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40 Best Country Albums of 2016

Miranda Lambert, Sturgill Simpson, Margo Price and more of the year’s best

Miranda Lambert, Sturgill Simpson and Margo Price made some of 2016's best country albums.

Country music finally broke free of the bro stranglehold in 2016, with a demonstrative return to more thoughtful lyrics and a U-turn away from sound-alike production. Though, regrettably, country radio could still use a lesson in equality, artists like Margo Price, Miranda Lambert, Aubrie Sellers and Maren Morris continued to prove that some of the most insightful songwriting is coming from women. Jon Pardi and William Michael Morgan found the sweet spot between contemporary polish and traditional instruments; Brothers Osborne displayed a blue-collar heart and affinity for the Band; and Keith Urban pushed the envelope by collaborating with Nile Rodgers and Pitbull. Here's the best of the year.

Carrie Rodriguez, Lola
20

Carrie Rodriguez, ‘Lola’

Carrie Rodriguez is a Berklee-trained, Mexican-American fiddle player and singer whose fifth studio album was partially inspired by her great aunt, ranchera singer Eva Garza. Lola is Rodriguez's first bilingual record and includes a cover of the traditional Mexican song "Perfidia" next to breathtaking originals like "I Dreamed I Was Lola Beltrán," which imagines the life of another famous ranchera singer. But beneath the lovely melodies and effortless mutability on this crowd-funded, self-released album, there's also pointed critique: In "Z," Rodriguez sings about all the venues that have misspelled her name over the years. "Doors are gonna open if you want them to," she sings, "but you might have to knock 'em down." Her mission? "Tell country music where to put a 'z.'" E.L.

Keith Urban, Ripcord
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Keith Urban, ‘Ripcord’

Experimental and ambitious, Keith Urban's ninth studio album crosses way over from country, but never at the risk of trying too hard. Rather, the progressively minded singer-guitarist challenges his fans, introducing sounds and genres that don't typically appear on a Nashville album but nonetheless feel right at home. There's the surprisingly sturdy party-pop collaboration with Pitbull and disco-funk legend Nile Rodgers "Sun Don't Let Me Down"; the modern-day doo-wop of "Blue Ain't Your Color"; and the dance-floor rave of the Carrie Underwood duet "The Fighter." But it's the Number One single "Wasted Time" that best embodies Ripcord's visionary spirit, simultaneously recalling Urban country-radio jams "Days Go By" and "Better Life" and demonstrating how successful country music experimentation can be in the right hands. W.H.

Vince Gill, Down to My Last Bad Habit
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Vince Gill, ‘Down to My Last Bad Habit’

With 20 Grammy Awards and a career spanning three decades, Vince Gill has nothing left to prove. But Down to My Last Bad Habit, his first album since 2011, is a welcome return from a master of the form. Gill is cheerfully oblivious to current trends on country radio, returning to old standbys: heartbroken acoustic ballads ("I'll Be Waiting for You"), innuendo-laden blues rock ("Make You Feel Real Good") and George Jones-homage ("Sad One Comin' On"). The title track is slick blue-eyed soul, full of pointed guitar and backing vocals that approximate long, lovelorn sighs, while "Reasons for the Tears I Cry" finds Gill slipping into a more forceful register, asserting his right to weep with help from a firm backbeat and rugged riffs. This singer knows his strengths – immaculate production, tender expressions of feeling – and deploys them expertly. E.L.

William Michael Morgan, Vinyl
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William Michael Morgan, ‘Vinyl’

Vicksburg, Mississippi, native William Michael Morgan had yet to be born when the famed class of '89 (Garth Brooks, Alan Jackson) arrived on the scene, but his debut album Vinyl could place him squarely at the center of that Nashville revolution. With nods to the crooning vocal style of all-seasons hero George Strait, Morgan effortlessly relates his stories: a crush in Number One hit "I Met a Girl," class affinity in "People Like Me" and infidelity in the Rhodes-flecked "Cheap Cologne." In the title track, he sings of a love so perfect that it should be issued in the modern hipster's preferred format. Though it works even on an iPhone. J.F.

