Article
ND Staff Picks the Best Albums of 2017
What we've been listening to behind the scenes

Put aside the dumpster fire that consumed national news this year, and you have to admit it was actually a pretty good year ... for music. After all, artists exist to comment on and respond to the world around them, and there was plenty for any artist to respond to this year.
As is par for the course in these parts, we've already shared the results of our recent readers' poll, and now it's time to share what we here at No Depression fell in love with this year. As my final task in the ND universe, I've asked my coworkers to send me their votes, and the following list reflects the results.
In the interest of keeping this digestible, I didn't have them write up every album from their lists. Albums from Curtis McMurtry, Rose Cousins, Old 97's, the Yawpers, the Wild Reeds, Kacy & Clayton, the Weather Station, Allison Moorer & Shelby Lynne, Lily Hiatt, Laura Cortese & the Dance Cards, and Shannon McAnally also bore mention, and are well worth your time and ears. But the list below captures the diversity of taste, sound, and culture that makes up not only the aural palates of our staff but also the greater world of American roots music.
Managing Editor Hilary Saunders, Assistant Editor Stacy Chandler, News/Socials Editor Brittney McKenna, Community Manager Isa Burke, Ad Sales Guru Sonja Nelson, and Print Partnerships Guru/Books Columnist Henry Carrigan all pitched in on this, as did I.
And with this, I bid adieu to you, fair readers. Thank you for the good times (and bad), all these years; for showing up for ND, both in print and online. Go get some good music -- no doubt there's some good stuff coming. I've listed the following in alphabetical order.
Aaron Lee Tasjan - Silver Tears
I will admit I'm a little bit (alt)country, and a little bit (punk)rock and roll, and Silver Tears hits my ears in all the right places. Tasjan is lyrically superb and a maniac on the guitar — swoon! ALT has a litany of musical talents under his belt, beyond being a New York Doll, and this album showcases a slew of them. (Sonja Nelson)
Darin and Brooke Aldridge – Faster and Farther
Brooke Aldridge has the most beautiful voice in bluegrass today (she won IBMA’s Female Vocalist of the Year for 2017), and she showcases her just-right phrasing and rich tone on this album. Darin’s mandolin and harmony vocals underscore Brooke’s lead vocals, weaving an enchanting spell over lovers of traditional bluegrass. Faster and Farther is a glorious celebration of their collaboration and whets our appetites for more music from the pair. (Henry Carrigan)
Father John Misty - Pure Comedy
It can get exhausting being a Father John Misty fan. The constant barrage of content following mastermind Josh Tillman's every move (no matter how serious or absurd) helps perpetuate the character — which can be fun — but also distances listeners from the actual music. But pay close attention to Father John Misty's third LP and a scathing yet hilarious still life of 2017's complexities emerges. Melodically beautiful and lyrically tragic, Pure Comedy often dips into dark comedy, but Tillman's persistent hope and romanticism keeps dedicated listeners engaged for the entire 75-minute ride. (Hilary Saunders)
Hiss Golden Messenger - Hallelujah Anyhow
MC Taylor, the brains and imagination behind Hiss Golden Messenger, has been slowly simmering his particular blend of folk and more mainstream musical styles just below the national radar for years. With this year's Hallelujah Anyhow, he delivered a collection of songs that sheds light in dark places, encouraging the listener to be grateful for even the hard times. With his warm, comfy vocals, deeply insightful songcrafting, and the deft contributions of the exquisitely talented brother team of Brad and Phil Cook — plus some backup from famous friends Tift Merritt and John Paul White — Hiss Golden Messenger unlocked a new level of artistic achievement. (Kim Ruehl)
Hurray for the Riff Raff - The Navigator
Concept albums are ambitious undertakings, and in less capable hands can yield disastrous results. Alynda Segarra, who performs as Hurray for the Riff Raff, is nothing if not capable. Her sixth full-length studio album, The Navigator, followed the journey of Navita, a young Puerto Rican woman whose home city undergoes drastic changes. The story is compelling enough, but the music, which draws from bomba, son cubano, folk, and soul, makes the album essential. (Brittney McKenna)
Iron & Wine - Beast Epic
Sam Beam told me earlier this year that he finally felt comfortable with his singing voice on Beast Epic. To me, and to many listeners, that revelation was ironic, for Beam's sixth LP under the Iron & Wine moniker sounds most like the Iron & Wine of yore. Still, comfort and confidence swell on Beast Epic and this collection of songs seems to distill Beam's long and varied musical career into a concise collection that sounds at once familiar and progressive. (HBS)
