this is the band that released Alive!, a self proclaimed live album that was cleaned up in post-production with actual guitar licks layered in, and more after-the fact enhancements than an air brushed Playboy centerfold.

These were the guys who kicked Ace Frehley out of the band for partying too hard (who among us doesn’t pine for those Vinnie Vincent, Mark St. John years), and deceptively tried to disguise Tommy Thayer in Ace’s Spaceman makeup and dressed Eric Singer in the Peter Criss Catman outfit thinking we would be to stupid or too stoned to notice.

At least we can take some Rock and Roll solace in the fact that we can wear a KISS T-shirt, change our babies KISS emblazoned diapers, and even travel to our final rewards in a KISS coffin. And let’s not forget the KISS miniature golf course in Las Vegas, or the Anaheim, Ca expansion Arena Football League franchise where Gene Simmons is part owner. Heck, we can even go on a KISS Kruise where Paul Stanley and Gene Simmons might even helicopter in for twenty minutes to grace you with their presence, leaving you to mingle with the the somewhat less famous band members in the musical meet and greet equivalent of being stuck in a hot tub at a Three Stooges convention with Shemp and Joe Besser.

And finally, in a ripped from the headlines example of the “screw the fan” hubris on the part of those that own the trademark, Gene and Paul are at this writing are refusing to perform with the original KISS band members at their upcoming Rock and Roll Hall of fame induction ceremony. This would be like John Lennon and Paul McCartney not sharing the stage with Ringo and George.

In the interests of full disclosure, the KISS pinball machine is actually pretty bad-ass. The original KISS themed Bally machine originally distributed in 1978 features all four of the original members prominently displayed with sound and visuals that are straight-up cool. I would own one, but I cant afford the additional $10.00 per strike up-charge that Gene Simmons gets every time the silver ball hits the bumper that contains his picture. Ironically, or perhaps not, there is no charge for hitting the the faces of the other members of the band.

But I digress………….

Destroyer, released in 1976, is one fine old school Rock and Roll record. With the sound glossed to more of an ear-pleasing sheen than their prior efforts courtesy of Alice Cooper Major Domo Bob Ezrin who gets writing credits on seven of the ten tracks on the album, this record pretty much set the stage for their future live performances, a template the band would hone to perfection in the years to follow.

The scorching, rubber burning first track Detroit Rock City, much like Springsteen’s “Born in the U.S.A., takes on a bit of a different meaning when the lyrics are contemplated, and you realize the song is about a concert goer’s untimely death meeting a truck head-on while speeding down the highway presumably on the way to a KISS show. Here, for one of the first times on vinyl for this band, a subject matter that does not include drugs, girls, or sex is presented to the listener. Now a concert opening staple that replaced “Deuce” from their self-titled second record as their walk-out selection, the song has taken on a life of it’s own generating a movie, an excellent book of the same name that covers the Detroit Rock and Roll scene of the 60’s and 70’s, along with countless cover versions.

The anthems are all here, loud and bombastic as you would expect, with “King of the Night Time World,” a Paul Stanley standout, and “God of Thunder” another Stanley tune that Gene Simmons absolutely owns, and with the possible exception of Rob Zombie, he is the only front man that could bring out all of the demonic qualities inherent in the song. Who else other than those two guys could “slowly rob you of your virgin soul.” “Shout it Loud,” almost gets lost in the shuffle here, but along with “Flaming Youth” is a real stand-up and shout, audience participation favorite.

The elephant in the Destroyer room of course is the Peter Criss ballad, Beth. Originally considered to be the Rock and Roll equivalent of a chick flick, the song was actually the B side of the “Detroit Rock City” single, and quickly became of of those disc jockey turns the 45 over one day by happenstance success stories, scoring the band a top ten hit. Showing an outrage the likes of which had not been seen on the music scene since Dylan Plugged in, the KISS Illuminati was definitely polarized in their disdain or acceptance of this mostly innocuous tune. I for one, was firmly in the pro-”Beth” camp. Finally, a KISS song your girlfriend would let you play while we were making out in the back seat of your Ford Pinto.

Pound for pound, “Great Expectations” is my favorite song on the album. A slower tune that has a distinct Ronnie Lane and Slim Chance, English quality. The Bob Ezrin knob twirling on this track complete with school child choruses and Alice Cooper From the Inside atmospheric spookiness really represented something completely different from the Kiss stable here.

Overall, this record has a bit of everything, and is deservedly on the top of many a Kiss Army members list of any era, favorite album, with any record post 1978 where each member released their own solo album on the same day, firmly ensconced in the non-listenable category.

