Core Canon: 60 albums I’d hate to be without

Lists like this require more work than you’d think, which is why I don’t make them too often. But as new releases just start to trickle in, I thought I’d offer my hypothetical hall-of-fame ballot; my response to the age-old desert island question.

I am presuming a fairly spacious island, and lots of time on my hands. So why 60? Because 100 seems unwieldy somehow, yet keeping it to 50 required cuts I couldn’t bring myself to make. As is always the case with lists, I intend this as a snapshot in time: 60 albums that have been formative, that have brought pleasure, that have abided mystery and midwifed revelation. Ask me again in a month and I’m sure I’d come to some slightly different conclusions.

  1. Tiny Voices | Joe Henry
  2. “Love & Theft” | Bob Dylan
  3. The Birth of Soul | Ray Charles
  4. Birds of My Neighborhood | The Innocence Mission
  5. The Bright Mississippi | Allen Toussaint
  6. Mama’s Gun | Erykah Badu
  7. The Long Surrender | Over the Rhine
  8. The Weight of These Wings | Miranda Lambert
  9. Kind of Blue | Miles Davis
  10. Black Messiah | D’Angelo
  11. Civilians | Joe Henry
  12. Real Midnight | Birds of Chicago
  13. Good Dog Bad Dog | Over the Rhine
  14. A Love Supreme | John Coltrane
  15. Every Picture Tells a Story | Rod Stewart
  16. The Basement Tapes | Bob Dylan & The Band
  17. Sign o’ the Times | Prince
  18. So | Peter Gabriel
  19. The Low End Theory | A Tribe Called Quest
  20. Paul’s Boutique | Beastie Boys
  21. Court and Spark | Joni Mitchell
  22. Money Jungle | Duke Ellington
  23. In a Silent Way | Miles Davis
  24. Rain Dogs | Tom Waits
  25. Abattoir Blues & The Lyre of Orpheus | Nick Cave & the Bad Seeds
  26. Red | Taylor Swift
  27. The Gospel According to Water | Joe Henry
  28. The Scene of the Crime | Bettye LaVette
  29. Painted from Memory | Elvis Costello & Burt Bacharach
  30. Parade | Prince & The Revolution
  31. Undun | The Roots
  32. Highway 61 Revisited | Bob Dylan
  33. Golden Hour | Kacey Musgraves
  34. Legacy! Legacy! | Jamila Woods
  35. Mingus Mingus Mingus Mingus Mingus | Charles Mingus
  36. Basie & Zoot | Count Basie and Zoot Sims
  37. Thelonious Monk Trio | Thelonious Monk
  38. Achtung Baby | U2
  39. All This Useless Beauty | Elvis Costello & The Attractions
  40. Time Out of Mind | Bob Dylan
  41. Purple Rain | Prince & The Revolution
  42. Hell on Heels | Pistol Annies
  43. Sings the Blues | Nina Simone
  44. Otis Blue | Otis Redding
  45. How I Got Over | The Roots
  46. A Boot and a Shoe | Sam Phillips
  47. Time (The Revelator) | Gillian Welch
  48. John Wesley Harding | Bob Dylan
  49. Trust | Elvis Costello & The Attractions
  50. Voodoo | D’Angelo
  51. Back to Back | Duke Ellington & Johnny Hodges
  52. Folklore | Taylor Swift
  53. RTJ4 | Run the Jewels
  54. Fetch the Bolt Cutters | Fiona Apple
  55. Hounds of Love | Kate Bush
  56. King’s Record Shop | Rosanne Cash
  57. Lifes Rich Pageant | R.E.M.
  58. Brighter Than Creation’s Dark | Drive-by Truckers
  59. there is no Other | Rhiannon Giddens with Franceso Turrisi
  60. Diatom Ribbons | Kris Davis

Hard to Be Anywhere These Days, Part II: The 2020 Long List

More end-of-the-year blurbing, summarizing, and list-making: For FLOOD, I penned a few words about Fiona Apple and HAIM; and at In Review, I rhapsodized about Run the Jewels and repeated my Taylor Swift/Tony Bennett joke in a capsule review of Folklore.

