Top 10 Americana Albums of the Decade: Honorable Mention
We’ve almost made it all the way to the number one spot on the list of my favorite albums of the past decade. Before we get to that #1 spot, however, I’d like to quickly run through a few albums that just as easily could (should?) have been included on the list instead. Here are five “Honorable Mention” albums listed alphabetically by artist.
First up is Ryan Adams’ 2001 release Gold. It’s very likely that this album would be on the final list if not for the fact that it was mislabeled on my iTunes, and I skipped over it when I was making my preliminary list. By the time I discovered my mistake, the final order was set, and I couldn’t really justify removing any of the other albums to make room for this one.
Still, this is one damn fine album, and one of the first “Americana” albums I was ever given. Lost Highway sent roughly a dozen copies to our station, and our music director loved the album so much he made sure that all the student workers got a copy. I remember it taking me several listens to warm up to the album as a whole, but I was instantly grabbed by tracks like “Firecracker” and “When the Stars Go Blue.” I’m glad I stuck with it.
Next is the Avett Brothers’ 2004 effort Mignonette. The Avett Brothers are another one of those artists I fell in love with at the 2004 Americana Music Association Conference. They played the conference opening party on Thursday night at The Mercy Lounge, and I made a special point to see them again later that week at The Station Inn as well. I had never seen anything quite like them before with their string band sound and punk rock ethos.
I was completely entranced by their live show and found much to love on this album as well. Where the show drew me in with pure energy, the album showed that the band could deftly create those quieter moments as well. This album was the perfect mixture of the bombastic (“Hard Worker,” “Nothing Short of Thankful”) and the sublime (“Swept Away,” “SSS”). This song has a decent dose of both flavors.
If I continued to rank things beyond #10, this one might actually be #11. The 2005 release Little Rock was actually the sophomore effort for Hayes, but this is the one that put the Houston born songwriter on the map. It’s full of the same sort of rough edged tunes that have become the calling card of this road worn artist. You can actually feel the road beneath Hayes’ wheels on tunes like “Wish I Hadn’t Stayed So Long,” “Sit in with the Band” and the title track.
Little Rock also holds the distinction of being the first independent release to make it to the number one spot on the Americana Album Airplay chart. Hayes is still one of only two artists (Band of Heathens) to accomplish that feat. We’ve played this album so much at WDVX that it will no longer load in our CD players.
If I had made a list of favorite artists of the decade, there is no doubt that Patty Griffin would be at or near the top. Her body of work is incredibly strong, and I don’t think there is a finer vocalist working in the business today. What she doesn’t have, however, is that one album that grabs hold of me and keeps me enthralled from start to finish. Her albums in this decade are a little more serene overall than the two she put out in the 1990’s.
All of them except for her unreleased gem Silver Bell from 2000. This album brings the fire on songs like the punkish title track, the churning “Sorry & Sad,” and the rollicking “Boston.” Of course, the quieter moments are here as well in early versions of “Making Pies” and “Top of the World.” There’s also a great, country duet with Emmylou Harris on “Truth #2.” Patty’s label refused to release the album because it wasn’t radio friendly enough. Idiots.
The most surprising album of the decade may have been Loretta Lynn’s 2004 release Van Lear Rose. Loretta had been largely absent from the music world for most of the 1990’s and had all but disappeard from the public consciousness. Like many of her contemporaries, she had been rendered mostly irrelevant by the changing aesthetic of popular country radio. That all changed with this album when Loretta teamed with producer Jack White of The White Stripes to blend her classic country sound with his modern rock production.
There is also a certain geographical element that speaks to me on this album. I grew up in the same rural Eastern Kentucky county where Loretta was raised. I spent a good part of my childhood in Van Lear, KY… my babysitter lived there. The song I’m featuring here may be about the West Coast, but I’m always transported back home when I listen to this album.