Jason Isbell and the 400 Unit - The Nashville Sound
On The Nashville Sound, Jason Isbell, along with the mighty 400 Unit, continues his streak of timely songs that are well written and well performed. It’s Jason Isbell doing his thing. But the magic is that thing breathes and lives life right alongside us, which is why it never feels stale. “White Man’s World” and “Hope the High Road” are the songs we desperately needed in 2017, but they fit in just fine alongside songs with more timeless themes, like “Tupelo” and “If We Were Vampires,” the latter of which I still haven’t been able to listen through without crying. Isbell’s gift is being able to evoke tears as well as fist-pumps with equal artistry, and here he delivers yet again. (Stacy Chandler)
Joan Shelley - Joan Shelley
The opening track to Kentucky folk singer-songwriter Joan Shelley's self-titled sixth album, "We'd Be Home," is both a welcome return for long-time fans and a fitting greeting for anyone unfamiliar with her work. Shelley's lullaby — with a lilting chorus of, "If you were made for me, we'd be home" — sets the tone for the entire work. Plus, Wilco's Jeff Tweedy and his son Spencer add gentle shading across the 11 songs, crafting shadows where Shelley casts spells and honing light when she rejoices. (HBS)
Larry Campbell and Teresa Williams - Contraband Love
On their sophomore album, Campbell and Williams illustrate why they’re now the first-couple of roots music. Campbell’s deeply rendered lyrics capture the ragged and haunting desolation of pain and loss, and Williams’ soulful, soaring voice palpably captures every nuance of pain, anger, hurt, and joy that lie in the lyrics. The power of the album comes from their ability to feel at home in any musical terrain — blues, soul, country, and rock — and to carry us out of ourselves. Their music has healing power; it’s a redemptive force that reminds us that, no matter what kind of despair we’re facing down, and going through, we’ll come out of, in their words, on “the other side of pain.” (HC)
Lizz Wright - Grace
On Grace, with piano, Hammond B3, and a swelling chorus of background singers, Lizz Wright delivers a joyous gospel-inflected version of Carolyn Franklin’s “Seems I’m Never Tired of Lovin’ You.” She captures the jaunty exuberance of Sister Rosetta Tharpe’s “Singing in My Soul,” and paints a portrait of the slow-tempo South on Allen Toussaint’s “Southern Nights.” The title track, written by Rose Cousins, offers a moving and unforgettable chamber piece in which Wright’s vocal phrasing echoes the movement of grace. Grace is Lizz Wright’s most powerful album thus far, for it encourages us to embrace our common humanity, to overcome our differences when we have recognized them, and to dwell in a place where we can live together. (HC)
Margo Price - All American Made
Sophomore slumps be damned. Nashville's spunkiest indie-country singer-songwriter returns with another album full of riffs and retorts. But on All American Made, Price's fearless commentary turns toward national politics rather than industry politics or those of the personal sort. Luckily, she tackles those issues with grace and more than a little grass. (HBS)
Mavis Staples - If All I Was Was Black
The collaboration between Mavis Staples and Jeff Tweedy was unexpected at first, when they released You Are Not Alone in 2010. But by about three minutes into that disc, it was clear that these two artists are partnered souls whose musical impulses pull something special out of each of them. And, while each effort they've delivered together has been remarkable in its own right, this year's If All I Was Was Black seemed to be the shining star toward which those other albums were journeying. It was released late in the year, which made it a tough one to truly consume so soon, but it is the musical tonic for which I've long been yearning. With all our cultural complexities and the ugliest parts of our national character exorcising themselves these days, Staples sings to us in her haunting, empowering alto: "It's time for more love." Amen. (KR)
Nora Jane Struthers - Champion
There’s a crystalline beauty to the songs on this album — every one celebrates the pleasures of loving deeply, yet acknowledges the hard edges of living. “Belief,” with Joe Overton’s wall of steel and Joshua Vana’s shimmering leads, channels Jackson Browne’s “Late for the Sky,” and the galloping “Grass” would be right at home on the Outlaws’ eponymous first album. The Party Line — the “Band Family” of one of the songs — plays a tight groove here, but it’s Struthers’ lyrics that gaze, clear-eyed, at the joyous possibilities lying latent in this tired old world. It’s past time now for a major label to sign Struthers; there’s not a better-written roster of songs out there this year. (HC)