My top 25 album picks, along with commentary, are still available here at the blog. But if it’s raw data you’re after, I can tell you that I spent time with around 90 new releases this year, and can easily list 50 without hitting any duds.

  1. Folklore | Taylor Swift
  2. RTJ4 | Run the Jewels
  3. Fetch the Bolt Cutters | Fiona Apple
  4. Aftermath | Elizabeth Cook
  5. Rough and Rowdy Ways | Bob Dylan
  6. Women in Music Pt. III | HAIM
  7. Who Are You? | Joel Ross
  8. Blackbirds | Bettye LaVette
  9. We Still Go to Rodeos | Whitney Rose
  10. Felis Catus and Silence | Leo Takami
  11. Rainbow Sign | Ron Miles
  12. Song for Our Daughter | Laura Marling
  13. Mama, You Can Bet! | Jyoti
  14. Letter to You | Bruce Springsteen
  15. That’s How Rumors Get Started | Margo Price
  16. CHICKABOOM! | Tami Neilson
  17. Headlight | Della Mae
  18. We’re New Again | Makaya McCraven & Gil Scott-Heron
  19. Private Lives | Low Cut Connie
  20. All the Good Times | Gillian Welch & David Rawlings
  21. SOURCE | Nubya Garcia
  22. Half Moon Light | The Lone Bellow
  23. Total Freedom | Kathleen Edwards
  24. RoundAgain | Joshua Redman, Brad Mehldau, Christian McBride, & Brian Blade
  25. Future Nostalgia | Dua Lipa
  26. Southside | Sam Hunt
  27. Omega | Immanuel Wilkins
  28. Evermore | Taylor Swift
  29. First Rose of Spring | Willie Nelson
  30. Heaven to a Tortured Mind | Yves Tumor
  31. Hey Clockface | Elvis Costello
  32. Streams of Thought, Vol. 3: Cane & Able | Black Thought
  33. Serpentine Prison | Matt Berninger 
  34. Punisher | Phoebe Bridgers
  35. Reunions | Jason Isbell & the 400 Unit
  36. See You Tomorrow | The Innocence Mission
  37. Your Life is a Record | Brandy Clark
  38. Petals for Armor | Hayley Williams
  39. Rejoice | Hugh Masekela & Tony Allen
  40. We Are Sent Here By History | Shabaka & The Ancestors 
  41. Saturn Return | The Secret Sisters
  42. Echo Mine | Califone
  43. Gaslighter | The Chicks
  44. Good Souls Better Angels | Lucinda Williams
  45. Italian Ice | Nicole Atkins
  46. Imploding the Mirage | The Killers
  47. McCartney III | Paul McCartney
  48. Pick Me Up Off the Floor | Norah Jones
  49. Shall We Go on Sinning So That Grace May Increase? | The Soft Pink Truth
  50. Mutable Set | Blake Mills

Hard to Be Anywhere These Days: Top 25 Albums of 2020

I’ve clearly dropped the ball this year, at least as far as blogging goes. I won’t make any excuse for myself, except to say that the value in criticism can seem tenuous on a good day, and has sometimes felt like an unseemly luxury during a global pandemic and a fraught election season. It is a luxury that my mental and emotional bandwidth just haven’t been about to accommodate. Maybe I can make it up to you by recommending 25 albums that have quieted, comforted, challenged, and sustained me throughout this strange year.

As ever, there are purely personal selections, and if you ask me to redo this list in even a week’s time some of the entries might change. But all are outstanding, and all have gotten a lot of play here at Hurst HQ.

One slight departure from previous years: For whatever reason, it suits my mood to start with the #1 slot this year, rather than do my customary countdown. Life is short. Let’s get right to it.