Of course, everyone will have their own opinion on this record, this band, and their legacy.

And that is a VERY good thing.

–– Bernie Sparrow San Francisco, California USA

Five Cool Albums: Five New Records Released Today (November 8, 2019)

Clearly, we are entering into the dog days of music releases. The dreaded Christmas releases are upon us, George Michael even has holiday record out from the grave, and the overall pickings are somewhat slim as we anxiously await the release of the new Who album. Here are five nice ones culled from a limited herd.

Simply Red – Blue Eyed Soul

M0ney must be too too tight to mention for Mick Hucknall and the boys for them to feel that this release needed to see the light of day. Rolling that ball right down the blue-eyed soul alley, if nothing else this one delivers on what it promises. With a Darryl Hall Philly touch and a whole lot of Stax soul flourishes and immaculate grooves, the opener, “Thinking of You,” could be be the theme song for the next ghost busters movie. Sneak this one on in the middle of a Christmas party and no one will notice.

Blood Shot Records – Too Late To Pray: Defiant Chicago Roots

Launched way back in 1994, Bloodshot Records is celebrating their 25th anniversary in style with an album release that gathers many of the labels stars to celebrate their Chicago roots. Robbie Fulks, Freakwater, Kelly Hogan, and of course, Jon Langford all show up, and in style. Stay to the end of the party and you will be rewarded with the best version of Leonard Cohen’s “Tower of Song” your ears will ever have the pleasure of hearing courtesy of the Handsome Family. If you could only listen to one record label for the rest of your life Bloodshot records should be your jam.

Lucy Dachus – Historian

Much like the opener, “Night Shift,” Lucy Dachus’ second effort for Matador Records, Historian, is a slow burn that will reward the listener with multiple spins. The ebb and flow texturing of the songs with accompanying horns and strings are perfectly complementary to Lucy’s Velvet voice. Listen to this one at least twice and you will be hooked.

Tahiti 80 – Fear of An Acoustic Planet

Very much in the California Noir mold along with the likes of The Thrills, Best Coast, Conor Oberst among others, this band from the south of France consistently delivers Laurel Canyon beach vibes. The opener, “1000 Times” could be a “Shadow Captain” era CSN song, and “Seven Seas” would have fit quite nicely on Al Stewart’s “Year of the Cat” record. This one is a great escape to the island record.

Taylor Hawkins and the Coattail Riders – Get The Money

Taylor Hawkins, Drummer for the Foo Fighters, can be forgiven if he hasn’t put a record out in over three years. He has been a little busy. With his latest, Get The Money, all of his influences and musical loves come to the forefront. The Police, Hawkins is heavily influenced by Stuart Copeland, the majestic choruses of Queen, most notably present on “Don’t Look At Me That Way,” as well as a bit of Prog dusting in the Genesis mold, all come into play here with astounding results. Joe Walsh, Nancy Wilson, Chrissie Hynde, and Roger Taylor are just a few of his famous friends that join in on the fun. This one is a fun journey to the past without a nostalgic bone in its body.

Classic Album Review: Alice Cooper – Welcome To My Nightmare

A Cosmo Crane review originally published on the Cool Album of the Day website. For more reviews like this make sure to check them out.

Part Psycho Circus, part Jerry Springer show, part Quentin Tarantino shock-fest, Alice Cooper’s Welcome to my Nightmare album and subsequent tour was, depending on your point of view, either ridiculous or brilliant. The ultimate answer is of course given the benefit of historical perspective, that the album is ridiculously brilliant. Released in 1975, the album was Alice Cooper’s first post band break-up outing and is by far the best solo record of his decades long career.

Giving up the comfort of a consistent touring band and going to ax person by committee was certain to be a calculated risk. It was going to be hard to improve on Billion Dollar Babies, his previous album that included the hit songs “Elected,” and “No More Mr. Nice Guy,” and was the bands biggest seller to date, and the future of the entire enterprise without guitar muse and songwriting partner Glen Buxton was anything but certain. The new direction was going to turn the theatrical knobs up to 11, and incorporated many of the shock and awe elements from prior albums along with songs that were a bit more visceral in nature dealing with psychological horrors of the mind right alongside the physical ones.

