A very good year in music.
First off nice to see both Sarah Shook’s Sidelong (my co-album of the year last year) and Lydia Loveless’s Boy Crazy collection on many year end lists. They’re not on mine only because they’re reissues. You already know how I feel about both of these artists.
Speaking of reissues, they truly rocked this year. From the Savage Young Dü collection from Hüsker Dü to the amazing deluxe reissues of Wilco first two albums AM and Being There. As did live records. Both The Replacements’ For Sale and Lydia’s Live from the Documentary Who Is Lydia Loveless? (which, yes, I am responsible for bringing to life) are as good, if not better, than any studio album released this year. But that’s not the essence of my top ten list.
It’s about new music.
So, here now, are my ten favorite records of 2017.
The Order of Time – Valerie June – There was no album I returned to on a more frequent basis that June’s brilliant sophomore effort. This record is all about a vibe that just sinks its slightly gritty under the nails claws into you and never lets go. Part old school Americana (think the old 78s that were recorded live in the 20s), part soul, with a voice that sounds wise beyond its years. Add to that the most perfectly subdued production and a collection of songs that seem to get better with every listen, and you’ve got an instant classic. This is a record that will sound even better a decade from now.
Deep Dream – Daddy Issues – Finally a new take on the riot grrl sound. Noisy and sweet at the same time, any band that could make Don Henley’s Boys of Summer worth listening to has to be doing something right. This is the late night, drive fast, slam your fist against the steering wheel, scream along album of the year. Fuck, yes!
Anything Could Happen – Bash N Pop – The best solo record from a member of The Replacements since Westerberg’s Stereo/Mono seventeen years ago. Tommy Stinson just knocks it out of the park with a great collection of songs. His voice has never sounded better, and that familiar guitar sound is like an old friend coming to visit carrying a bottle of good bourbon and a six pack of beer. I’m not putting this on the list because he’s a former member of the Mats, it’s here because it’s a damn good record.
Out in the Storm – Waxahatchee – I loved Waxahatachee’s first album American Weekend (it topped this list a few years back), but the next two left me bored. So I am very happy to report Katie Crutchfield is back with almost the perfect companion piece to that first record. Except this time instead of haunted lullabyes we’re treated to a full-on sonic assault of guitars, bass and drum. This is her rock album. A wall of pop melodies coated in noise syrup brilliant from start to finish. Love this record.
After the Party – The Menzingers – The closest we’re going to come to The Clash thirty-five years after they split up. I would call this my feel-good record of the year. From the opening guitars of Tellin’ Lies the album made me feel young again, and never let up. And maybe this is new for old dudes. I don’t give a fuck. I’m an old dude. And this one rocked.
Turn Out the Lights – Julien Baker – She sings one note and my heart is broken. A whole album, and I’m reduced to tears. She is the heir apparent to Nick Drake or Elliott Smith, someone to take us into the dark spaces, and hold our hands with the confidence in her voice. Everything will be okay with Julien leading the way.
Gilded – Jade Jackson – While we all wait for new records from Loveless and Shook, dig into Jade Jackson spectacular debut. It’s a collection of heartbreak and longing with guitars a little too crunchy for country-western. The raspy catch in her voice will grab you from the first note and not let go.
Notes of Blue – Son Volt – The best alt-country record of the year. And in a year in which guitars seemed to blessedly rule again, this is a freaking guitar masterpiece.
Losing – Bully – Old school riot grrl done right: fuzz, melody, fuzz, drums, fuzz and Alicia Bognanno has a voice made for the genre. Just one of those records you put on endless repeat on a drive from Minneapolis to Fargo.
Spades and Roses – Caroline Spence – Best straight out country record of the year. Spence is an amazing songwriter, but it’s her delivery that just breaks your heart. With production just sparse enough, and yet more killer guitar riffs, she takes us through a collection of songs that sound like great southern literature. Short stories turned to song.
BEST SONG OF THE YEAR: Lydia Loveless take this for both sides of a single: Desire/Sorry. The A-side, a gut-wrenching tale of an affair with a married man gone bad, was truly my favorite track from her last LP Real, but it ended up on the recording studio floor, so to speak, though it was a centerpiece of my film Who is Lydia Loveless? The B-side is a cover of the Justin Beiber song which was easily my most played tune of the year. Lydia makes the song her own, as if every word meant something special to her and the person and/or persons she singing it to. Gave me goosebumps more times than I care to admit. I’ve said it before that she has the greatest voice on the planet. And I’ll say it again. She fucking kills me every time.