01. Folklore | Taylor Swift
Swift has always been a remarkable songwriter. Nevertheless, her eighth album reveals a marked maturing of her craft—not so much in her casual swearing, but in the blood she draws from clean, uncluttered metaphors (“I knew you, leaving like a father, running like water”). And, she remains unequalled in writing show-stopping bridges, using them to deliver narrative pivots and grand flourishes of emotion. Her writing on Folklore is so structured that you can almost imagine these songs as standards (bring on the Tony Bennet versions); with no need to leave them legible for stadium crowds, however, Swift deliberately obscures them in misty, spongy arrangements, primarily via The National’s Aaaron Dessner. There is a faintly transgressive pleasure in the thought that Folklore might give millions of listeners their gateway drug into dream-pop, minimalism, New Age, and folk music, but the more straightforward pleasure is hearing Swift navigate new sounds with the most understated, assured singing of her career. For as much fuss as Swift has made about writing in a less autobiographical mode, she remains her own greatest character, allowing Folklore to glow with tiny embers of self-recognition (“I’ve never been a natural/ all I do is try, try, try”). On an album born in isolation, Swift stretches further and probes deeper than ever.

02. RTJ4 | Run the Jewels
Deployed like emergency rations at the peak of the George Floyd protests, RTJ4 is an album born of a long, weary history of violence and dehumanization, and for a few tense weeks felt like the only new music worthy of its fraught era. Mercifully, it’s also a rap lover’s dream, an album targeted at the pleasure centers of old heads and connoisseurs. Clattering production, worthy of the Bomb Squad, shapes street noise and psychedelic sound effects into the sleekest, funkiest, most undiluted Run the Jewels record yet, and provides the perfect cacophony to feed the duo’s wisecracks, breaking news bulletins, and arresting autobiography. The buddy-comedy routine between El-P and Killer Mike has always gestured toward nihilism, but that’s getting less and less credible; they remain crusaders for the golden age rap records they grew up on, unwilling to surrender that sound to nostalgia or obsolescence. They draw strength from an aesthetic, but more than that, they draw strength from each other: Underneath the cynicism, RTJ4 is really a sweet album about brotherhood.

03. Fetch the Bolt Cutters | Fiona Apple
Song for song and joke for joke, Apple is as funny as any of her male peers— and that’s true even if you count Bob Dylan among her clique, which you probably should. With pitch-black cabaret routines and put-downs worthy of a battle rapper, Apple is unflinching in her interrogation of personal grievances and societal abuses that fester in #metoo’s wake. A few songs capture the old Fiona, showing her to be undiminished as a piano troubadour of peerless phrasing and panache; more characteristic are songs that wrest homemade percussion and barking dogs into a sound that is raucous, uninhibited, and untamed by genre.

04. Aftermath | Elizabeth Cook
Cook journeyed through hell to make this record, surviving loss, divorce, and rehab. You can hear all of that in the music— not because it’s confessional, but because Cook’s slanted, complicated narratives are so full of rage, despair, black comedy, and hard-won empathy. The hardscrabble honky-tonk of her early albums wouldn’t quite work for songs so prickly, so she instead fills them with gnarled riffs, stomping rhythms, and elliptical takes on heartland rock.

05. Rough and Rowdy Ways | Bob Dylan
Imagine listening to this, the best Dylan record since Love & Theft, and thinking he was a maladroit singer. Imagine believing that a younger man could bring a softer touch to the blues numbers, or more grit to the torch songs. Imagine hearing Bob’s tender litany of emotional touchpoints in “Murder Most Foul” and still thinking it was just a song about JFK.

06. Women in Music Part III | HAIM
To fully appreciate all the weird, scraggly textures on HAIM’s third album, consider how easy it might have been for them to coast forever on their sweet, sisterly harmonies and euphoric pop melodies. Both are omnipresent here, but exist within a larger ecosystem: Leaning into their earnestness, their goofy sense of humor, their ear for noise, and their instinct for studiocraft, HAIM has altered the language of classic rock into a dialect all their own.

07. Who Are You? | Joel Ross
Following a smooth, assured debut, the young vibraphonist and bandleader returns with a small-group, straight-ahead jazz album bursting at the seams with ideas and invention. Ross’ music is a thrilling reminder of how the jazz tradition offers endless permutations of texture, rhythm, and tone.

08. Blackbirds | Bettye LaVette
On previous albums, the world’s greatest soul singer laid claim to the songs of the British Invasion and the towering catalog of Bob Dylan. Astonishing, she’s just now making an album of songs popularized by Black women— with one Beatles tune to serve as a coda. LaVette locates the pain and resolve in song after song of heartache and despair, all of which gain their full meaning through a harrowing “Strange Fruit.”

