Les 10 meilleurs albums country de 2010 selon " http://www.countryuniverse.net"
#10Easton CorbinEaston CorbinWith the charisma of Clay Walker and the
chops of George Strait, Easton Corbin sauntered onto the mainstream
country music scene with a hit song that –refreshingly– name-checked
“country” in all the right ways. He needs no such affirmation, though,
as his debut album is a collection of effortlessly neo-traditionalist
songs, ripe with sincerity. It’s fair to compare Corbin to his obvious
influences, but there’s something about the natural, youthful
effervescence he brings to his music that makes it sparkle all on its
own. – Tara Seetharam
#9
Freight TrainAlan Jackson
Like an old, trusted friend,
Freight Trainis easy to take for granted – and that’s a shame, because it’s as
rousing as any of the boundary-pushing albums released this year.
Jackson returns to his signature sound on this album, sinking
comfortably into the set of twelve songs but never skimping on
emotional investment. From the smoking “Freight Train” to the exquisite
“Till the End” to the shuffling “I Could Get Used To This Loving
Thing,” Jackson reminds us that his formula of bare-bones authenticity
and quiet charm is as relevant and rewarding as ever. – TS
#8
I Am What I Am
Merle Haggard
You know what’s so great about a veteran
country star acting their age? In the process, they prove that those on
the latter end of their life are every bit as interesting – more so,
really – than the young folks that dominate all forms of media today.
Haggard’s body may have aged. His voice,
maybe a little bit. But his razor-sharp songwriting is still as potent
as ever, whether he’s writing a love song, reflecting on politics on
his lifetime, or simply telling the story of an entire life through the
house that they never got around to moving up from. The album’s title
track would’ve sounded defiant in his younger years, but today, it’s as
calm and confident a statement of self-assurance as Frank Sinatra
singing “My Way.” – Kevin Coyne
#7
The Reason WhyLittle Big TownA welcome return by the most sonically
unique act in mainstream country. Several reviews of this album have
pegged Karen Fairchild as the group’s star; I say all four members are
compelling soloists, and the real star is still the harmonies, which
imbue each song they touch with unique textures and communal warmth.
The title track or “All the Way Down” would feel like slight filler
in most artists’ hands; with Little Big Town, they become campfire
anthems. “Rain on a Tin Roof” could be a snoozer; with Little Big Town,
you actually hear the rain as the voices swell. They’re even better
when they and producer Wayne Kirkpatrick take chances with the
arrangements; check the groovy beat driving “Runaway Train” or the
swampy gospel trimmings of “Little White Church.” Continued
experimentation encouraged – though what’s here already sounds mighty
fine. – Dan Milliken
#6
Lifted Off the Ground
Chely Wright
The spectrum of
Lifted Off The Groundis wide, ranging from tender-to-the-touch to caustically honest to
brilliantly clever (the fantastic “Notes to the Coroner”) – and that
just describes its lyrics. Sonically, it’s a blast of sounds, expertly
crafted but largely diverse. In the hands of another artist, the sum of
all these mismatched parts might have been disastrous, but Wright is
the glue that holds this album together, an artist staunchly committed
to exploring her perspective, her emotions and herself, painful and
messy though the process may be. The result is an album that cuts more
deeply than perhaps anything else released this year. – TS
#5
Achin’ and Shakin’
Laura Bell Bundy
She can sing, she can write, and she’s got
as clear a point of view that shines through so clearly it’s
unmistakably her own. Much has been made of the concept album set up –
six
Achin’ ballads, followed by six
Shakin’ rockers.
But what could have been a gimmick, and certainly would’ve been with
weaker material, ends up a timely reminder of the album as an art form
in the first place.
