40 Best Country Albums of 2016 - Rolling Stone
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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.

The Record Company, Give It Back to You

The Record Company, ‘Give It Back to You’

The debut album by L.A. blues trio the Record Company delivers a third-rail shock, zapping new life into a genre that often lumbers along on the same shopworn chord progressions. Not so on Give It Back to You, where the Record Company channel the distorted feedback of the White Stripes and Led Zeppelin at their most thumping. It's modern blues – "Contemporary," according to the Grammy category in which the album was just nominated – for a new era, where maligning mean-eyed women for your heartache doesn't resonate like it used to. In dynamic lead single "Off the Ground," singer Chris Vos lays the blame for his troubles squarely at his own feet, howling to "let the truth be told." J.H.

Darrell Scott, Couchville Sessions

Darrell Scott, ‘Couchville Sessions’

Darrell Scott's been a jack-of-all-trades when it comes to Nashville songwriting: a solo artist, a hitmaker (Dixie Chicks' "Long Time Gone"), a session guy and a collaborator to folks like Guy Clark. For nearly 30 years, he's been making Americana before it turned trendy and watched as country went from the Quonset Hut soundboard to the Pizza Hut speakers. Much of Couchville Sessions – which sat for over a decade and a half before being reinvigorated and released – is a reflection on the freedom that comes with worrying more about making music than where it might belong. "We won't give a damn if it's folk, rock, country or blues" he sings on the opening track, "Down to the River," an anthem in the tune of Bob Dylan's "The Man in Me" made for anyone looking to relieve the pressure of online music discovery algorithms. M.M.

Robert Ellis, Robert Ellis

Robert Ellis, ‘Robert Ellis’

Ellis uses traditional credentials – a light nasal croon, co-writers like Jonny Fritz and Angaleena Presley – as cover on an album that quietly pushes a wildly open-minded view of what country music can be. In interviews, Ellis cites Duke Ellington as an influence, and several tracks are bathed in dramatic, Nelson Riddle-like string arrangements. "Screw" is wordless, ambient and electronic, while the easy grace of Seventies singer songwriters is everywhere. On "The High Road," Ellis mourns that "the high road is closed for repairs/And nobody cares about songs anymore," but don't count him among those who have lost faith in music's power. E.L.

John Paul White, Beulah

John Paul White, ‘Beulah’

Stepping out of the long shadow cast by his highly successful duo the Civil Wars, John Paul White uses the deceptively sparse Beulah – his first solo album in eight years – as both a reset and reintroduction. The record's musicality is richly steeped in his Muscle Shoals roots, with swampy guitars, bluesy vocals and minimal percussive elements providing an unassuming underpinning for the intimate performances. And the strength of White's songwriting lies in the masterful balance he strikes between character and confession. While it may be tempting to view every lyrical "he" and "she" as an allusion to White's former partner in the Civil Wars, Joy Williams, such assignment squanders the chance to find one's own story in White's universal tales. From the acoustic, finger-picked slink of "Black Leaf" to the gritty electric stomp of "Fight for You," Beulah travels through White's musical stomping ground, but it's by no means a solitary journey. W.H.

Case/Lang/Veirs, Case/Lang/Veirs

Case/Lang/Veirs, ‘Case/Lang/Veirs’

A graceful and wholly unique supergroup record, this LP's anchor is provided by what each vocalist brings to the table: Neko Case's vocals soar with celebration and lament, K.D. Lang's croon sashays with seduction, and Laura Veirs' whimsical delivery offers an unpretentious cool throughout. But it's the impeccable union of their voices that makes this dusky alt-country album such a one-of-a-kind listen. While each member is given beautiful leading moments – Case's "Supermoon," Lang's "Honey and Smoke," Veirs' "Song for Judee" – it's the trio-led tracks "Atomic Number," "Blue Fires" and "I Want to Be Here" that make the album transcendent. W.H.