09. We Still Go to Rodeos | Whitney Rose
Nothing ever sounds too effortful on a Whitney Rose album. For her fourth, she proves herself once again to be a singer of impeccable instinct and restraint, and a graceful navigator of soaring country-rock, slinky blues, and tender ballads. Her craft is seamless and unforced, making it easy to take for granted just how smart and sturdy the record really is.

10. Felis Catus and Silence | Leo Takami
One of the year’s great left-field surprises is this sweet, playful little record from Japan, which elegantly blends jazz, ambient, and New Age music with clean, folksy melodies. Its tranquility offers a welcome refuge from hurry and anxiety.

11. Rainbow Sign | Ron Miles
Summoning the same all-star band that joined him on I Am a Man— merely one of the richest , deepest jazz records of the past decade— cornetist Ron Miles offers another collection of handsome, stately originals: Songs that move gracefully from meditation to mischief, from deep blues to spirited swing. 

12. Song for Our Daughter | Laura Marling
Just 30 years old and with seven solo albums to her credit, Laura Marling gets deeper, wiser, and more emotionally articulate with each release. Her latest is filled with stories of collapse and resolve, and shows that she’s gotten scarily good at perfectly-crafted couplets designed to break your heart. Here’s one: “I feel a fool, so do you/ For believing it could work out, like some things do.”

13. Mama, You Can Bet! | Jyoti
Recording in a one-woman-band arrangement a la Prince or Stevie Wonder, Georgia Anne Muldrow recreates the loose, exploratory feel of a jazz ensemble— and, sustains an affectionate, referential dialogue with the lineage of Black music.

14. Letter to You | Bruce Springsteen
Deeply nostalgic, but not uncritically so. It’s as if Springsteen is holding a seance with a younger version of himself, writing new songs that reflect on his glory days while resurrecting old ones from the vantage point of age and experience. All of it summons the majestic heft of the E-Street Band, who wear familiarity as a badge of honor. Together, they weigh the burden of mortality against the fleeting joy that rock and roll can bring, frequently making it sound like a worthy trade-off.

15. That’s How Rumors Get Started | Margo Price
Price has made a couple of handsome country albums, but what many of us now realize is that we’ve always wanted her to make trashy little rock and roll records, full of grudges and bile. This one, produced by Price with Surgill Simpson, gleefully obliges. 

16. CHICKABOOM! | Tami Neilson
If it’s a knockout voice you’re looking for, you’re unlikely to find better than Neilson, a singer of rarified power, precision, and personality. Past albums have run the gamut of country and soul, but CHICKABOOM! offers something distilled: A pure concentrate of raucous, roadhouse rhythm and blues.

17. Headlight | Della Mae
Play any given minute of any given Della Mae album (including this one) and you’ll get all the evidence you need that these women can play. But Headlight offers a lot more than pure bluegrass virtuosity: It’s their richest and most expansive work yet, accommodating feisty love songs and topical laments; crawling blues, rowdy hoedowns, swaying ballads, even gospel choruses.

18. We’re New Again | Makaya McCraven & Gil Scott-Heron
For the third and best airing of Scott-Heron’s stirring I’m New Here material, drummer and producer McCraven dices and splices the late poet’s spoken word recitations, setting his rich words against vivid musical backdrops. The resulting album honors not just Scott-Heron’s prodigal wanderings through abuse and addiction, but also his legacy as a bridge between jazz and hip-hop.

19. Private Lives | Low Cut Connie
It was only a matter of time before the extroverted Adam Weiner— our most dependable purveyor of down and dirty rock and roll— set his ambitions to a concept album. Private Lives condenses 17 songs into 55 minutes, and creates a patchwork of quiet desperation, nagging self-doubt, and unspoken prayers for redemption. Thankfully, it still sounds like down and dirty rock and roll.

20. All the Good Times | Gillian Welch & David Rawlings
Ten cover songs reveal a different side of Welch and Rawlings. Where they are normally fastidious, here they sound carefree and casual; just a couple of crazy kids with time on their hands, some reel-to-reel recording equipment, and a burning love for American folk music. Come for Gillian’s sensitive reading of a John Prine tune; stay for Dave’s immaculate Dylan snarl.

