Country Perspective will be posting multiple best of albums lists this year to recognize the staggering amount of high quality album releases in 2020. It will ultimately conclude with Country Perspective’s Top 10 Albums of 2020, which will reflect all genres and crown this blog’s top award, Album of the Year.
Today the list-mania concludes with Country Perspective’s Top 10 Albums of 2020. When determining the top ten albums of the year, a number of typical factors you expect are evaluated for this. But in addition I also factor in aspects such as entertainment, long-term replayability and just general enjoyment. In fact I would say these factors are the most important over your other stereotypical factors. Most importantly things such as cultural impact or how it fits within the scope of 2020 do no play a factor in this. Lighter, “fun” albums are given equal artistic merit to your typical album of the year-type records. At the end of the day, this is just what I consider great music and the very best of what this year had to offer across all genres. So without further ado, here are Country Perspective’s Top 10 Albums of 2020:
Now I expected this album to be good. Sturgill Simpson’s love and appreciation for bluegrass has always shined through. But man I did not expect this album to be this good. The melody on this album is so damn infectious, making old songs sound completely new and giving real vibrancy to his previously unrecorded Sunday Valley songs. Simpson is clearly in his element on Cuttin’ Grass – Vol. 1. He takes to bluegrass like a duck takes to water. Who knows what direction he will go on his fifth and supposedly final studio album and who knows when he’ll release Volume 2 of Cuttin’ Grass. In a tumultuous year, the best thing to do is sit back and enjoy this wonderful surprise from Simpson.
Starting Over is what it says it is: it’s Chris Stapleton hitting a reset button on expectations. It’s him indulging in all of his influences and putting them all on display. It’s a reminder of who he is as an artist, even though this may not sound much different than what he’s released before. But again the expectations have to be kept in check because an artist’s image is more important than many listeners and reviewers realize. I think Stapleton realized he needed to reiterate who he sees himself as with this album. It’s him quietly and not so quietly voicing his displeasure at the world around him too. But really Stapleton does what he’s always focused on doing with his music on this album: making good music with no expectations. And that’s the best kind of music.
This album is full of soaring production that lives up to it’s album name while also giving it a fresh, modern feel. The songwriting focuses around love, excitement and just pure joy. To me it’s one of those albums that if you love pop and disco music, it’s impossible to come away not smiling. Minogue meant for this album to be enjoyable escapism and DISCO is absolutely phenomenal in this regard.
Benny The Butcher gives you everything you want out of an excellent album and then some with Burden of Proof. The lyricism, production, the features and the themes are all flawless. He delivered so many great albums before this, but with this record he reaches a whole new level of greatness in my mind. It’s the realism and genuineness that shines through in Benny The Butcher’s work that’s quickly making him one of the best in the game, especially when so many in hip hop chase and promote the fake image he speaks out against throughout this album. Of course this isn’t an issue just in hip hop, as every genre struggles with the balance of reality and fantasy, as well as roots and tradition versus new school thoughts and ideas. If one becomes more lopsided, things go haywire. And Benny does such a good job of keeping this in mind with his music. As he says in the final track on the album, he’s ready to be a legend now. This album more than proves this high claim.
With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.
Ashley McBryde delivers exactly what I had hoped for and then beyond with Never Will. She leans heavily into her natural heartland rock sound and combines it with traditional country to create an album I will remember for a long time. The songwriting is brilliant and varied, running the gauntlet of emotions and most importantly I think Ashley McBryde delivers a flawless presentation of flawed characters. They’re never framed as likable, but real and as they are, which can be hard to get behind as a listener. But just like Sturgill Simpson’s SOUND & FURY, it can be understandable to not want to listen to music about such real and flawed characters, songs where there are no heroes even. For me though this is the music that is truly intriguing and has a lasting impact.
The best surprises are not what you want, but what you need. Tyler Childers’ surprise album Long Violent History is a record we needed. Who would have predicted an Appalachian country album filled mostly with old fiddle standards would end up being one of the best albums of 2020? But that’s exactly what Tyler Childers delivers with Long Violent History. It’s eight great instrumental songs with beautiful and thoughtful melody packaged around one of the most powerful, well-written songs of this generation. Tyler Childers writes himself into the history books with this album.
Dedicated Side B is yet another pop masterpiece from Carly Rae Jepsen. I can’t believe how she just continues to blow me away with fantastic project after fantastic project. Once again she’s showing her “B material” is better than many artists’ A material. Every song on this album is enjoyable and shows why she is one of the best pop artists in music today. Jepsen won Country Perspective’s 2019 Album of the Year with Dedicated and she’s putting herself in the unprecedented position to win it again in 2020 to make it back-to-back. It’s simply incredible.
There could not be more of a stark contrast between Sunday Drive and Brett Eldredge’s previous album. It’s simply night and day. Every moment on this album is absolutely enjoyable. The lyrics and production could not shine and compliment each other anymore. The reflecting theme of finding optimism and wisdom in times of trouble and uncertainty is brilliantly inspiring. Brett Eldredge has never sounded more energized and is at his absolute best on this record. There’s no other way to put it: Sunday Drive is a phenomenal album and it’s the best country album of 2020.
And Country Perspective’s 2020 Album of the Year…
After Hours is a phenomenal achievement by The Weeknd. This album is a rich, cinematic experience of love, losing it, fighting to regain it and ultimately reaching the realistic conclusion of realizing that it’s lost. The production team absolutely nails every emotion on this album and takes the lyricism to a whole new level. The juxtaposition of the breezy, mixed cocktail of genres (R&B, pop, hip-hop, dream pop, 80s) feels perfect on this album of frenetic, dark emotions that permeate throughout it. There wasn’t a more complete album released in 2020 than this one. Every aspect of this album is in sync with each other in driving the overarching story while each song excels on a microlevel too. Every time I listen it’s truly enjoyable to re-experience the story being told and the excellent production that permeates throughout.
Thank you for reading Country Perspective in 2020! I hope you all have a safe and happy holidays!