Randy Rogers Band, Nothing Shines Like Neon

Randy Rogers Band, ‘Nothing Shines Like Neon’

While arguments over the crossover-friendly direction of country radio raged in Nashville over the last few years, the tradition-minded Texas scene carried on without blinking an eye. So it's not surprising that Rogers' seventh studio LP featured an impressive cross-generational slice of country singers with classic bona fides: Jerry Jeff Walker, Alison Krauss and Jamey Johnson all make sterling guest appearances. Nothing Shines Like Neon dips into sensual groove on "Rain and the Radio" and ragged, laid-back boogie-woogie on "Taking It as It Comes." Best of all is "Tequila Eyes," which feels like Rogers' bid to create a new standard, a sozzled, tragic take on the Eagles' placid country-rock. E.L.

Cody Johnson, Gotta Be Me

Cody Johnson, ‘Gotta Be Me’

In 2014, heads swiveled when Cody Johnson's Cowboy Like Me debuted inside the Top 10 on the Billboard Country Albums chart – a Texas singer without a major label deal was suddenly pulling even with some of Nashville's power players. Some dismissed that as a fluke, but after Gotta Be Me arrived at Number Two, it was clear that Johnson is here to stay. Though he's an indie act, he's not afraid to record excellent songs from Nashville insiders like Chris Dubois and Jeffrey Steele; this is a singer at home with both Texas dance halls and Sam Hunt-like recitation. And radio programmers have taken note: "With You I Am" cracked the Country Airplay chart, another coup for the underdog. E.L.

Paul Cauthen, My Gospel

Paul Cauthen, ‘My Gospel’

While fronting Texas twosome Sons of Fathers, Paul Cauthen never quite let himself howl as deeply or profoundly as he does on his first solo LP, My Gospel, an amalgam of Shoals soul, the tearful grit of Tom Waits' Closing Time and the spirit of indie-rockabilly interpreters like Richard Hawley. Cauthen always slaps his songs with the double meanings: When he croons "be there soon" as the gospel choir kicks in on the track of the same name, is he talking about arriving at the altar with a bride, or in a wooden box? It doesn't matter much; most of the record exists equally in the spiritual and cerebral realms, constantly catapulted through the atmosphere by Cauthen's thunderous vocals. M.M.

Shovels and Rope, Little Seeds

Shovels & Rope, ‘Little Seeds’

Shovels & Rope's Michael Trent and Cary Ann Hearst continue their exploration of Americana's more experimental corners on Little Seeds, blending folk song traditions with fuzzed-out guitar noise and their inimitable vocal harmonies. Death is also in the neighborhood: On the droning, spoken word piece "BWYR," they address racially motivated violence, then turn deeply personal with the plaintive "Mourning Song" and frenzied "Invisible Man” – both inspired by Trent's father's battle with Alzheimer's. Hearst and Trent still find joy in unexpected places, whether it's a rainy New Orleans wedding in "St. Anne's Parade," or the unsung talents of the Band's Garth Hudson in "The Last Hawk." Album closer "This Ride" ties it all together, cursing the inevitable tragedies and straining to find the beauty that makes it all worthwhile. J.F.

Lucinda Williams – The Ghosts of Highway 20

Lucinda Williams, ‘The Ghosts of Highway 20’

Given Lucinda Williams' Americana icon status, it's easy to forget that she started out steeped in the blues. But she gets back to Robert Johnson's crossroads on The Ghosts of Highway 20, her second straight double album and an idiosyncratic swamp-blues masterpiece. A lot of credit goes to guitarists Bill Frisell and Greg Leisz, who are at their atmospheric blue-toned best in punctuating these 14 musings of heaven, hell and all that lies between. At the mic, Williams plunges into the mystic with extravagantly passionate vocal performances that recall Van Morrison speaking in tongues. "I've seen the face of hell, I know that place pretty damn well," Williams coos on the penultimate track "If There's a Heaven" – which is followed by "Faith and Grace," a 13-minute epic where she turns the phrase "get right with God" into an obsessive, terrifying mantra. Clearly, getting to heaven requires raising a little hell. D.M.

Carrie Rodriguez, Lola

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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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