21. Source | Nubya Garcia
The young sax prodigy’s first album as a leader fulfills all the promise she’s shown through her guest spots and supporting roles. The album’s vibrant pan-culturalism reminds you that she comes from an immigrant family, while the speaker-rattling bass suggests an upbringing on hip-hop; but it’s her questing solos that reveal how much she’s learned from her elders, and how much history informs her take on the shape of jazz to come.

22. Half Moon Light | The Lone Bellow
Gifted in so many tragically unfashionable ways, the Brooklyn trio delivers earnest anthems to a world that’s largely put such things behind it. For anyone with room in their hearts for a bit of the ol’ U2-style grandeur, this album is pitch-perfect in channeling loss and grief into catharsis, and in making intimate reflections sound universal. The cruelest irony of all: Some of these songs would sound great in an arena.

23. Total Freedom | Kathleen Edwards
A beloved singer and songwriter emerges from self-imposed exile, proving that she’s lost neither her delicate touch nor her dry sense of humor. These warm, earnest originals speak to the bittersweetness of domestic life, highlighting isolation and regret, yet still finding room for gratitude. Nearly every song on the album is darker and more conflicted than it first sounds, which lends surprising ballast to Edwards’ seemingly-breezy country-rock.

24. RoundAgain | Joshua Redman, Brad Mehldau, Christian McBride, & Brian Blade
Reconvening nearly 30 years after their last studio summit— that would be Redman’s excellent MoodSwing, from 1994—four of the leading luminaries in jazz get together for egoless, leaderless improvisation. In a fraught year, RoundAgain offers a balm: The sound of easy chemistry between long-time pals, lost together in a spirit of play.

25. Future Nostalgia | Dua Lipa
Arriving just in time to soundtrack a few million quarantine dance parties, the young British singer’s second album offers a master class in state-of-the-art disco. Singles and could-be singles pile up one after the other— coiled, propulsive, fat-free— and quickly create the illusion that you’re listening to a greatest hits collection.

Honorable Mention: Evermore | Taylor Swift
All hail Taylor Swift: Our most productive quarantiner, our most essential pop star, and the redeeming poet laureate of 2020’s malaise. Surprise-released a few days after I drafted this list, her second album of the year expands upon the moody aesthetic of Folklore, doubling down on its autumnal vibe but also sharpening and clarifying it with a dab of 1989 gloss, a few left-field experiments, and at least one track that could almost fit in on country radio. It’s less surprising, less consistent, and more adventurous than the album that came before it, impressive enough to warrant its inclusion as an unranked bonus pick.

I’ve Mined That Song Forever, Part 2: Further reflections on the music of 2019

nick cave

Like I was saying: It was a great year for records. My list of annotated favorites includes several titles I’d qualify as masterpieces, and plenty more that come close enough. 

The just-the-facts version, expanded to a full top 50, is as follows, along with a few additional loose ends. I’ll be back in 2020 with some best-of-decade reflections, then on to new albums!

Thanks as ever to all of you who join me on these adventures in listening. I do not take for granted the gifts of your time and attention, and remain hopeful that I’ve honored them by turning you on to something good.