Rayna Gellert - Workin’s Too Hard
Gellert is probably best known as an Appalachian fiddler (she's certainly one of my fiddle heroes), but hopefully this album lets the world know that she's also a great songwriter with a straightforward, deeply affecting voice. The songs borrow heavily from traditional music and they have the kind of deep, pulsing groove that only an old-time musician could create. The band (Gellert, Kai Welch, Jamie Dick, and co-producer Kieran Kane) is so tight, it's difficult to hear where each instrument ends and the next one begins. The songs are wistful and meditative, but they've got a healthy dose of grit and movement, too. Earthy, warm, and addictively groovy, this album stood up to my repeated listening, usually with a cup of coffee on a chilly morning. (Isa Burke)
Rhiannon Giddens - Freedom Highway
“Tomorrow is My Turn,” Giddens declared on her 2015 debut solo album of that title, and with the follow-up, she announced that she’s on this road to stay. Here she speaks for the silenced, from slaves to families that live in fear of police violence. Her songs and their delivery are informed by research — a path she’s said she intends to continue as a MacArthur “Genius” Grant recipient for 2017. The styles bounce from soul to Cajun to classical, reflecting the diversity of American music as well as the American experience. (SC)
Rodney Crowell - Close Ties
I sometimes play a game where I muse whether my musical heroes have a little “gas left in the tank” for another great record. In the beautifully produced, Close Ties, Crowell's proven his tank is clearly full. To me, Rodney made an album about moving forward by looking back, and all the happy and sad, places and faces, that had been long tucked away. (SN)
Ruthie Foster - Joy Comes Back
In a jubilant return — after a three-year absence — Ruthie Foster sings joyously of love, healing, and hope in this collection of down-to-the-bone soul songs. The only song she wrote for the album, “Open Sky,” expresses her willingness to be vulnerable, to open her arms to embrace whatever comes next. Its powerful beauty grows out of its simple melody and soulful lyrics. On the title track, Foster shouts out fervently, celebrating the movement from humility to bliss. You can’t listen to this album and be unmoved by the Foster’s pure musical genius and her way of singing these songs with such power and grace that they touch and change our hearts. Joy, indeed. (HC)
Sam Amidon - The Following Mountain
Sam Amidon is deeply grounded in tradition yet relentlessly innovative to the point of meta-weirdness. The Following Mountain is his first album of original songs; his prior albums contained creative reinterpretations of traditional music. This one moves more confidently in the direction of jazz, combining his rhythmically adventurous fiddle, banjo, and guitar playing along with jazz percussion and saxophone. The whole disc closes with a 12-minute free jazz piece. It's rare to come across an album so broad yet so cohesive, that effortlessly blends the oldest folk sounds with the weirdest jazz sounds, plus a dash of pop synths and drum machines. His singing ties all of these seemingly disparate sounds together. (IB)
Secret Sisters - You Don't Own Me Anymore
For a while there, it looked like the end for the Secret Sisters. After a huge splash with their 2010 debut, the follow-up fizzled, and everything seemed stacked against them. But with a nudge from Brandi Carlile, they recorded new songs that were emerging from the turmoil — and lord, what a comeback. The songs are vivid and bold, sassy and sweet, and scary and sublime. It’s a harmony-rich album (produced by Carlile) displaying the power of finding your footing, and a strong statement that these sisters are here to stay. (SC)
Sharon Jones - Soul of a Woman
Last year, 2016, was a difficult year in myriad ways, with one of the biggest blows to the music world dealt by the passing of Sharon Jones. Soul of a Woman, released a year after her death from pancreatic cancer, is her parting gift to the world — and man is it a gift. The album encapsulates so many of the qualities that made Jones not just a beloved musician but a beloved person: her compassion, her love for life, her unbreakable spirit, and, of course, her singular voice. It's a bittersweet listen for sure, but one that should have you smiling (and dancing) through your tears. (BM)
The Barr Brothers - Queens of the Breakers
On their third full-length album, the Barr Brothers (featuring core members and actual brothers Brad and Andrew Barr, and Sarah Pagé) retain their set-up of bluesy, wild, fuzzed-out guitars, percussion derived from just about anything than makes a sound when hit, and amplified harp. Whereas their self-titled debut fell more in an amplified folk tradition, and 2014's Sleeping Operator dabbled in hypnoses, Queens of the Breakers looks inward, featuring some of the best personal and reflective lyrics Brad Barr has ever written. It's an exciting evolution from a band whose sonic curiosity never ceases to amaze me. (HBS)