In an era where albums are overly bloated
with more songs than there are ideas, only to be whittled down to a few
tracks cherry-picked for the iPod,
Achin’ and Shakin’ demands
to be listened to in sequence and in its entirety. Not because it’s so
deep and meaningful. Just because it’s pure entertainment. – KC
#4Welder
Elizabeth Cook
Smart, frank, audacious and sneakingly sensitive,
Welderfeels like Elizabeth Cook properly claiming the spirit of country’s
pioneering women as her own. Very much her own – who else could include
one song called “Yes to Booty” and another called “Mama’s Funeral” on
the same album and have them both totally work? It can be a bit of
tonal whiplash if you’re the full-listen-through type, but the high
quality, at least, is pretty consistent. – DM
#3
Ghost Train: The Studio B SessionsMarty Stuart
Marty Stuart is lauded for his
preservation of country music history. He’s even published a book of
photos that essentially chronicles country music. So, it’s only fitting
that he creates an album that recognizes the history of the music as
well.
Ghost Train is a crisp collection of mostly original songs
that hearkens back to the sounds of yesteryear while still managing to
sound accessible to the modern listener. The arrangements are
variations of what is generally accepted as traditional country music.
Therefore, they’re not narrowed down to a single sound, but rather, the
album represents several facets of the traditional side of country
music history.
As a result, the ghosts of country music legends can be heard on
this project, including Johnny Cash, Porter Wagoner and Waylon
Jennings. Not only are their signature sounds utilized at various
points, but Cash and Wagoner both contributed in their own ways – Cash
being the co-writer of the philosophically conscious “Hangman” (the
last song that he wrote before he died) and Wagoner being the
inspiration behind the mostly spoken “Porter Wagoner’s Grave.”
No song from this album was played on mainstream radio in 2010. However, by using mostly new and all engaging songs,
Ghost Train is a wonderful lesson on where country music came from, even as it has drastically changed over the years. – LW
#2
The Guitar Song
Jamey JohnsonThis generous 25-track album is divided
into two discs: black for the darker songs and white for the lighter
fare. While the black disc doesn’t get as bleak as some of the famously
dark material on his previous album, it still covers difficult
territory in loneliness, poverty, disappointment, heartbreak and the
other themes that make a rich country song. The best of these songs
include “Lonely at the Top” (a previously unrecorded Keith Whitley
co-write), the dark and swampy “Poor Man’s Blues”, the covers of “Set
‘Em Up Joe” and “Mental Revenge” and the desperate “Can’t Cash My
Checks.”
The white disc lightens up, but only as much as one might expect
from the mostly morose Johnson. Life still isn’t all roses and
sunshine, but we’re given relief thanks to glimpses of sensitivity,
love and reminiscences, along with comparison to a dog (“Dog in the
Yard”) and the personification of a guitar (“The Guitar Song”). The
highlight of this disc is the live recording of “That’s Why I Write
Songs”, as it pays tribute to his songwriting heroes.
As was the case with Johnson’s breakthrough album,
That Lonesome Song (one of Country Universe’s Best Albums of 2008),
The Guitar Song is
not perfect. But like it is with the man and voice who sings these
songs, it doesn’t aim to be perfect, which is the beauty of this album.
There’s no glossiness, there’s no auto tune to make a rough voice
smoother, and its purpose is neither to get people’s feet moving nor
fists pumping. Instead, we’re allowed to have some fun, but we’re also
required to face hard times and reality. – LW
#1
Up On the Ridge
Dierks Bentley
It’s admirable that Bentley took on an
artistically challenging project that plucked him out of his comfort
zone. It’s heartening that his intentions seem pure and firmly rooted
in his passion for country music. And it’s inspiring that, as a once
commercially successful artist, he’s daring the mainstream to pay
attention to his oddball project – and maybe even embrace it.
But let’s be honest: none of this would have mattered much if the result hadn’t been an album as rich and vibrant as
Up On The Ridge.
Is it bluegrass or bluegrass-flavored? Heck if I know, but it’s so
interesting -sonically, lyrically and collaboratively – that it
transcends its classification. With its progressive mixture of sounds,
voices and ideas, it strikes an intriguing balance of relevant and
reverent, and that’s
exactly what we need to move the country music genre forward. – TS
Accueil