50 Favorite Albums from 2019

  1. The Gospel According to Water| Joe Henry
  2. Ghosteen | Nick Cave & the Bad Seeds
  3. LEGACY! LEGACY! | Jamila Woods
  4. Lover | Taylor Swift
  5. there is no Other | Rhiannon Giddens
  6. Wildcard | Miranda Lambert
  7. Breakdown on 20th Ave. South | Buddy & Julie Miller
  8. Father of the Bride | Vampire Weekend
  9. My Finest Work Yet | Andrew Bird
  10. Songs of Our Native Daughters | Our Native Daughters
  11. Love and Revelation | Over the Rhine
  12. Patty Griffin | Patty Griffin
  13. Silences | Adia Victoria
  14. Blood | Allison Moorer
  15. Open Book | Kalie Shorr
  16. The Center Won’t Hold | Sleater-Kinney
  17. Western Stars | Bruce Springsteen
  18. Amidst the Chaos | Sara Bareilles
  19. Canterbury Girls | Lily & Madeleine
  20. Absolute Zero | Bruce Hornsby
  21. Crushing | Julia Jacklin
  22. Cash Cabin Sessions Vol. 3 | Todd Snider
  23. The Highwomen | The Highwomen
  24. To Myself | Baby Rose
  25. Walk Through Fire | Yola
  26. Fever Breaks | Josh Ritter
  27. Amadjar | Tinariwen
  28. The Hurting Kind | John Paul White
  29. Giants of All Sizes | Elbow
  30. Jaime | Brittany Howard
  31. Internationally Unknown | Rat Boy
  32. TEXAS | Rodney Crowell
  33. Let’s Rock | The Black Keys
  34. Love and Liberation | Jazzmeia Horn
  35. On the Line | Jenny Lewis
  36. Aventurine | Linda May Han Oh
  37. By Blood | Shovels & Rope
  38. Two Hands | Big Thief
  39. Magdalene | FKA twigs
  40. What it Is | Hayes Carll
  41. Diatom Ribbons | Kris Davis
  42. Love Hurts | Julian Lage
  43. i,i | Bon Iver
  44. Sunshine Rock | Bob Mould
  45. Hurts 2B Human | P!nk
  46. Anthropocosmic Nest | The Messthetics
  47. Crowing Ignites | Bruce Cockburn
  48. While I’m Livin’ | Tanya Tucker
  49. 2019 | Lucy Dacus
  50. Finding Gabriel | Brad Mehldau

Disappointments

I don’t especially enjoy dismembering anyone else’s creative output, but in the interest of candor, I’ll take a moment to register just a few albums that left me cold this year, by artists I typically enjoy. As ever, your mileage may vary.

The Big Day | Chance the Rapper
The Black Album | Weezer
The Teal Album | Weezer
Jesus is King | Kanye West
Sound and Fury | Sturgill Simpson

I have half a mind to include Willie Nelson’s Ride Me Back Home on this short list, a largely pleasant and agreeable album that falls just a bit short of recent standouts like Last Man Standing and My Way. And, I’ll confess to enjoying Maren Morris’ GIRL quite a bit less than I enjoyed HERO, though between her role in The Highwomen and her uproarious duet with Miranda Lambert, she is still one of this year’s MVPs. (And, “The Bones” is an excellent single.)

Re-Issues and Older Music

A commitment to new releases means that it’s sometimes difficult finding time for re-issues. One of my hopes for the holiday break is to catch up with some of the lavish reappraisals of classics like Abbey Road and The Band. The one re-issue that I can vouch for here is the 25th Anniversary edition of R.E.M.’s Monster, which dials back some of the guitar effects in favor of greater crispness and clarity. It remains a singularly moving document of a band that’s hurting, and trying anything and everything not to be fully seen.

A Year Ago

These end-of-year lists are always intended to be snapshots, and it would be foolish for me to assume my rankings would ever remain static or unmoving. Looking back at last year’s list, I can safely say that I haven’t lost my enthusiasm for any of my selections. I will note that it took me a few months to catch up with Universal Beings, from the great drummer and bandleader Makaya McCraven, which provides an immersive set of grooves and textures even as it persuasively bridges the gap between jazz performance and hip-hop production. It probably would have made my top 10, had I only heard it in time. An album that did make my top 10 is Love in Wartime, by the mighty Birds of Chicago, yet in hindsight I still think I underrated it: I have returned to its durable humanity and hopefulness again and again this year, and found it to be deeply nourishing each time.

Classics in the Right Way, Part 2: Further recommendations from 2018

pistols

I have been writing about records since I was 13, and have never enjoyed it more than I have this year. Love and gratitude to all who have encouraged me in these weekly, deep-dive reviews. I hope you’ve found it even half as worthwhile as I have.

I’ll be back with more in 2019, after a brief Christmas sabbatical. But first, a few closing remarks on this past year’s new releases. For those who want a long list of albums without my annotations, here are 50 albums I cherish and whole-heartedly recommend. (Of course you can find the commentary track here.) You’ll note that some of these I never reviewed, but only due to time restrictions—not a dearth of enthusiasm. 