The album was a top 10 seller, largely on the strength of the songs “Department of Youth,” “Welcome to My Nightmare,” and the somewhat controversial for the time “Only Women Bleed,” a song that reached the top ten, and was protested by various women’s groups due to the subject matter that dealt with spousal abuse. The song was also somewhat of a departure for Cooper in that no song he had previously recorded was as political or thought provoking. The fact that it was also a ballad, also served to put the Alice Cooper coven of fans on notice that a change was coming, and they were not necessarily going to like what the future had in store.

A concept album centered around the nightmares of the main character Steven, Welcome to My Nightmare, much like a Broadway play, was expressly written for the stage, and a tour was launched shortly after the release date where the record was performed mostly in its entirety. With production duties handled by long-time collaborator and Cooper Muse Bob Ezrin, the record has the feel of a real concept album in the Tommy mold, and is best digested in one sitting. The mix of rockers like the standout “Department of Youth,” and the guitar heavy anthem “Devils Food,” are intrinsically interspersed with the somewhat creepy “Steven,” a song that seems to share some DNA with the theme from exorcist, with the far off calling of Steven’s mother downright chilling, and the equally scary “The Awakening,” all kicked off in fine macabre fashion with “Welcome to my Nightmare,” a song that goes from a whisper to a scream to set the stage for what we are about to experience. Welcome to my nightmare I think you’re gonna like it. I think you’re gonna feel you belong.

To say that Welcome to My Nightmare marked the end of Alice Cooper’s commercial appeal may be stretching things a bit. After all, his live shows are still immensely popular; he has his own radio show, and has recently been elected to The Rock and Roll Hall of Fame. But in reality, the album did mark the creative zenith of his career with subsequent albums Lace and Whiskey, Zipper Catches Skin, Dada, and Hey Stoopid, never even coming close to the artistic marvel that was Welcome to My Nightmare.

Much like anchovies on a pizza, an Alice Cooper show is something everyone should experience at least once. On recent tours, he has assembled a top notch band that includes Orianthi, the Aussie guitar goddess that was scheduled to play “Beat It” on the ill-fated Michael Jackson comeback tour that never was, and he has not lost a bit of his energy, strutting around the stage and striking poses that would make Mick Jagger jealous.

As a rock icon, Alice Cooper is one of the best. Welcome to My Nightmare is not Blood on the Tracks, and it certainly is no Tommy or Quadrophenia. It is what it is, a glorious shock jock guilty pleasure sort of a listen, one that should be consumed with gusto every Halloween.

So turn out the lights, lock the door, place the candy on the porch on a self-serve chair, and put the record on the stereo, at maximum volume of course. The candy may not last past the second set of kids, but your retro time warp back to 1975 will make you a better person, sooth your soul, and your ears will thank you.

Track Listing

“Welcome to My Nightmare” (Alice Cooper, Dick Wagner) – 5:19
“Devil’s Food” (Cooper, Bob Ezrin, Kelley Jay) – 3:38
“The Black Widow” (Cooper, Wagner, Ezrin) – 3:37
“Some Folks” (Cooper, Ezrin, Alan Gordon) – 4:19
“Only Women Bleed” (Cooper, Wagner) – 5:49
“Department of Youth” (Cooper, Wagner, Ezrin) – 3:18
“Cold Ethyl” (Cooper, Ezrin) – 2:51
“Years Ago” (Cooper, Wagner) – 2:51
“Steven” (Cooper, Ezrin) – 5:52
“The Awakening” (Cooper, Wagner, Ezrin) – 2:25
“Escape” (Cooper, Mark Anthony, Kim Fowley) – 3:20

Personnel

Alice Cooper – Vocals
Bob Ezrin – Synthesizer, Keyboards, Vocals, Fender Rhodes
Vincent Price – Special Effects, Vocals
Dick Wagner – Electric and Acoustic Guitar, Vocals
Steve Hunter – Electric and Acoustic Guitar
Josef Chirowski – Synthesizer, Keyboards, Vocals, Clavinet, Fender Rhodes
Prakash John – Bass
Tony Levin – Bass
Pentti “Whitey” Glan – Drums
Johnny “Bee” Badanjek – Drums

Classic Album Review: Mink Deville – Cabretta

A Bernie Sparrow review originally published on The Cool Album of the Day website. For more reviews like this make sure to check them out.

Willy DeVille is a rock star. Just look at him. If you saw Bryan Adams or Elvis Costello walking down the street they could be mistaken for a mechanic, college professor, or accountant, certainly not for rock stars. But Willy Deville, looking like a slightly less road worn version of Keith Richards with a few less battle scars, could only be mistaken for the front man for the seminal post-punk band Mink DeVille and a rock star of highest order of which he is both.

