Twenty for 2012: 11–15

15. Elizabeth Cook :: Gospel Plow

I'm not a big fan of most modern country. Ever since The Dixie Chicks went on indefinite hiatus I have yet to find a voice from Nashville that I could appreciate on an artistic level. Except Elizabeth Cook. Even then, Cook isn't exactly the pliable princess you might think of when considering mainstream country. Cook tends to dwell in the dark humor and rough edges that has kept the Lorretta Lynns and Wanda Jacksons of the country world remarkably resilient to the winds of change. (Cook has this in common with the Dixie Chicks as well.) In short, Elizabeth Cook isn't a character you can paint with broad strokes. Nor is she a barbie doll to poise as you will. Cook is a distinct voice in a genre that doesn't always reward innovation. If you need proof of Cook's rebel streak her choice of gospel tunes should suffice. She closes this short LP (or is it a long EP?) by sanctifying the Lou Reed penned "Jesus". This is a far cry from "Sweetly and Tenderly". In fact none of the seven songs here are mainstream gospel tunes. Musically this is more honkey-tonk than plaintive organs. When Patty Griffin recorded and released Downtown Church (a record I've grown to deeply appreciate), I was initially disappointed because this is what I wanted it to sound like: piss and vinegar, sass and stomp, with reverence, wonder, and awe in spades.

14. Dr. John :: Locked Down

It's the rare artist who picks up new fans on a new album 40 years into his career. So lets all give the great Dr. John a tip of our hat for doing exactly that in 2012. Locked Down is a 12 song collection of original material and his Nonesuch debut. It showcases exactly why Dr. John could persevere for so long: he's an incredible talent as a composer and performer whose psych-tinged New Orleans rhythm and blues should always find listeners. On this album he re-interprets some of his own murky R&B and dirty blues into a voodoo concoction of songs that stand near the top of his own vast stack of albums. Boasting lyrics such as "kids with Uzis/icing suckers" this isn't exactly a happy go lucky affair. It slinks through the dark hollows of the French Quarter and comes out the other side celebrating that "God's so Good." Musically Dr. John sounds remarkably similar to the great Tom Waits. It's not always easy listening but it's always interesting. It's not entirely dark affair either. Locked Down is capable of good times. Bonnaroo was named after one of his albums for goodness sake. At its core Locked Down is a party record that refuses to sacrifice its gritty realism.

13. Richard Hawley :: Standing at the Sky's Edge

After toiling in relative anonymity as a touring guitarist for the late great Pulp and the lesser known mid-nineties Britpop group Longpigs, Richard Hawley went solo in 2001. We should all be thankful. Hawley has done no less then release six straight steller albums. Let that one sink in for a moment. How many groups can say they've even released three straight great albums? Not even Pulp could match what Hawley has done here. From 2002's Late Night Final to 2009's Truelove's Gutter, Hawley used his Scott Walker-esque baritone to create his own songbook fitting of Elvis Presley, Roy Orbison or even Chris Isaac. These were timeless songs of romance, love, and loss. They addressed the great theme of love without the pious sentimentality that plagues so many other works. Hawley writes songs that are both nostalgic and modern. They're lush expressions of a romantic heart. He takes a genre of music that is fading in popularity and breathes new life into it. My only quibble with Hawley (and it is a minor one) is that you knew what you were getting into. With every knew album you had a fair idea of how it would sound.

It is only with this year's Standing at the Sky's Edge does Hawley move into new directions. Here he eschews both rockabilly and ballads for a neo-psychedelia that's more Morrison than Morrissey. But such a comparison is not entirely apt. The hopeless romanticism that permeates his past work simply receives a new vehicle to express the ups and downs of the broken and downtrodden. Because the themes of Hawley's songs are universal the blistering psychadelic launches his characters toward the transcendent. It was as if Hawley was trying to recreate the ineffable and controlled chaos that it is life and found his old patters would break under its weight. On "Don't Stare at the Sun," Hawley chronicles characters enjoying the small pleasures of life such as flying a kite, seeing the moon during the day, or using a telescope to explore the night sky. To those who enjoy these pleasures Hawley gives a warning: you might scare people more accustomed to less nostalgic pleasures. The song ends with Hawley chanting "don't stare at the sun" over a blistering progression of chords that feels like that is exactly where you are heading. And it's this image that captures what this album is doing. Following Hawley's muse is dangerous business. But as for me: I'll follow him wherever he goes.

12. Damien Jurado :: Maraqopa

After 15 years, 10 LPs, and countless EPs and 7"s (not to mention the scores of unreleased material just sitting there waiting to see a proper release) we should stop being surprised by Damien Jurado. Originally written off as a lightweight Elliot Smith or Nick Drake, Jurado has evolved into a (the?) father-figure of the new urban folk movement. Newer northwest folkies like The Head and the Heart speak his name in hushed tones. I for one am glad for him. My estimation of his work has always been much higher than greater critical consensus (which is starting to see things my way.) Be that as it may, I'd argue the neo-urban folk tag is a box too small for Jurado. Such a label does great disservice to the variety of Jurado's music. Here's a man who has fit comfortably in experimental lo-fi, acoustic pop, 60's folk, slowcore, americana, and rock. To his credit I don't believe he's made the same album twice in a row. Sure he has his stock narrative tropes of jealous husbands, the mentally insane, and violent criminals but as the world of literary fiction reminds us there are plenty of tales to be told there. Tropes or not Jurado has been a restless spirit when it comes to recording his short fiction. On Maraqopa he slides into the sounds of the Jesus' movement, children's choirs, and dusty psychedelia. For some this is a revelation. For others this is a victory lap. It's simply confirmed what we've known for some time: Jurado is a restless storyteller searching for new genres to spin his tales.

Original Review

11. First Aid Kid :: The Lion's Roar

If sisters Johanna and Klara Soderberg were baseball players I would accuse them of doping. The Swedish duo's first two albums were largely forgettable classicist folk. They were young and had obvious room for growth but there wasn't anything that prepared me for this. On The Lion's Roar First Aid Kid brings to the table instantly memorable songs and impeccably executed powerhouse harmonies. Kudos to producer Mike Mogis for taking the incredibly rich raw material and molding it into a dense tapestry of heartbreakingly beautify new-folk and dusty alt-country. The little flourishes like a steel guitar here or a french horn there to give the songs a richness that moves this album beyond the works of their peers. They have arrived. It doesn't take long to realize it either. Take the killer opening one-two punch "The Lion's Roar" and "Emmylou" as examples. "The Lion's Roar" is a riotous call to arms: "I'm a goddamned fool but then again so are you". "Emmylou" takes it to both tender and tragic places: "I'll be your Emmylou and I'll be your June/You'll be my Graham and my Johnny too/I don't ask alot from you/Just sing little darling, sing with me." You don't need to be a musical historian to be swept into its lilting melody and sweetly bitter refrain. Thankfully The Lion's Roar doesn't suffer from an influx of filler as the rest of the album continues to leap from high point to high point. With an album like this under their belt I think we're looking at an exciting career unfolding before us.



View the Rest of the List: 20-16 | 10-6 | 5-1