’Tis the season for making lists and checking them twice, and determining which album is the Old Grey Cat’s ballyhooed Album of the Year. The honor, which is celebrating its 40th year this year, came about late in 1978 due to my dream of becoming a rock critic (yeah, I know: crazy!), and continued through the decades because…well, why not? Over that span, it’s chronicled the evolution (or lack thereof) of my musical tastes.
It is a decidedly personal affair, in other words. In years past, and on the updated tally I post early each year, I explain the process thusly: “The candidates are drawn from what I’ve purchased, so the pool is decidedly limited in comparison to, say, what the writers at Rolling Stone or Allmusic.com are exposed to. Some years I buy a lot and some years not, primarily due to my listening habits – I play albums I love over and over and over until they become one with my subconscious (obsession, not variety, is my spice of life). So the more I like certain albums, the less overall I hear.”
But in the immortal words of Ron Ziegler, “that statement is no longer operative.” In the age of Spotify, Apple Music and YouTube, no one needs to actually purchase an album to enjoy it. Just about every new release can be had for the price of one CD a month (aka the subscription fee) or the willingness to put up with commercials. (Yet, although I don’t purchase as much as I once did, I own all the albums that made their way onto my list. How could I not?)
Also, as I wrote last year, “The candidates are also winnowed by my age, race, gender and idiosyncrasies. I’m a middle-aged white guy, in other words, with catholic tastes.”
Some years, I revisit all the contenders. This year? There was no need. They are albums that I’ve turned to time and again since their releases, and have never grown tired of. That said, there were a few surprises: Although I thoroughly loved First Aid Kit’s Ruins and Courtney Marie Andrews’ May Your Kindness Remain, as the year wore on I found myself listening to them less and less often. I’m sure it had more to do with me, and the headspace I found myself in, than the music. I deem them two of my three “honorable mentions” for the year. Mikaela Davis’ Delivery is my third.
And, with that…
I got chills when she announced the project – as Hopelessly Devoted to Liv – during her concert with Wesley Stace at the Ardmore Music Hall in October 2017, and those chills were multiplying after she sang “Have You Never Been Mellow?” and “Physical.” (Just as an aside, Stace suggested that she call the album JH Sings ONJ, as the title conjures such cover sets from yesteryear as The Hollies Sing Dylan. It obviously stuck.)
In my review, I noted that the set is, in some ways, an extension of the moving “Wonder Why” from her 2017 Pussycat LP, “in which she sought refuge from the madness of the present via the memories of her childhood. These songs, for her and us, are a similar escape into the past. They conjure another time and place, and also pay homage to a singer (and sometime songwriter) who, in that long-ago era, created a safe room where many of us dwelled on occasion.”
FYI: It’s the sixth time that Juliana has nabbed my year-end honors.
The first runner-up: the Stone Foundation’s Everybody, Anyone. In my review, I said that the songs “feature taut rhythms and lyrics that strive for something more than the rudimentary reflections that make up much of today’s mainstream music. They’re metaphysical musings of the highest order.”
Paul Weller co-wrote that Stone Foundation track, “Next Time Around.” His own release this year, True Meanings, is the latest classic in his own oeuvre, and is my second runner-up. Due to offline events, this blog was placed into a holding pattern around the time of the album’s release, so I never reviewed it. But make no mistake: It’s one of his best.
The third runner-up: Shelby Lynne’s Here I Am, which features her songs (and some poetic snippets of dialogue) from her movie of the same name. Originally available only on vinyl, it’s now out on CD (via Shelby’s online store). The songs are as mesmerizing as her performance in the film.
The fourth runner-up: Erin O’Dowd, whose debut album, Old Town, took up residence in my heart and head way back in May, and provided much-needed sustenance on a long road trip Diane and I took in September. In my First Impressions piece on it, I said that the songs sent “my spirits soaring higher than the beautiful May morn.”
The fifth and final runner-up: Becky Warren’s Undesirable, which is an album-long treatise on America’s unofficial caste system. As I wrote in this piece, it’s akin to a series of short stories set to song. It’ll draw you in, make you think, and make you tap your feet.