January: Weezer – The Teal Album
Other than all the massive concerts I had tickets to this year, (Weird Al, Queen + Adam Lambert, Elton John, etc.) my musical hype for the first two months of the year, new release wise anyway, was the fact that Weezer would be releasing the long-awaited Black Album in March. Little did I know, Weezer ride-or-dies would receive an entire album to hold us over until March 1. An entire album of covers, that is.
Without any kind of notice, The Teal Album dropped on the 24th. This tribute to the bands that came before Weezer opened with their practically identical, yet groundbreaking cover of Toto’s Africa, following ear worms from the 60s-90s. Tons of these have become memes online, and if you know Rivers Cuomo…yeah. Happy Together (The Turtles), Take On Me (a-ha), Mr. Blue Sky (ELO), and No Scrubs (TLC) are some of the key moments on it. Everything above, as well as Brian Bell singing lead vocals on Black Sabbath’s Paranoid.
February: Dream Theater – Distance Over Time
This album gave me so much respect for Dream Theater to be honest. Metal’s not really my forte, but man do these guys have it. Excellent production, some intense guitar licks, and the mix of genres in the songs is perfect. Practically every song is as hard as the next, but you know, that’s just metal. Although, Jordan Rudess’ keyboard playing on Out Of Reach would be an ideal slow dance for metalheads. To me, anyway
March: Jon Anderson – 1000 Hands
Since I already did Weezer’s surprise Teal album for January, just to keep it diverse, I’m not gonna talk about Black. Instead, let’s dive into one of the most distinctive voices in prog’s new solo album that was almost 30 years in the making.
Jon Anderson’s material outside of Yes, be it with Aphrodite’s Child’s Vangelis, or solo, sound nothing like 1000 Hands. The songwriting sounds just like a normal Yes record. They don’t make immediate sense, but there’s meaning behind most of the lyrics. He mixes in modern beats with strings, sitars, and of course, those trademark Anderson harmonies. And don’t get me started on the album’s personnel. Jean-Luc Ponty, Robby Steinhardt, Ian Anderson, and Rick Derringer, just to name a few, play on the album. Even members of Yes’ classic lineup, including the late, great Chris Squire, made contributions, which causes Jon to want a final reunion with as many original members as possible. He hasn’t lost it; and it doesn’t sound like he’s going to anytime soon.
April: The Cranberries – In The End
My final summer vacation was on the horizon when the remaining members of the Cranberries released their final album, which was being recorded when Dolores O’Riordan died last year. In terms of sound, it sure doesn’t feel like a swan song, yet it’s a bit eery that there are songs on there about death. The production is so incredible, and has darker harmonies, yet much lighter and more fun melodies than Cranberries albums past.
“It’s all an illusion, this is my conclusion for now.” RIP Dolores.
May: Little Steven and the Disciples Of Soul – Summer Of Sorcery
I saw these guys in concert last summer, thinking that this would be the closest I’d ever get to seeing Bruce Springsteen and the E-Street Band. Little Steven put out an album two years ago, Soulfire, which was his first solo record in almost 20 years. He must have loved it so much, he did it again.
What’s amazing is that unlike on Soulfire, he actually wrote every song on here, and the Jersey vibe isn’t on every song. Party Mambo! may have those horns, but the bongos in the back differ strongly from anything like he’s done.
June: Bruce Springsteen – Western Stars
June was a hard month – I almost left my job, until I got an incredible promotion, being bumped all the way from cleaning crew to pastry cook. And how do you start a new adventure? With new music from The Boss, of course! Western Stars, his first new music in 5 years, is a solo album with orchestral elements throughout every single song.
I absolutely adored the movie companion, but really wish Bruce would play some shows to promote this album – I’ve never seen him live. And also, Chasin’ Wild Horses is one of his most relatable pieces yet, which is probably why I see it as the most melancholic on the album. It tells of “being up before sunup, on after sundown,” and living without expecting something new, or higher to come along. I felt that way about my job for a long time, hence why honestly, I haven’t felt such a lump in my throat over Springsteen since the first time I heard Racing In The Street. Think of this to be styled after Nebraska, crossed in a Western setting, with an orchestra present.