Hayes Carll, Lovers and Leavers
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Hayes Carll, ‘Lovers and Leavers’

Miranda Lambert's divorce album made headlines this year, but Hayes Carll also released an essential meditation on love, both enduring and ephemeral. It took five years after the fire of KMAG YOYO for Carll to release Lovers and Leavers, a period when he saw his marriage crumble but his connection with his son fortify. And Carll, who has always been one of the sharpest wits in the room, let the music reflect this sentimental split with heartbreaking results – often because he's so adept at capturing the most unglamorous, relatable snapshots of humanity. "We never go to bed angry, 'cause we never fight," he sings on "The Love That We Need," a track with a little Bruce Hornsby flourish that highlights how most relationships end with a slow burn, not a giant explosion. It's truth, not tabloid. M.M.

Robbie Fulks, Upland Stories
15

Robbie Fulks, ‘Upland Stories’

Robbie Fulks has always had a way with a punchline, going back to "She Took a Lot of Pills and Died" from his 1996 debut, and there are definitely some laughs to be had on his 13th album. But the smart-ass is more subdued on Upland Stories, easily Fulks' best and most heartfelt work to date. Inspiration came from James Agee's 1941 poverty portrait "Let Us Now Praise Famous Men," as well as Fulks' own misbegotten New South youth, with Steve Albini recording old-timey and bluegrass arrangements that are understated enough to where you won't miss a word. They're great words, too, back-pages ruminations drawn from growing up in a place and time where "kindness is a show for strangers." The best moment is "Never Come Home," in which a dying man tries to go back one last time only to be "welcomed like a guilty prisoner." You can't go home again is one of this album's many hard lessons. D.M.

Lori McKenna, The Bird and the Rifle
14

Jonny Fritz, ‘Sweet Creep’

With his thrift-shop wardrobe and unkempt hair, Jonny Fritz may look like the perfect specimen of the irony-first hipster, but the songs on his fourth full-length are nothing if not sincere. And therein likes the sweetness of Sweet Creep, a collection of imagery-rich songs about resorts for dogs ("Chihuahua Rescue"), derelict Nashville motels ("Stadium Inn") and Fritz's penchant for skedaddling ("I Love Leaving"). For Fritz, his observational lyrics aren't gags – they're his way of making sense of an increasingly overstimulated America, where the mundane beauty of everyday life has been replaced by viral videos and memes. Produced by Jim James with warm, easygoing playing from Dawes' Goldsmith brothers as the core band, Sweet Creep is concrete proof that Americana music needn't always be hard to digest – or so damn serious. J.H.

Aubrie Sellers, New City Blues
13

Aubrie Sellers, ‘New City Blues’

"Sittin' at the corner of an old crossroad," sings Aubrie Sellers in the "Light of Day," the opening track from her debut album New City Blues, following several bars of ominous guitar rumbles and thunderous drums. It's an apt description for the album itself – a barbed tangle of guitar feedback, in-the-red drum sounds and crystalline country vocals from the talented daughter of Lee Ann Womack. Sellers wields this noise to her advantage, taking shots at vapid women in "Paper Doll," mass media in "Magazines" and a womanizer in "Liar Liar." But lurking beneath all that scuzz is a great country singer-songwriter, a fact that becomes very clear when she turns down the volume for the gorgeous "Losing Ground" and battles her way through the fog of loneliness. J.F.

Lydia Loveless, Real
12

Lydia Loveless, ‘Real’

Lydia Loveless is a 26-year-old from central Ohio whose husky voice renders her emotional demands non-negotiable, and whose band is as ragged and raw as the Eighties cowpunk of Jason and the Scorchers. She's as fiery as ever on her fourth album, but she's also expanded her emotional range. There's an increased self-awareness that never undercuts her directness whether she's ragging on "Midwestern Guys" ("Tell me all about '83 / That was a long time ago"), insisting "When I kissed you on the lips / I was vein' / European" or chuckling before she declares "But if self-control is what you want, I'd have to break all of my fingers off." K.H.