The Mastersons - Transient Lullaby
If there’s such a thing as Americana pop, this is it, in the best possible way. Every song on Transient Lullaby could be the smash hit of summer in a much cooler alternate universe. The writing is witty, timely, and right-on (“You Could Be Wrong” should be required listening for anyone logging on to social media), and this husband-wife duo’s signature harmonies hook your ears right from the start of the opening track and don’t let go. Viewed through the Mastersons’ lens, the world is hard but hopeful, and love takes work but is worth the effort. That kind of realism, delivered in songs both sweet and sassy, is too solid to be transient. (SC)
Valerie June - The Order of Time
About a year ago, I dragged my sickly self out of my Brooklyn apartment, stuffed my pockets with snotty tissues and cough drops, and snuck into a secret Valerie June showcase in East Williamsburg, Brooklyn. Nearly four months before this album’s official release via Concord Records, June played the majority of the album. Afterward, I wrote this: Valerie June is going to be formidable in 2017. The Order of Time shows June bucking labels without traditions; she still incorporates fiddles, banjos, and lap steels, but also adds in horns and rock-leaning percussion. That musical defiance and self-assurance, even when she’s singing songs of heartbreak and nostalgia, makes for a strong follow-up to her 2013 breakout. (HBS)
The ArtistForme...
December 26, 2017 - 10:11 am
Wait! Readers pick their "favorite albums" while ND staff picks the "best albums"?
Easy Ed
December 27, 2017 - 6:20 am
C'mon...give 'em a break. It's Kim's last post in her official capacity and maybe these are the 'best albums'. Or maybe she meant to call it 'favorites' but her fingers missed the letters on the keyboard. I've argued for years that there is no such beast as an artistic 'best' but the world is full of pundits and personalities that are convinced otherwise. So be it. Could be worse...given that the new incoming editor comes from Paste, be prepared for a 2018 NoDep with articles that have titles such as The Top Ten Best Twerking Videos Accompanied by Fiddle and Banjo Music On You Tube and other such intellectually challenging fodder. Bye Kim...really really really hate to see you go.
Jim Hunter
December 27, 2017 - 7:33 am
Paste does have a lot of inane lists...no one likes a beer anymore than I do, but when you have a list of 103 Christmas beers ranked (or Pumpkin Beers and Oktoberfests in October), and most of us can't possibly access more than about 20 of them, that's not all that helpful...Twerking to Fiddle and Banjo...I must've missed that one, but I'm sure it was there...
And I will say this Easy Ed...your comment that it can always be worse hits the nail on the head...it can, and it often is...
The ArtistForme...
December 27, 2017 - 8:25 am
Don't get me wrong I too appreciate what Kim as the steward of the ND ship has accomplished and the length of her tenure. A thankless task but the money's not great. Having said that let's hope more value is placed on the community and their contributions to site both in terms of content and ND's longevity by Hilary. And yes, it indeed could be worse.
Easy Ed
December 27, 2017 - 9:18 am
The new editor will be tasked with overseeing and making any changes to the website. If you're not familiar with PasteMagazine.com, you might want to head over to get a taste from where her past experience comes from. There is a ton of content displayed...ignore the clickbait and lists...but the functionality and design of the site is light years ahead of this one. Can't imagine she'd make a job change if she wasn't tasked for improving this scrap heap. Also, although I never have met, spoken or corresponded with her, the articles she's written show a vast knowledge of music and excellent writing. For us holdovers from times past, hang onto your hats. If I was to guess, I suspect you'll see less community involvemnet rather than a return to it, and more content from a new crop of contributors. By virtue of her not taking the time to yet reach out to those of us with active columns says a lot. I think the clock is ticking for me and the rest of us boomers.
But back to the real reason were here: this list of albums and artists is of course not 'the best' but rather a closed list of 'favorites' and for that I'm enjoying the day sampling some of those titles I haven't yet explored. What we call it and how it's decided is not germaine to the fact that music reccomendations are always welcomed by me. With hundreds of thousands of new collections released every year, it's needle in the haystack. And there are more than enough haystacks around to satisfy my thirst for exploration.
The ArtistForme...