50 Favorite Albums from 2018

  1. Golden Hour | Kacey Musgraves
  2. Interstate Gospel | Pistol Annies
  3. Look Now | Elvis Costello & The Imposters
  4. Honey | Robyn
  5. All the Things That I Did and All the Things That I Didn’t Do | The Milk Carton Kids
  6. Historian | Lucy Dacus
  7. Streams of Thought Vol. 2 | Black Thought & Salaam Remi
  8. This Too Shall Light | Amy Helm
  9. Thelonious Sphere Monk | MAST
  10. Love in Wartime | Birds of Chicago
  11. Sparrow | Ashley Monroe
  12. Time & Space | Turnstile
  13. World on Sticks | Sam Phillips
  14. SASSAFRASS! | Tami Neilson
  15. Dirty Pictures Pt. 2 | Low Cut Connie
  16. Isolation | Kali Uchis
  17. 13 Rivers | Richard Thompson
  18. Be the Cowboy | Mitski
  19. See You Around | I’m With Her
  20. Cusp | Alela Diane
  21. Room 25 | Noname
  22. Invasion of Privacy | Cardi B
  23. Ventriloquism | Meshell Ndegeocello
  24. Between Two Shores | Glen Hansard
  25. Beyondless | Iceage
  26. Desperate Man | Eric Church
  27. Whistle Down the Wind | Joan Baez
  28. Tree of Forgiveness | John Prine
  29. Hell-On | Neko Case
  30. My Way | Willie Nelson
  31. Out of Nowhere | Steep Canyon Rangers
  32. Vanished Gardens | Charles Lloyd and the Marvels with Lucinda Williams
  33. Full Circle | Eddie Palmieri
  34. Sun on the Square | The Innocence Mission
  35. The Messthetics | The Messthetics
  36. Currents, Constellations | Nels Cline 4
  37. Seymour Reads the Constitution | Brad Mehldau Trio
  38. Last Man Standing | Willie Nelson
  39. Heaven and Earth | Kamasi Washington
  40. Port Saint Joe | Brothers Osborne
  41. Oil of Every Pearl’s Un-Insides | Sophie
  42. Broken Politics | Nenah Cherry
  43. Wanderer | Cat Power
  44. The Prodigal Son | Ry Cooder
  45. Whack World | Tierra Whack
  46. Still Dreaming | Joshua Redman
  47. Bugge Wesseltroft & Prins Thomas | Bugge Wesseltroft & Prins Thomas
  48. Cry Pretty | Carrie Underwood
  49. boygenius | boygenius
  50. The Window | Cécile McLorin Salvant

Disappointments

The most important decision a critic makes is on what he or she chooses to cover, and for me that means curating records that are worth the listener’s time and attention. There were, however, a few 2018 albums I ended up liking far less than expected; the following are all albums I had intended to write about but ultimately didn’t justify the effort, for one reason or another.

Ye | Kanye West
Man of the Woods | Justin Timberlake
Nasir | Nas
Colagically Speaking | R+R=Now
August Greene | August Greene
The Now Now | Gorillaz
Tranquility Base Hotel & Casino | Arctic Monkeys

I will also register some mild disappointment with Teyana Taylor’s album, KTSE—though it’s not disappointment with the album’s quality so much as its brevity and its botched roll-out. She deserved much better.

Re-Issues and Older Music

Deep immersion in new music means I haven’t yet gotten to all of the year’s big archival roll-outs—not to the anniversary edition of Beggars Banquet nor even to Bob Dylan’s More Blood, More Tracks. (I will confess to some mild Bootleg fatigue.) I have listened to the deluxe edition of The Beatles, a joyous revelation not necessarily for the bonus material so much as the chance to hear such richly imaginative and playful material come spilling out of my speakers in clarion sound. A couple of other new/old releases to note include John Coltrane’s Both Directions at Once—a transitional album that nevertheless sounds sure-footed—and a sublime anthology called Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa, so indelible that my six-year-old son has requested it on more than one occasion.