Brent Cobb, Shine on Rainy Day
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Brent Cobb, ‘Shine on Rainy Day’

Cobb has been quietly building a following in Nashville writing rooms for years: His compact, clever portraits of rural life have found their way onto records by Luke Bryan ("Tailgate Blues"), David Nail ("Grandpa's Farm") and Miranda Lambert ("Old Shit"). After a pair of solo endeavors – a 2006 debut album and a 2012 EP – failed to take off, Brent almost walked away from the spotlight to focus on writing entirely. But at the urging of his distant cousin, the producer Dave Cobb, he reentered the fray. Dave's live-to-tape, unadorned, feel-over-technique style can be found on acclaimed recordings from Sturgill Simpson and Chris Stapleton, and it helps rejuvenate Brent, who nudges Shine on Rainy Day toward a modest sort of perfection: homey, comforting, steadfast. E.L.

Jon Pardi, California Sunrise
10

Jon Pardi, ‘California Sunrise’

California native Jon Pardi's second album California Sunrise is compelling proof that traditionalism doesn't have to sound old fashioned, stitching together electrified Bakersfield twang with modern production (even – gasp – loops!) and liberal fiddle and steel. It's a winning set of tracks that includes the groove-heavy, write-what-you-know album opener "Out of Style" and the breezy, sweet Number One hit "Head Over Boots." He also knows how to sling rowdy, good-timing bangers like "Paycheck" and "All Time High." But Pardi really turns up the heat with sexy, window-fogging jams like "Night Shift" and "Dirt on My Boots." Where many of his traditionalist peers looked backward for studied versions of the past, Jon Pardi kept his eyes firmly trained on the present. J.F.

Loretta Lynn, Full Circle
9

Loretta Lynn, ‘Full Circle’

Loretta Lynn recorded her first album in 12 years just a month prior to her 84th birthday, and her resonant voice is barely weathered, ringing out over subtle and understated accompaniment. Lynn casts a thoughtful glance backward here, relishing a pair of Carter Family tunes and revisiting her own catalog to exhume the first song she ever wrote, "Whispering Sea." She especially shines on two religious numbers: the jaunty "Everybody Wants to Go to Heaven" ("but nobody wants to die") and the heartfelt prayer for sobriety "Wine Into Water." If Lynn never records another album, Full Circle is strong enough to stand as a career capper – but it's lively enough to suggest that she's far from ready to quit. K.H.

Lori McKenna, The Bird and the Rifle
8

Lori McKenna, ‘The Bird & the Rifle’

A working Nashville songwriter for more than a decade, Lori McKenna popped on everyone's radar in 2015 when Little Big Town scored a hit with her song "Girl Crush." She makes the most of her newfound attention with the best album in a career that already boasts a bunch of great ones. She autopsies damaged relationships with a cool, precise eye on "Old Men Young Women" ("You want the lights off / He wants the lights on / So you can pretend / And he can hold on."). She reminisces about driving around a nowhere hometown listening to Duran Duran and Nirvana on one song, then wonders why she hasn't gotten around to leaving it on another. And she offers up her own modest and winning take on the timely ode to decency she wrote for Tim McGraw, "Humble and Kind." K.H.

Pawn Shop
7

Brothers Osborne, ‘Pawn Shop’

Leave it to a pair of hard-drinking, blue-collar siblings from Maryland to show Nashville that not all bros are boors. With the Jay Joyce-produced Pawn Shop, buttery-smooth singer TJ Osborne and guitar shaman John Osborne deliver a debut album that's full of greasy licks, back-porch arrangements and surprisingly vulnerable vocals. Hit single "Stay a Little Longer" is a hook-up song with heart, "21 Summer" smashes country's warm-weather tropes, and the gorgeous "Loving Me Back," a collaboration with Lee Ann Womack, is the must-hear deep cut of 2016. But it's album closer and rumored single "It Ain't My Fault" that is Pawn Shop's hidden treasure: a stomping country jam that blasts out of the gate with glam-rock swagger and gets us excited for what the Osbornes might do on Album Number Two. J.H.

Brandy Clark, Big Day in a Small Town
6

Brandy Clark, ‘Big Day in a Small Town’

Country songwriter Brandy Clark's tremendous gift for wordplay and storytelling was never in question, but on her second album she unleashes her inner diva like never before. With help from the savvy production of Jay Joyce (Eric Church, Little Big Town), Clark tries on a number of new looks – like the glammed-up country-disco queen in "Girl Next Door," chiding her man for wanting a "Virgin Mary metaphor" – to find they all suit her perfectly. Her upbeat songs are viciously funny, whether it's the priceless parting shot to an ex in "Daughter" ("Karma's a bitch, so I hope you have a daughter") or the wry observations of small town drama in the surprisingly funky title track. But Clark's slower, more measured numbers like "You Can Come Over" and "Three Kids No Husband" are truly stunning, her aching vocal performances and razor-sharp lyrics expertly articulating complicated, if all too common, human struggles. J.F.

