Annie: Playing With Fire by Jennifer Nettles
I’m not sure how this album escaped my radar but I’m kicking myself for letting it. Aside from “Unlove You,” current single and absolute standout on the album, Nettles features a strong offering of ballads and theater-ready plaintives and uptempos. The lyricism on the album is standout, particular strength given to her first verses and the last line of each, which in cases like “Salvation Works” and “Stupid Girl” is especially poignant. “I wasn’t lost until you found me” (“Unlove You,”) “I’m a leaver who can’t leave well enough alone” (“Stupid Girl,”) and “Every sinner has a future, every saint has a past” (“Salvation Works”) serve as perfect examples. Nettles even gets in touch with her sassier side on songs like “Drunk In Heels” and visits Parisian streets with “Three Days In Bed,” for a well rounded effort well worth repeated listens.
Natalie: Robert Ellis by Robert Ellis
Ellis’ new LP (released June 3) blends Americana and country instrumentation with complex lyrics and honest storytelling. Ellis is especially skilled at creating songs that sound exactly like the emotions they describe – sonic onomatopoeias, if you will. The first verse of “Perfect Strangers” is quirky and hesitant, the chorus in “California” resembles a series of bitter, defeated shoulder shrugs, and “Drivin” would ideally be played in the stereo of a car going just slightly too fast to safely navigate a bumpy road. The project is sprinkled with plenty of vintage flair – “Amanda Jane” and “Couples Skate” particularly invoke vibes from decades-past – but the record also fits right in with the modern, Jason Isbell-led Americana resurgence.
Lydia: “Record Year” by Eric Church
Eric Church surprised the country music world by releasing his latest album Mr. Misunderstood during the 2015 CMA Awards. While the entire album has become an instant classic, track 9, “Record Year” written by Church and Jeff Hyde, is a stand out for me. “Record Year” is the story of a man who turns to his vinyl record collection to get over the pain of losing his ex.
“I bet you thought before you left / I’d just sit in silence by myself / Turn this house into a jail / Dyin’ slow in a livin’ hell / But love’s got a funny way of keepin’ score / And your leavin’ lit up my scoreboard / I usually make it through side A sober / All bets are off when I flip her over / One bourbon, one scotch, one beer / I’m havin’ a record year”
Using music to heal heartbreak strikes a familiar chord. The way Church and Hyde describe using music to to heal and move on from heartbreak is incredibly relatable. And it’s not just any music, it’s some of the best. Making references to Hank Williams, Waylon Jennings, James Brown to name a few just makes the song that much more believable.
“Since you turned the tables on me / I’ve been steady and learnin’ lonely / Keepin’ this turntable spinnin’ / Everything from Jones to Jennings / Slowly plannin’ my survival / In a three foot stack of vinyl / Since you had to walk outta hear / I’ve been havin’ a record year”
Reminding us that music really is a healer, “Record Year” is a perfect example of how you can find your way through even the most difficult times with the right soundtrack.
Christina: “Love Me More” Maggie Rose
With a beautiful, clean piano melody and Rose’s crystal clear strong vocal, her newest single “Love Me More” is not just a break up song, it is a song for all women who decide they deserve more. Off of her latest EP Variety Show Vol.1, the song sonically and lyrically takes a stand. Strong women no longer have to follow the rules and hide their emotions, they can decide their future and sing about it.
“I was losing myself until you lost me / I’m not gonna hide / My light’s way too bright / I’m gonna do whatever it takes to get living again / I got a few scrapes but I’m back in my skin / Every mistake I’m owning it / I’m making sure I’m who I’m doing this for / I tried things your way / Hey it wasn’t working out for me / Hey sorry but I gotta say I love you but I love me more/ Breaking the rules that almost broke me”
I first heard “Love Me More” on Sirius XM “The Highway” during their weekly 60 minute segment called On The Horizon which features cuts you may not have heard yet, ones that haven’t yet made their way to mainstream country radio. I was impressed by Rose’s flair for infusing R&B with country and singing a song that had depth. Check out “Love Me More” below.
Markus: “Where Ya Been?” by Luke Bell
After all the hype surrounding him, I had to check out what Luke Bell was all about. And I’ll tell you what, I’m sure glad I did. While the entire album is superb, “Where Ya Been?” is my personal favorite track on it, and no-question my most played song of the past couple of weeks. Its flawless, jaunty melody, to its purely, no-doubt-about-it country roots production, to Bell’s near flawless technical abilities, this an absolutely stellar recording. What truly takes this to another level though, is Bell’s charismatic and infectiously confident delivery. Rarely do artists sell a song like Bell does here, and quite frankly, it’s a quality that is prominent over the course of his entire self-title debut project. He absolutely knocks it out of the park here, and I am telling you right now, you have to here this song, and then hear it again, and again, and again.
Sam: “Ferrari” by Clare Dunn
With a dollop of country, pinch of pop, and hefty dash of rock, Clare Dunn’s “Ferrari” is the perfect recipe to add to your cruising-with the-windows-down playlist. The song serves as a shameless ode to your favorite vehicle, even if it is a bit rough around the edges. For car aficionados, or anyone that has an attachment to their mode of transportation (I personally am partial to my Kia Soul, Harold), this song is sure to strike a chord. Moreover, the production is wholly brilliant, the lyricism is utterly relatable, and the melody is indubitably catchy. My one warning for this song is to keep an eye on your speedometer—I can say from experience that Dunn accurately articulates what happens when the song bursts through my speakers: “Stereo up with the top let back/ and if you see me, I’m probably runnin’ way too fast.”