Listen to Sorry on bandcamp here.
OTHER GREAT SONGS:
Sixteen from Diet Cig – the opening verse is all you need to know: “When I was sixteen/I dated a boy/With my own name/It was weird/In the back of his truck/Moaning my name/While trying to fuck.”
(I Just Died) Like an Aviator – Matthew Ryan – the greatest song in the world can become downright annoying when you direct and edit a music video for it. There’s only so much you can hear one song. Right? Well, wrong, in this case. Despite hundreds and hundreds of listens over a two week period, the first track from Ryan’s stellar Hustle up Starlings lp stands the test of time as one of the best rock tracks of the year. (Even if I no longer picture the words coming out of Ryan’s mouth.)
BEST LIVE SHOW: Lydia Loveless, Todd May, and Casey Magic at the backroom at Cat’s Cradle on December 15th and 16th. She was on fire these two nights, playing solo and with Todd, rearranging, ranting, reinventing European, breaking our fucking hearts every time she opened her mouth. Goddammit, Lydia!
BEST HOLLYWOOD NARRATIVE FILM: I, Tonya – a mocumentary, that was funny at times, heartbreaking the rest. A brilliant cast, superb script, and a sharpness of vision we rarely see with any sort of budget.
BEST INDEPENDENT NARRATIVE FILM: Lady Bird – Greta Gerwig might be the Lydia Loveless of independent film: funny, awkward, damaged, opinionated, and always completely charming. And that showed through in every frame of this magnificent directing debut.
BEST DOCUMENTARY FILM: The B-Side: Elsa Dorfman’s Portrait Photography – Errol Morris’s short, subtle masterpiece. A film that leaves you wanting more, which is rare indeed today. His portrait of a quirky photographer who was one of five people on the planet who owned a 20×24 Polaroid camera. Love, love, love!
BEST TV: TV is the new indie film. And it just keeps getting better and better. Thus just a list of a few of this year’s standouts: Stranger Things II, The Five, Master of None, Ray Donovan, The Keepers, Big Little Lies, The Deuce, and GLOW. (And I’m not even mentioning my guilty pleasure love for reality TV like Big Brother, Survivor, and Top Chef.)
BOOKS OF THE YEAR: Mary Miller’s brilliant Always Happy Hour: Stories and Jeff Goodell’s terrifying The Water Will Come: Rising Seas, Sinking Cities, and the Remaking of the Civilized World. The former is a collection of writing to rival the dark despair of Carver, the latter a look at how the coastlines of the world will not be recognizable in a few decades. Both so worth reading, perhaps for the same reason.
As for the rest of my 2017:
Four releases this fall, of which I am quite proud: Who is Lydia Loveless? on DVD with a shitload of great extras, the Record Store Day vinyl-only release of 6 tunes from the film, Live from the Documentary Who is Lydia Loveless?, my first film Disconnected on bluray (with extras that include my long-lost first documentary Twenty Questions), and Psychos In Love on bluray. (The last two both brought to you from the amazingly twisted folks at Vinegar Syndrome.
As for what’s next: five documentaries in various stages of production:
What it Takes: film en douze tableaux – a quirky portrait of Sarah Shook and the Disarmers as they record their new album Years for Bloodshot Record. You can expect to see this at film festivals in late Spring.
Seniors – A documentary that celebrates the brains, energy & sass of some of the coolest senior dogs on this planet and the people who love them. It’s mostly filmed. Editing now.
Pizza, A Love Story – in the works for ten years and being edited now, we hope to finally have our epic love poem to the Holy Trinity of pizza (Sally’s, Pepe’s, and Modern) completed by mid-year.
Normal Valid Lives – our look at a horrible case of bullying in a school district north of Minneapolis. We still have a little filming to do, and hope to have this completed for film festivals in early 2019.
Where are you, Jay Bennett? – A feature-length documentary on Jay Bennett, a legendary musician, who as a member of Wilco, was a large part of the genius behind three seminal albums, who went on to a critically acclaimed solo career, before dying tragically at the age of 45. Filming and editing now.
And of course, NHdocs 2018 is coming your way on May 31st for 11 days of great films. (might have a surprise or two from me in there!)
That’s it. Another year in the books. Be well, hug your dog, eat good pizza, drink hot coffee, and be kind to everyone you meet.