July: Ed Sheeran – No. 6 Collaborations Project
Six days after I turned 18, Teddy released another collaboration project. I totally shamelessly love everything Ed has released, so this was an incredibly exciting announcement to hear. The technical side makes it sound more like the radio pop that we heard on Divide, rather than the soothing, yet rambunctious acoustic guitar on X back in 2014. Sure, there were rap and autotune elements, but Ed still actually sang on everything. Even I Don’t Care (feat. Justin Bieber) wasn’t a terrible song. Though I gotta say, I’m still pretty livid that there was no Snow Patrol collab. They toured together for God’s sake!
August: Lana Del Rey – Norman Fucking Rockwell!
Every time I hear a new Lana Del Rey song, I ask myself how she does it. In an era of autotune and inauthenticity, there’s only her raw talent, along with her heart and soul, coming out of her records. Her latest album makes me ask that question all over again, and with more passion. It honestly took me a minute to tune into Lana’s latest work. I honestly regret it, because I think Norman Fucking Rockwell! is her best album, front to back, since Honeymoon. I was fascinated by the all-over-the-place synth section at the end of Venice Bitch, and the jump to the brief, yet sudden, guitar backup on The Next Best American Record. Basically, my final analysis is as follows: If this is the beginning of a new era for Lana, count me in!
September: The Lumineers – III
This one was basically The Lumineers trying a rock opera, in their own Denver style. Divided into three parts, this is probably their most personal work, featuring songs about addiction and depression, in the eyes of three people. Almost reminded me of Snow Patrol’s Wildness from last year, which was about Gary Lightbody’s alcoholism, and father’s (who unfortunately passed away a week or two ago) diagnosis with dementia. I really hope to catch the band when they tour this album next year, and then some. The Lumineers have only been around for a few years, and as far as I’m concerned, III is only the beginning!
October: Ringo Starr – What’s My Name
I’ve got a lot to say about this album. This time next year, Ringo will be 80 years old. Eighty! It’s a wonder he still makes music. His latest release is most certainly an improvement from 2017’s Give More Love. The only complaint I have about the record is his cover of Money. Ringo’s voice is in better shape than McCartney’s, in all honesty, which is why I feel that RoboRingo, as my friends have called him, was not needed to recreate the rockabilly classic. But if you push that aside, and pay attention to his collaboration with McCartney, the John Lennon penned Grow Old With Me, and pretty much all the rest of the album’s tunes, there are hardly any flaws. By the way, his name is Ringo.
November: Jeff Lynne’s ELO – From Out Of Nowhere
The second consecutive release from probably the most authentic reincarnation of the Electric Light Orchestra has the exact same sound and production that the original band brought to the light. According to Jeff Lynne, the lead single, which shares a title with the album was inspired by where the idea to release another album came from. Also included is Time Of Our Life, which tells about the group’s 2017 gig at Wembley Stadium. It’s a pretty big accomplishment to sell Wembley out the way they did. I caught them live in Tampa with Dhani Harrison the day after my eighteenth birthday, and I’m almost certain that Jeff and the guys weren’t the only guys having the time of their lives at Wembley.
December: The Who – WHO
No doubt in my mind, Pete Townshend and Roger Daltrey have both still got it. But it’s hard to call this a Who album, the same way it’s hard to call 2006’s Endless Wire a Who album. Would you call an album with just John Lennon and Paul McCartney a Beatles album? Anyway…there are some real hard rockers on here. Ball And Chain throws it back to older days, sounding somewhat close to the material on A Quick One.
Hero Ground Zero is the highlight of the album for me – Pete actually took advantage of the orchestras he’s currently touring with, and blended them into the background. I caught them live this year too, where they actually gave us a sneak peek of the two mentioned. Considering the fact that this is the first Who album in 13 years, I wouldn’t be surprised if this is the last one. If it is, in fact, the end of Pete and Rog’s recording career together, they’re not going out with a whimper.
Honorable Mentions:
Weezer – The Black Album
Tom Petty and the Heartbreakers – The Best Of Everything: The Definitive Career Spanning Hits Collection
Sheryl Crow – Threads
Snow Patrol – Reworked
Bruce Springsteen – Western Stars OST
Rocketman OST
Neil Young And Crazy Horse – Colorado
Leonard Cohen – Thanks For The Dance
“We’ve got one more song for you, and then we’re gonna let some fine folks who came a long way play some music…” was how opening act Rototiller closed out their set, because they knew that the electrifying next, and last, act of this bar show were not only out-of-towners, but highly anticipated ones in the local rock community.
Josh Bradley Live 