Willy Deville was a product of the 60’s, from the West Village New York City. Very much influenced by the urban street scenes of his youth the young Willy grew up listening to Fred Neil, street Doo-Wop group groups, Motown, Phil Spector records, as well as Stax soul sounds, Simon and Garfunkel harmonies along with a vast rainbow of street sounds he absorbed growing up in this urban environment.

Billing himself and his band as Mink Deville, Willy soon became a fixture at the famed CBGB’s night club that gave birth to the Ramones, Blondie, The New York Dolls, as well as a host of other iconic musical artists that were largely responsible for bringing that punk, softened just a bit to appeal to the general public, sensibility that would become hugely popular.

With the release of his debut album Cabretta in 1977, the Rock Star very quickly established himself as a force to be reckoned with Rolling Stone reviewing the album by saying “Cabretta is one of the best albums of the year, with the charm of its’ popular rock &roll urban rhythm and blues of the 50’s and 60’s, between The Drifters and Phil Spector.”

That Phil Spector sound was largely created by Jack Nietzsche, the arranger back in the “Wall of Sound” days that was the producer of the album, and the rest was from the musical collage of sounds that Willy absorbed from his youth.

The record just oozes cool with every track starting effectively with the opening track “Venus of Avenue D” that would have been a great Velvet Underground song with a daring street snarl, and danger lurking around every corner saxophone serving to set the urban mood. We are told that The Venus of Avenue D is the queen of his block, and who are we to argue?

We walk further down the musical street and run into “Little Girl” that is a straight on Phil Spector girl-group inspired song that could have been the B side of “Leader of the Pack”, and “Mixed Up, Shook Up Girl” is a piano based, bongo and maraca’s exquisitely sounding song that showcases the range in DeVille’s voice along with his skill in delicately turning a phrase and changing tempo at will.

“Gunslinger” is another punk influenced song from the Lou Reed urban songbook, and “Cadillac Walk” is one of my desert island songs with a distinct Dire Straits on uppers feel to it. And the coolness continues.

The true diamond in this sea of jewels is “Spanish Stroll”. DeVille lowers his register a little bit here throws in a bit of Mariachi Spanish influence, and delivers a tour de force story of Mr. Jim with his finger on his eyebrow and left hand on his hip, he’s such a lady killer’ he thinks he’s so slick, and of course, he does the Spanish Stroll.

I won’t even tell you anything about the last two songs on the record. By the song titles alone, “She’s So Tough” and “Party Girls” you inherently know they are good. And they are, extraordinarily so.

Willy Deville went on to record seven critically admired yet criminally ignored albums under his own name, including Miracle with side-man and producer Mark Knopfler, as well as five additional records with Mink Deville.

The “Rock Star” Willy Deville passed away in 2009 due to complications from pancreatic cancer after doctors discovered it after providing the musician treatments for hepatitis –C. He was 58 years old.

Always the pragmatic optimist Willy was ultimately realistic about his legacy. When considering how he would be viewed after his death he told an interviewer “I have a theory. I know that I’ll sell more records when I’m dead. It isn’t very pleasant, but I have to get used to the idea.”

A music critic also wrote, “Willy DeVille is America’s loss even if America doesn’t know it yet.”

I’m not sure that truer words have ever been spoken.

— Bernie Sparrow San Francisco, California USA

Track listing

Unless otherwise noted, all songs by Willy DeVille.

“Venus of Avenue D” – 4:57
“Little Girl” (J.Barry,E. Greenwich,P.Spector) – 4:19
“One Way Street” – 2:50
“Mixed up, Shook up Girl” – 3:44
“Gunslinger” – 2:09
“Can’t Do Without It” – 3:15
“Cadillac Walk” (John Martin) – 3:14
“Spanish Stroll” – 3:38
“She’s So Tough” – 2:30
“Party Girls” (Willy DeVille, Rubén Sigüenza) – 4:30

Personnel

Willy DeVille – guitar, harmonica, vocals
Thomas R. “Manfred” Allen, Jr. – drums
Steve Douglas – saxophone
Louis X. Erlanger – guitar, background vocals
The Immortals – background vocals
Max Bowman
Val Heron
Mike Johnson
Bobby Leonards – piano, keyboards
Allen Rabinowitz – background vocals
Rubén Sigüenza – bass

Links

Listen to the full album below

What We’re Listening To Wednesday: October 6, 2019.

