11 for ‘11: A Critic’s (Very) Subjective Picks

I first heard much of this material early last year, live. I thought, and wrote, at the time that if the record was as strong as the live material, it could be IBMA’s album of the year. It was.

This album has everything you could want: Top-shelf picking, the best harmonies on the festival circuit today and terrific writing. For my money, the very best here are Joe Newberry’s Singing as We Rise and Leigh Gibson’s Safe Passage. But there’s not a filler song in the bunch.

Nearly a year after its release, Help My Brother is still in heavy rotation in my CD player.

This one, because of contest deadlines, should get big-time attention for IBMA album of the year for 2012. It’s all here – strong harmonies, masterful arrangements and incredible picking, including the best resonator guitar playing on the planet by Rob Ickes.

Bluebird Days has been getting a lot of spins, but for my money, one of the strongest songs is “Heather and Billy,” co-written by Steve Gulley and the band’s own Tim Stafford. This true story about foster parents is a great tune AND it makes you think.

I warned you I live in big tent. Individually, these guys are all monster pickers. Together, they’re even better. Is it bluegrass?

Not by most traditional definitions. But it’s bluegrassy, and it’s outstanding music. I’m sure many Yo-Yo Ma fans will be scratching their heads when they listen to his project, which is classified as “classical” by Sony. They’re just have to get over it, too.

But seriously, if you’re a hard core bluegrass traditionalist who is willing to buy just one album that is outside your comfort zone, make it this one.

Conversely, if you’re new to bluegrass – maybe brought in accidentally by the Goat Rodeo Sessions or stumbling across the genre while following Steve Martin – you can find a full dose of tradition on Prime Tyme, from Russell Moore and IIIrd Tyme Out.

Listen to If Your Heart Should Ever Roll This Way Again and Pretty Little Girl from Galax, and you’ll understand why Russell is IBMA’s reigning male vocalist of the year.

If bluegrass music had an all-star team, you’d find many of its members on this stellar project – Claire Lynch, Dale Ann Bradley, Steve Gulley, Missy Raines, Rob Ickes, Alison Krauss, Jim Hurst, Josh Williams, Stuart Duncan, Alan Bibey and more.

All 13 songs came from Louisa’s prolific pen (along with a host of co-writers).

This gem, from the reigning female vocalist of the year, is filled with surprises, from the title cut co-write with Pam Tillis to her live solo performance of Old Southern Porches.

Steve Gulley’s harmonies are an added treat. Now that he’s a permanent member of Dale Ann’s band, we’ll get to hear even more of them. (And maybe somebody could talk them into putting together an album of duets!)

Alison is a masterful interpreter of other people’s songs, as she demonstrates once again on this cozy album. Exhibit A is Jackson Browne’s My Opening Farewell.

Exhibit B is British folk rocker Richard Thompson’s Dimming of the Day.

Another of my big tent choices. I can’t get enough of this Asheville, N.C.-based band. The old-time mountain sound of Anya Hinkle’s voice may rub some folks the wrong way, but I love the raw emotion, especially when paired with Stacy Claude’s sublime harmonies.

Band members crafted most of the songs, and the writing, across the board, is some of the best of 2011. Musically, the band is strong, too, driven by Aaron Balance on resonator guitar.

For a taste, listen to State of Jefferson. Then buy the whole thing.

Nobody tugs on the heartstrings quite like Larry. For proof, check out There’s More That Holds This Picture, and Picture Me There.

This is another strong collection of songs from the master.

A stellar debut. Kati’s voice would carry any band. But here, she’s one of four talented lead singers sharing lead duties, keeping things fresh and exciting. The band is tight, too. Seems obvious to me that Newtown will get some backing for emerging artist in this year’s IBMA voting.

She’s been on stage for so long, it’s easy to forget that Sierra is just 20 years old. She plays like a wizened veteran on this solid record, and her singing and writing are coming along nicely, as she repeatedly demonstrates here.