December 27, 2017 - 11:08 am
I glanced at Paste and the broad infotainment scope was closer to People magazine than No Depression.
For example: The funniest tweets. Why you should age your white wine. Teen television is dead.
If the goal is to become more "Pastey" I propose the site's name be changed to Depression.
Jim Hunter
December 27, 2017 - 1:10 pm
I have noted before that Paste as it was orignally conceived was much different than it is now...it was, on balance, a really good music magazine, and that was almost the whole focus, and I heard some great artists for the first time on their sampler CD's, much like many of us did with samplers from Rounder or Red House...but it went to be published online only (like ND) because that was not a viable model long term apparently, and now now it is something completely different...listicles and trendy focus and eventually they started publishing quarterly again in print, like ND, so there is a similar history...I don't care for it much now, though every now and then something like the old mag surfaces on the website...I bought the first print edition...meh...not the same, though the vinyl sampler was cool...
If there isn't already a magazine called Depression I'd be surprised...
Dennis Nyman
December 27, 2017 - 12:56 pm
Mr. Clown, I like your idea of changing the name to Depression. I never understood why No Depression was picked for the orignal print magazine anyway since country (cry in your beer) music is often very depressing. Alt-country is usually at odds with mainstream country and its politics so its artists are certainly very depressed about what's going on politically in the country while some mainstream country artists are cheering on the Jerk-in-Chief. A lot of Americana artists are protesting with their music about this state of affairs so "Depressing Music" sounds about right and since misery loves company it's actually comforting to know others are feeling the same and one is not alone.
Easy Ed
December 27, 2017 - 1:04 pm
Throughout the summer of 1995, Peter Blackstock and Grant Alden sorted ideas for No Depression's first issue, taking the name from the AOL bulletin board (itself named after Uncle Tupelo's first album and the Carter Family song of the same name) that focused it’s interest on alternative country.
Dennis Nyman
December 27, 2017 - 1:09 pm
I believe I had heard something about that before--the name coming from Uncle Tupelo--but without knowing that reference, which most people wouldn't, I think it's a rather odd name for an organization that champions country/alt-country/roots music all of which comes from the blues.
Jim Hunter
December 27, 2017 - 1:11 pm
Thanks for exactly where it came from...I knew the Uncle Tupelo link...
The ArtistForme...
December 27, 2017 - 1:42 pm
I always thought it was based on the great lost Dada influenced novel "Node Pression"!
Jim Hunter
December 27, 2017 - 2:24 pm
Well yeah...that too...
Was that novel actually Dada influenced, or Sonia Dada influenced?
www.soniadada.com
Easy Ed
December 27, 2017 - 2:47 pm
Easy Ed
December 27, 2017 - 2:49 pm
This is what happens when you try to insert a video into a comment. You get two for the price of one. Innovative.
The ArtistForme...
December 27, 2017 - 3:59 pm
Just in case you were wondering you in fact can play them both at the same time giving it the classic 70's quadraphonic sound! I had a hard time getting them in sync but adding a second wireless mouse and good timing did the trick.
Now if only this doesn't double post.
The ArtistForme...
December 27, 2017 - 3:59 pm
Just in case you were wondering you in fact can play them both at the same time giving it the classic 70's quadraphonic sound! I had a hard time getting them in sync but adding a second wireless mouse and good timing did the trick.
Now if only this doesn't double post.
Jim Hunter
December 28, 2017 - 7:32 am
No such luck Mr. Mutt...you and Ed have given me double vision...and Quad audio...
Amos Perrine
December 29, 2017 - 8:47 am
During a break at the Austin Stage at MerleFest some years back when ND was in it's first print version I overheard a conversation among three folks: a 50 something man, a twenty something man, and a twenty something woman. It went like this:
20 M: (pointing at the ND banner above the Stage) "What's No Depression?"
50 M: "That's the name of the magazine that co-sponsors this stage.
20 M: "What kind of name is that?"
5o M: "It's taken from the title of the Uncle Tupelo album which is considered to be the first alt country record."
20 M: "Uh?"
50M "Which in turn took is from the Carter Family song, "There's No Depression in Heaven" that gave solace to many during the depression"
20 W: "What were they depressed about?"
Easy Ed
December 29, 2017 - 9:00 am
Rim shot.