Sturgill Simpson, A Sailor's Guide to Earth
5

Sturgill Simpson, ‘A Sailor’s Guide to Earth’

Who would have thought the Kentucky singer-songwriter-badass would make the most dad-friendly country album of the year? With the outlaw bluster of his High Top Mountain debut and the trippy introspection of 2014's Metamodern Sounds in Country Music out of his system, Simpson targeted the heartstrings, laying his emotions bare in a concept album/welcome letter to his newborn son. "When I get home, it breaks my heart to see how much you've grown," he wails in "Welcome to Earth (Pollywog)," enough to awaken the paternal urge in even the most kids-averse bachelor. While the cover of Nirvana's "In Bloom" garnered the lion's share of attention upon release, it's just one pearl in an elaborate yet entirely approachable album, all tied together by the Dap-Kings horn section and a seaworthy nautical theme. J.H.

Drive-By Truckers, American Band

Drive-By Truckers, American Band

4

Drive-By Truckers, ‘American Band’

To make their most rewarding album in eight years, Drive-By Truckers had to piss off a portion of their fan base. Over the 11 tracks on American Band, head Truckers Patterson Hood and Mike Cooley tackle immigration ("Ramon Casiano"), mass shootings ("Guns of Umpqua") and police violence ("What It Means") – polarizing topics that, when coupled with the group's onstage support of Black Lives Matter, might not exactly sit well with many Red State country fans. But the Truckers gave zero fucks and created one of the most of-the-moment albums in any genre. American Band sinks its hooks all the way in with crunching riffs, Hood and Cooley's defiant lyricism and the reassurance that someone today actually gives a damn. J.H.

Margo Price, Midwest Farmer's Daughter
3

Margo Price, ‘Midwest Farmer’s Daughter’

The CMA ignored Margo Price at their 50th awards show in November, but they did so at their own peril. This Illinois troublemaker's debut album, released on Jack White's Third Man Records, is a marvel from a modern outlaw. Price lays it all bare, singing in her Loretta Lynn yodel about the death of a child in "Hands of Time," her skeevy experiences with Nashville music men in "This Town Gets Around" and, in "Weekender," even a stint in the can. In a town where "honest" and "authentic" are thrown around to suggest credibility, Price needn't even speak the words, she just lives them. J.H.

Miranda Lambert, The Weight of These Wings
2

Miranda Lambert, The Weight of These Wings

Miranda Lambert went way beyond the call of duty with The Weight of These Wings, an ambitious, two-disc collection of 24 tracks that perfectly captures the complicated state of heartbreak without stooping to directly address her high-profile divorce. Instead, she's finding her footing while being adrift, outrunning the pain in "Highway Vagabond" or just taking her foot off the brake in "Vice." It's her most songwriting-focused album in some time, but rather than settle into some dull shade of Americana beige for production, she only gets weirder – distorting her voice along with the saturated guitar noise on "Ugly Lights" and scrambling bright pop melodies with heavy drums and splintering guitars as she armors herself on future anthem "Pink Sunglasses." She's ready to take on the world, and she's only out $9.99, a dazzling way with words that may have been the biggest F.U. of all. J.F.

Maren Morris, Hero
1

Maren Morris, ‘Hero’

The debut album by Maren Morris may not be immediately recognizable as country music – even by today's standards – but the Texas native's storytelling and homegrown drawl elevates Hero to the top of 2016's pop-country pack. Produced in part by Busbee (Shakira, Keith Urban), the record introduces Morris as the next great crossover artist, buoyed by Top 40 radio-ready jams like the sexy "Sugar," the swaggering "80s Mercedes" and her ubiquitous breakout hit "My Church." Hero also proves Morris to be a keen observer of both pop culture and everyday speak. In the baller anthem "Rich," she name-drops Diddy and sets up the chorus with an ad-libbed "shit." Neither sound calculated – the only thing Morris is adding up here are hooks. J.H.

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