Overall, I'd characterize 2018 as a commendable year for music, particularly for indie rock and tunes with echoes of the 1970s in their step. There were also some gems in the singer-songwriter, jazz, and R&B genres. I always find it somewhat challenging to rank music, as it requires making apples-and-oranges comparisons. Nevertheless, here are my 25 favorite songs of the year:
25. Lovely Day-Shamie Royston
(A fine piano cover of my favorite Bill Withers tune; despite its title, Royston's interpretation brings a contemplative rainy day to mind.)
24. Short Court Style-Natalie Prass
(This is one of 2018's more pleasant melodies. If I didn't know
otherwise, I might have thought this was a '70s R&B track.)
23. This Will Be (An Everlasting Love)-Dave Koz featuring Kenny Lattimore
& Shelea
(This strong cover of Natalie Cole's hit replicates the
original version's exuberance compellingly.)
22. Lash Out-Alice Merton
(A cathartic track from Merton's EP, released in April. If you usually
hold your tongue and let your anger well up inside, you might feel like
this. Merton's forthright vocals mesh well with the bubbling
undercurrent of bass that would have fit in on either of Joe Jackson's
1979 albums.)
21. Whistle On Occasion-Kim Richey featuring Chuck Prophet
(Released in March, this is a highlight of Richey's "Edgeland" release. Two voices and a
guitar illustrate how satisfying it is to savor life's pleasant,
so-called minor moments. This could segue with Shawn Colvin's version
of Bob Dylan's "You're Gonna Make Me Lonesome When You Go.")
20. Happy Unhappy-The Beths
(Catchy power pop lead and backing vocals in this appealing tune for
driving, released in August. Cruiserweight's "Slack" could segue with it.)
19. Whatever It Takes-The James Hunter Six
(Hunter and company capture the spirit and vocal stylings of Sam Cooke impressively.)
18. Smilessence-The Reggie Pittman & Loren Daniels Quartet
(How the
Beatles tune, "You Never Give Me Your Money," would sound as a
trumpet-led, tropical fiesta instrumental.)
17. Sidekick-Soulive
(Jazz meets R&B in this smooth, steady instrumental groove, with more than a hint of the '70s in its arrangement.)
16. General Thunder-Julian Lage
(This uptempo guitar instrumental made an immediate impression upon me.
There's a general consistency throughout Lage's "Modern Lore" album,
released in February. Much of it fits under the smooth jazz banner, but
if you're looking for a more experimental track, check out "Earth
Science.")
15. Everyone Acts Crazy Nowadays-Unknown Mortal Orchestra
(1978 meets 2018 in this dance track with a motif late in the track that reminds me of 7 Worlds Collide's "Reptile.")
14. Can't Run But-Paul Simon with yMusic
(It's
ear-catching to hear Simon sing this reworked version with backing that's reminiscent of
"Peter And The Wolf.")
13. The Paradise Within (Paradise Found)-The Manhattan Transfer
(I had a preconceived notion while listening to the group's release, "The Junction." I expected their version of US3's "Cantaloop (Flip Out!)," which WSIE has played numerous times, to be the standout track. While it's a fun rendition, the grace and sensitivity with which the group sings, "The Paradise Within...," made an even stronger impression on me.)
12. All This Love-Take 6
(As with The Manhattan Transfer, I had certain expectations before hearing Take 6's latest release, "Iconic." I was expecting this longtime a cappella group's cover of Al Jarreau's "Roof Garden" or Christopher Cross's "Sailing" to be my favorite track. Although they sing solid versions of both songs, their rendition of this DeBarge hit is, to my ears, the best fit for their voices.)
11. Sovay-Low Lily
(This strong, brisk rendition of a traditional English tune, released in
March, features excellent Celtic-style singing, mandolin, fiddle, and
guitar.)
10. I Was A Fool-Sunflower Bean
(This track from the "Twentytwo In Blue" release combines at least four strong elements; Julia Cumming's vocals remind
me of Blondie and Harriet Wheeler from The Sundays, there's a definite resemblance to Fleetwood Mac's "Dreams," the guitar
arrangement brings the best of Real Estate to mind, and the alternating
vocals between Nick Kivlen and Cumming remind me a bit of The Human
League.)
9. Nobody-Mitski
(I have to respect any song that can combine such disparate elements as
Isaac Hayes's "Theme From 'Shaft,'" ELO's "Livin' Thing," and Keren
Ann's "Not Going Anywhere," while still sounding fresh and original.
These are some of 2018's most endearing vocals and piano playing.)
8. Old Stuff, New Glass-The Orielles
(Great jangly synergy between the guitar, bass, and vocals; a power pop highlight of 2018.)
7. Have Faith-Sloan
(Another power pop highlight of the year; pairing encouraging lyrics for someone
going through a rough time with a melody similar to Tom Petty's "A
Higher Place" is a winning formula.)
6. Golden Ticket-The Bamboos
(This release from July is a catchy blast of positivity; who couldn't
root for someone who finds happiness this way? This sounds like an
early '70s R&B groove, to its credit. Swing Out Sister's "Am I The Same Girl?" would sound great before it, and Natalie Prass's "Short Court Style" would fit well after it.)
5. Move-Milo Greene
(Mysterious, breathy vocals; lyrically, this haunting track could
segue with Karla Bonoff's "Somebody's Eyes" or Snow Patrol's "Shut Your
Eyes.")
4. A Little More Love-Juliana Hatfield
(Back in 1992, when I was playing Hatfield's music on KCOU, I never
imagined she'd release an album of Olivia Newton-John covers. She did,
however, in April, and it suits her vocal range well. Unfortunately, "A
Little More Love" didn't usually receive radio airplay here after it
dropped off the charts. Hatfield sings one of Newton-John's stronger
hits with appropriate resolve, and the crunchy guitar underpinning makes
it sound as if Hatfield wrote it. Also recommended: "Have You Never
Been Mellow" and "Magic.")
3. High Horse-Kacey Musgraves
(With a hook reminiscent of late '70s Bee Gees tunes and Luscious
Jackson's "Here," "High Horse" doesn't leave a
listener's mind easily. The tune's hook, combined with direct lyrics about
someone who has an inflated opinion of himself, make this one of 2018's
standouts. It's one of the most tuneful ways of conveying that you
can't stand someone that I've ever heard. Turning such Carly Simon-like, "You're So Vain"-ish irritation into a
groove this danceable warrants respect.)
2. The Duke's Message-Tommy Emmanuel featuring Suzy Bogguss
(One of the year's most beautifully sung tunes; Bogguss approaches the vocals as she does in "Shenandoah.")
1. See You Around-I'm With Her
(Generally, it isn't easy to break up with someone and bid that person farewell. This excellent trio of singers and acoustic players--Sara Watkins, Sarah Jarosz, and Aoife O'Donovan--captures this heartbreaking difficulty perfectly in their vocals, with the most movingly sung chorus of the year.)