Michael Bialas
January 18, 2018 - 9:28 am
Easy Ed, you've always been a straight shooter here. But really, since the departure of publisher Kyla Fairchild in early 2014, and the arrival of FreshGrass, No Depression's communal spirit has, for the most part, disappeared. Remember when its "vibrant group of dedicated users" mentioned here had "featured bloggers," including myself, whose year-end lists were highlighted, more participation from active members (including myself) in assembling the website's year-end list and a lot more community involvement in general?
There was a lot of appreciation shown for one's work back then, too, whether it was featured in weekly newsletters or promoted on social media. With all the content supplied over the years, much of it original work that included reviews, interviews and photos, a little gratitude shown from this recent regime would have been nice, but not necessarily expected. Now that it's impossible to even get anyone from the "editorial staff," such as it is, to answer an email, the lack of support is disappointing.
Happy New Year, y'all.
Glenn1075
December 26, 2017 - 11:57 am
Best list I have seen to date, thanks will look up Rayna Gellert as well. - Am I the only one who loved the "Americana" cd with Ray Davies and the Jayhawks? - Have not seen it anywhere?
Troy Olney
December 26, 2017 - 1:35 pm
Gill Landry's Love Rides a Dark Horse needs to be getting more love. It's a really excellent follow up to his self-titled record.
greenmountains
December 26, 2017 - 4:03 pm
The Records from Jason Isbell and the Secret Sisters really hit home for me in terms of songwriting and performance. I agree entirely about the timely writing of Isbell and how some of the songs on that record really speak to 2017. Im going to need to dig deeper on this list, but I'm excited to! Thanks for Sharing!
Ron Myhr
December 29, 2017 - 6:57 am
A low-budget online magazine necessarily relies on reader-supplied content, and needs an active community. This inevitably results in a lot of iffy content, along with the kinds of stuff that we all enjoyed in the "old days" of ND online. A move towards more of an edited presence that can build revenue (as in ad clicks) is a big risk, but when taken requires less focus on the community and a move towards a more "magazine" approach. I personally think ND has done this pretty well.
Kim has been a big part of this, and I'm sad to see her go -- I sure hope that the next slice of her life remains public in some way, because I value her voice.
But change is inevitable. The fact the new editor comes from a different-looking place doesn't mean that we're going to get a Paste replica. I appreciate Ed's note about her music knowledge and background, and remain hopeful, as ever.
As to the content of the post, I'll admit I find these curated types of list more helpful than the reader vote types. I mean, Ryan Adams? Thoughtful commentary coming from places I recognize. And Valerie June was a great find, one I found through ND.
Easy Ed
December 29, 2017 - 9:11 am
Reyna Gellert was unknown to me prior to this list. Although I try to keep on top of all new roots music albums and musicians, it’s an impossible task. I spent all day yesterday listening to her work and my life is a little better because of it. If for no other reason, and despite the poor choice of a title (imho) for this post, Reyna is now my favorite discovery of 2017. It’s times like these that I’m thankful for this website...busted and broken as it is.
Bill Dierolf
December 29, 2017 - 7:23 am
I love Silver Tears, but it came out in 2016 (late)and made my list last year.
garry
December 30, 2017 - 11:45 am
Yep. I find the inclusion of a 2016 release at the top of the staff picks particularly amusing because among the albums I had requested to be added to the Readers Poll master list were four that had connections to both late 2016 and 2017 (e.g. a CD release in 2016 and a digital or vinyl release in 2017, etc). Three of the four were rejected because of their 2016 connections. The only one they accepted was an album that had a 2016 Record Store Day vinyl release, and a 2017 CD/digital release. They agreed with me that the RSD vinyl release shouldn't disqualify an album as a 2017 release due to the limited availablity of such RSD releases. If the Tasjan album hadn't alrady been on the master list, and if I had suggested it as a part of my list, the suggestion would have been rejected by the ND powers that be. Yet there it is atop the staff picks. But still, warts and all, I always enjoy the ND readers and staff picks each year.
Bill Dierolf
December 31, 2017 - 4:05 am
The list is sorta alphabetical.
Photoman62
December 31, 2017 - 10:40 am
Whitney Rose releases 2 cds in 2017. The EP South Texas Suite and cd Rule 62. Both are worthy of the best of the year. Whitney sings Honky Tonk and Country like she is a Tennesse girl. But she is Canadian. She also incorperates the early 60's girl groups in her sound. Listen to "Be My Baby" with Raul Malo from the Mavericks and the Leslie Gore "You Don't Own Me". Both on UTUBE. You'll see what I mean