We will be publishing our albums of the year from tomorrow starting with numbers 20-11, as chosen by AUK’s writing team. But which albums almost made the list? Along with albums which featured on our longlist including Gaby Moreno’s “Dusk”, Emily Nenni’s “Drive & Cry”, Sarah Shook & The Disarmers’ “Revelations”, Iron & Wine “Light Verse” and the Various Artists album “Can’t Steal My Fire (The Songs of David Olney)”, here’s a selection of those which didn’t quite reach the giddy heights of our overall chart, but each is the number one choice for one AUK writer.
Jonathan Peyton “Nothing Here’s the Same”
An extremely, accomplished, independently released album by Jonathan Peyton, who’s accompanied by his wife Abigail on many songs. Peyton teamed up with Sadler Vaden of Jason Isbell and the 400 Unit to produce this record. It’s packed full of fantastic tunes and tales, whether Peyton is reflecting on his time in a religious cult or ruminating on relationships in ‘Those Days Were Hell’, as he and his wife harmonise on the chorus. The calibre of Peyton’s songwriting is right up there with Isbell’s, which is high praise indeed and all you need to know to give this a listen. (DL)
Kim Richey “Every New Beginning”
Kim Richey’s singing and songwriting have been an influence on other artists throughout her thirty-year career. “Every New Beginning” is her tenth album, and despite it coming at such a late stage in her career, could very well be her best. It continues her fascination with co-writing and includes co-writes with Aaron Lee Tasjan and Chuck Prophet amongst others. The sounds on the album are also modern and have a contemporary feel while still supporting the essence of the songs. There is a sense of reflection to the songs, but this is not mawkish sentimental nostalgia, but rather a taking stock and preparing for whatever the future brings. (MJ)
Tim Easton “Find Your Way”
Tim Easton has a thoroughly deserved reputation as a lyricist, an interpreter of the human condition. “Find Your Way” is a particularly apt title for his 12th solo album, a reflection after years on the road. Easton tells stories, describing his songs as “feature films inside three-minute chunks of music”, but his articulacy is equally suited to love songs, or just anything to do with feelings. It is not overkill to put Easton up with Prine, Hiatt, Hammond or Hartford. “Find Your Way” is a magnificent album. Easton’s writing exudes such compassion and kindness whether looking at himself or beyond. (LB)
JJ Grey and Mofro “Olustee”
At times funky, at times soulful, at times beautifully hymnal, “Olustee” from JJ Grey & Mofro is always full of heart and brings me joy every time I listen to it. When it gets moving, the album delivers varied moods, characterful vocals, rhythm and groove and the music rolls and flows. These songs were created for live performances and on stage the band’s presence is huge and their energy boundless. To listen to these songs is to be elevated; it’s an experience and I listened endlessly throughout the summer – a soundtrack to my summer days. (AF)
Connor Daly “Colors Fade”
Giving five 9/10s this year (and no 10s!) has made choosing my personal top 5 albums of the year easy. Ranking them, however, has been quite a challenge. That said, of the five I have chosen, four are, or are fast becoming, well-established artists, except for Connor Daly with this stunning debut album. So, scoring on a level pegging with perhaps better-known artists puts Daley at the top of this particular pile on this particular occasion.He has hit the ground running for me with his effortless contemporary style, tremendous emotional intelligence, stylish, gracious melodies, and sensational, utterly accessible musicianship. (VF)
VanWyck “Dust Chaser”
The musical evolution of VanWyck sees her heading out into the wilds of Desert Rock in search of freedom, but still stopping off at tranquil oases of reflective introspection. The new, slightly harder, sounds from the band compliment rather than distract from the lyrics which continue to both intrigue and puzzle: the subtext is the elusiveness of freedom, the sub-subtext is the questioning of whether freedom is as attractive as it sounds. (JA)
