Now Playing
Current DJ: Yang
Bita and The Botflies High Tolerance from Peklat Cream (O/C Records) Add to Collection
The CHIRP Blog
Mike Bennett writesCHIRP Radio Best of 2019: Mike Bennett
|
Throughout December, CHIRP Radio presents its volunteers’ top albums of 2019. Our next list is from DJ and Board member emeritus Mike Bennett. Thanks to CHIRP, I still listen to a ton of music. I listened to over 150 2019 releases, hearing all sorts of music from different genres. When compiling this list, I stuck with music that I actually purchased, because that's the stuff that I spent the most time with. There are many amazing albums that I didn't buy, in some cases because artists are now choosing to only release their albums on streaming services, or only on one physical format. This is shame, but there's never a shortage of great music, and I only have so much time. |
|
|
|
#1 KIWANUKA by Michael Kiwanuka (Polydor/Interscope) |
|
|
|
|
|
#2 LEGACY! LEGACY! by Jamila Woods (Jagjaguwar) |
|
|
|
|
|
#3 Jimmy Lee by Raphael Saadiq (Columbia) |
|
|
|
|
|
#4 Seeker by Mikal Cronin (Merge) |
|
|
|
|
|
#5 All Mirrors by Angel Olsen (Jagjaguwar) |
|
|
|
|
|
#6 Magdalene by FKA Twigs (Young Turks) |
|
|
|
|
|
#7 Jaime by Brittany Howard (ATO) |
|
|
|
|
|
#8 PUNK by CHAI (Burger) |
|
|
|
|
|
#9 Stand Tall by Jason Ringenberg (Courageous Chicken) |
|
|
|
|
|
#10 The New Adventures of...P.P. Arnold by P.P. Arnold (Earmusic) |
|
|
Here are the next ten:
11. The Comet is Coming -- Trust in the Lifeforce of the Deep Mystery (Impulse!) |
A confident Kiwanuka teamed up again with producers Danger Mouse and Inflo to further his intriguing blend of folk, rhythm and blues, and psychedelia. This album builds on its predecessor, Love & Hate, in the best possible ways. Kiwanuka’s vocals are as warm as ever, and he still conjures up wonderful melodies, while he and the producers conjure up a sound rooted in the ‘60s and ‘70s, but with a modern feel. Kiwanuka incisively writes about both personal matters and the ongoing struggle for civil rights with commitment and feeling, creating a very resonate album.
The framing device for these songs brings out the best in Woods. Using the artists that inspired her as the basis for each song leads to many interesting observations, whether they are personal to her or a commentary on the artist (which comes through loud and clear in “Miles”, for example). The music follows in the path of HEAVN, coming off as a retooling of the retro R & B of Erykah Badu and others from that era. Woods manages to be ambitious yet down to earth, with a truly unique voice, both as a singer and a lyricist.
Saadiq’s mastery of R & B, both past and present, as been evident ever since he burst on the scene in the late-‘80s with Tony! Toni! Toné!. Until now, he hasn’t really delved into social commentary. This album is his What’s Going On. Inspired by the death his brother from a heroin overdose, Saadiq looks at addiction, how it affects families, and how it has affected the African-American community at large. There are some immediate, catchy tracks, as Saadiq will always create those. But there are also some true growers here, and the more I played this album, the more of it sank in.
I always liked Cronin and his melodic power pop-adjacent indie rock. On this album, his first with a proper title rather than a number, he really ups the ante. His ear for a good melody is still there. What is different here is how visceral this album is, with some seething songs that explode, calling to mind artists like Neil Young and Dinosaur, Jr., without quite sounding like them. These songs are so powerful, with raw feelings exposed in a memorable fashion.
The progression of Olsen, from intimate, torchy acoustic songs that she kicked off her career with to the widescreen, theatrical songs on this album shows true progression. Working with producer John Congleton, Olsen has penned some emotional epics, and found some really in-your-face ways to use strings to heighten the already fever pitch emotion. Yet the album never gets strident or bombastic, as Olsen provides some balance with some more relaxed songs. It makes for a gripping listen.
Twigs has been a stand out in the world of chilly, electronic R & B, and is equally acclaimed for her innovative live performances. On her new album, she uses the biblical story of Mary Magdalene as inspiration for a cycle of songs about how the patriarchy impacts women. Moreover, she really unleashes her crystalline voice and the music moves somewhat in the direction of artists like Kate Bush and Bjork, while still faithful to her core sound. This is artier and somehow both more sweeping and more intimate. The production and sonic approach is spectacular, allowing the songs to sparkle while not losing sight of the full emotional content.
Howard’s main gig deservedly made her famous, and was, to my ears, somewhat formulaic, as so many Alabama Shakes songs seemed to solely be vehicles to allow Howard, at some point, to unleash her powerhouse vocal capability and overwhelm the song. On her solo debut, Howard, whose other projects already indicated her varied interests, reveals so many more dimensions, evoking Prince at times. There are so many variants on R & B, soul, and funk on here, married to personal songs that tackle subjects such as sexuality and race relations with depth and power. And Howard really shows her ability to tailor her singing to the song in a way that didn’t always come through in her old band.
The four women of CHAI continue to marry fizzy feminist and inclusive messages in appropriately peppy songs. The band’s second album is more pop-oriented and less guitar-focused than the debut, but some of the clear post-punk influences remain. Thankfully, they are really good at pop music too, and there are plenty of top drawer songs that are immediate and hooky as all get out. It’s fun, affirmative music that is easy to dance to.
The frontman for the legendary cowpunk band Jason and the Scorchers had been laying low for the past few years, devoting most of his musical energy to his Farmer Jason kid’s music project. Then he got a fellowship to be the songwriter-in-residence at Sequoia National Park, which got him back to grown up music. It led to this wonderful album, which is full of great story songs, some personal (Ramones), some historical (John Muir, John the Baptist), mixed with apt covers. The album mixes pure, upbeat Americana with a few barn burners that would fit well on a Scorchers album. And Ringenberg still has a drawling voice that is made to sing this material.
The woman who hit big in the UK in the late ‘60s with “The First Cut is the Deepest” saw her solo career fade quickly, but remained an in demand backing vocalist. A chance encounter with Steve Cradock (Ocean Colour Scene/Paul Weller’s band) in the ‘90s led to demos that were put aside until Cradock revived the project last year. This is a terrific album that blends ‘60s styled pop-soul with a bit of dance music, beautiful ballads, songs penned by Cradock and/or Weller, and an amazing musical rendition of a Bob Dylan poem. This album shows why Arnold is so respected in the business, as 51 years after her last album, she delivers powerful, nuanced performances on song after song.
Next entry: CHIRP Radio Best of 2019: Al Gabor
Previous entry: CHIRP Radio Best of 2019: Patrick Masterson