Here are just some of the songs and artists that worked their way into our ears this week:

Temples – Hot Motion

Released late September this record has been spinning pretty consistently at Rock is the New Roll HQ. Their third full-length record after an absence of almost three years, this one is full of Marc Bolan influenced energy. “Your either on something” is the cream of an excellent crop.

Avett Brothers – High Steppin’

From their new one Closer Than Together the Avett brothers 20 years in are growing up in front of our very ears.

Ride – Clouds of St. Marie

One of our favorite songs of the year, Ride their album, This Is Not A Safe Place is their best release since 1992,

The Dirty Denims – Ready, Steady, Go

With her Joan Jett by way of Debbie Harry vocal swagger Mirjam and the boys rock this town with a blend of AC/DC and Kiss inspired Rock as well as Roll. We are becoming big fans of this band.

Hazel English – Shaking

This Aussie now living in California delivers some fine dreamy Jangle Pop on this one. A fine put the top down and cruise tune if there ever was one.

Stoney LaRue – Hill Country Boogaloo

Everything great about the Texas hill country is name checked here from Lone Star Beer to Gruene Hall and the Guadalupe River.

Evan Felker and Carrie Rodriguez – Whiskey In Your Water

With his band The Turnpike Troubadours pretty much imploding Evan Felker is taking off in his own direction here with a classy duet featuring Carrie Rodriguez.

The Rhyolite Sound – Margaritas and Cocaine

Hailing from Las Vegas these guys play what they call desert Honk Tonk. Nothing sets me straight like cheap women and beer. Mojave Gold is our Tonk record of the year.

Five Cool Ones: Five Cool Ones: Five New Albums Released Today (November 1, 2019)

We are now officially in the dog days of record releases. But fear not, we aren’t just going to sit on our ears waiting for the new Who album to come out. Here are five really cool records released this week.

Micky and the Motorcars – Long Time Comin’

One of the best Texas Honky Tonk bands in the game today, on this, their 6th record to date, the band is is in dark night of the soul Tearjerker ballad mode with “Alone Again Tonight,” and “Run Into You,” wallowing in my baby left me tears on “All Looks the Same,” and generally down in the dumps lamenting a lost love on “Break My Heart.” This is, sit in the corner, next to the jukebox, wallowing in your own misery my baby left me Honky Tonk splendor.

The Mavericks – Play The Hits

News flash! Raul Malo can sing. And he does it here in exquisite fashion. In places when he keeps the arrangements close to the bone like he does on “Blue Eyes Crying In The Rain,” he shines, and things get even better when The Mavericks get jiggy with the arrangements like they do on “Are You Sure Hank Done It This Way” to spectacular results.

Michael Kiwanuka – Kiwanuka

This guy keeps keeps getting better and better with each subsequent release. Here, on his latest album following up the highly excellent 2016 release Love & Hate, Michael Kiwanuka lays down a palate of Afro-Rhythms, Soul, and Funk along with an Indie Pop sensibility. This Danger Mouse co-produced gem should land towards the front of many year end best-of lists, including ours.

Miranda Lambert – Wildcard

With her latest album, Wildcard, Miranda Lambert seems to be walking on the wild side after a much publicized public divorce. Ditching her old producer in favor of Jay Joyce who twirled the knobs for Brothers Osbourne, Brandy Clark, and Ashley McBryde, there seems to be a bounce in her step that wasn’t there before. There is a bit of Swamp Funk on “Holy Water,” and 80’s Rock on “Mess With My Head.” This is a diverse and textured record that will reward with multiple listens.

Grace Cummings – Refuge Cove

The big whiskey soaked voice emanating from Australian Grace Cummings comes across like some sort of devil spawn from the loins of Patti Smith and Melissa Etheridge. Part pastoral folk, part beat poet, this one is an eclectically pleasing Scott Walker sort of listen. Let it grow on you.

Best Albums of 2019: Walker Lukens – Adult

With Adult, Walker Lukens has released his most fully formed record to date. Produced by Spoon’s Jim Eno, the album has an underlying contemporary feel to it while still maintaining its singer songwriter soul. Secret weapon and member of his band The Sidearms, Mckenzie Griffin, really shines on several tracks, most notably on “Frankie & Bella” and “Black Matter.” Vocally, Walker can go from a Harry Nilsson croon to honeyed voice Marvin Gaye at the turn of a tonsil, and he does so often here with the ease of a seasoned professional. The production value on Adult is first rate and there is a lot of nuance and texture for your ears to enjoy as they travel from song to song. There is a lot discover with repeated listens of this record.