The 9513 Staff Picks For Top 10 Albums of 2008

Staff

Click a name or scroll down to view that staff member’s top ten.

• Brady Vercher
• Brody Vercher
• Jim Malec
• Kelly Dearmore
• Ben Cisneros
• CM Wilcox
• Karlie Justus
• Juli Thanki
• Pierce Greenberg

Brady Vercher, Editor

10. Trouble In Mind, Hayes Carll
After having released a couple of prior albums, 2008 was the year Hayes Carll finally inserted himself in the best-of-the-year discussion with the release of the charming Trouble In Mind, an album featuring witty banter and sly observations that are entertaining if nothing else.

9. 12 Ounce World, Rodney Hayden
Rodney Hayden has the advantage of knowing what he wants to do and just doing it. He doesn’t worry about whether or not the song will be a hit, and it’s that clear vision that shapes the songs on 12 Ounce World. Even utterly ordinary material, like the title cut, is elevated by Hayden’s simple delivery. But the album earns its keep on the strength of the cuts that are anything by ordinary. At a time when country music is facing an identity crisis, Hayden’s music knows exactly what it is, and Hank, Cash, and Haggard are still identifiable in his songs.

8. Rattlin’ Bones, Kasey Chambers & Shane Nicholson
Rattlin’ Bones veers into the abstract a little too often, but there’s no denying the harmonies of Chambers and Nicholson, nor the melodies and insight as the husband and wife team blaze their own trail.

7. Father Time, Hal Ketchum
Hal Ketchum’s contribution may have been one of the most overlooked of the year. Father Time exhibits the occasional flaw, but the album is unparalleled in both variety and depth of material. Ketchum tackles difficult topics with aplomb, especially considering these tracks were laid down on tape without the benefit of the plethora of digital post-production enhancements. The sentiments expressed on Father Time run the gamut from shocking to humorous to heartfelt, with entertaining stories and spine-tingling moments interspersed.

6. The Life Of A Song, Joey + Rory
Sometimes the best things happen by chance. Such is the case when it comes to the combination of Joey Martin and Rory Lee Feek. It’s hard to imagine a duo like this would stand a chance in the current Nashville climate without the benefit of a show like CMT’s Can You Duet? to expose their talent. Despite missing the mark on occasion, The Life Of A Song rarely fails to be interesting or entertaining.

5. The Good Life, Justin Townes Earle
Instead of attempting to follow in the footsteps of either of his namesakes, Justin Townes Earle came out with a sound all his own, drawing from forgotten country sensibilities to lay the groundwork for a career that no one should ignore. He’s crammed more hard livin’ into his 25 years than most, and has enough talent to put the majority of his Nashville contemporaries to shame.

4. Sleepless Nights, Patty Loveless
Covers albums typically don’t deviate far from the standard formula, and while Loveless doesn’t stray too far here, what she’s accomplished with Sleepless Nights is a cut above. She balances the mixture of well known standards and less heralded cuts, leans heavily on country tradition without sounding dated, and faithfully follows original interpretations while occasionally mixing things up. These are performances worth owning even if you have the definitive recordings.

3. Ralph Stanley II, This One Is Two
Upon initial listen, This One Is Two may not sound like it has much to offer. Ralph Stanley II’s voice isn’t exactly polished, nor is the production slick, but what Stanley lacks in technical proficiency he more than makes up for in character and emotive ability. On a song-by-song basis, it’s hard to beat the selections on This One Is Two.

2. Dailey & Vincent, Dailey & Vincent
Dailey & Vincent don’t strive to achieve anything groundbreaking on this album–it’s just straight up bluegrass with mostly ordinary songs. And while normally that might adversely affect the quality of an album, the striking manner in which they masterfully perform this collection of songs elevates it to another level. The vocal and instrumental performances throughout the album are excellent and the harmonies and timing are nearly perfect.

1. Coal, Kathy Mattea
Kathy Mattea has taken a collection of songs that stood well on their own when released previously and molded them into her greater thematic vision to tell the story of coal mining families and a brief history of coal mining itself. It’s a heavy bit of material that doesn’t pull any punches.

Brody Vercher, Editor

10. Sounds So Good, Ashton Shepherd
Too many of the songs on Sounds So Good settle for mediocrity, costing her a higher spot on this list, but that should be remedied with time, making Shepherd a formidable force in country music for years to come.

9. Passion, Pride, and What Might Have Been, Amber Digby
Digby lends her vocals to some not-so-standard songs from the catalogs of legendary country artists by the likes of Tammy Wynette, Loretta Lynn and Buck Owens, and while I’m not generally a big fan of straight-up cover projects, it’s impossible to ignore a singer as affecting as Digby.

8. 12 Ounce World, Rodney Hayden
12 Ounce World is an all-out indie effort that out performs most mainstream releases. Here we find Hayden leaving behind the comfort of the co-writes that dominated his first three albums to unleash an album of songs mostly written by himself ["That's How Long (My Love Will Last)" was the only co-write this go-around]. It’s a shame he’s not more well known, but as he continues to progress it’ll only be a matter of time before he’s recognized.

7. The Good Life, Justin Townes Earle
Much has been made of the younger Earle’s pedigree and namesake–fortunately, he’s smart enough to realize that relevance associated with namesake and pedigree is fleeting, and thus he’s turned in a solid debut that’s traditional without sounding old and relatable without being brainless–something that will pass that test everyone is always talking about.

6. The Life Of A Song, Joey + Rory
Joey Martin’s luscious vocals lift the few mundane tracks on The Life Of A Song into listenable territory, but the album soars when the quality of the writing aligns with the shimmering beauty of Martin’s voice.

5. Trouble In Mind, Hayes Carll
Carll’s third album and Lost Highway debut can best be described as mischievous, sentimental and remorseful with a sense of humor and a wry Texas drawl.

4. Rattlin’ Bones, Kasey Chambers & Shane Nicholson
Rattlin’ Bones doesn’t quite hold together as a complete album, but you’d be hard pressed to find a stronger collection of songs that could stand on their own.

3. Dailey & Vincent, Dailey & Vincent
Many new artists naively believe they have what it takes to become the next superstar without the requisite splinters of experience. And while new bluegrass duo Dailey & Vincent might not be shooting for superstar status, at least as far as mainstream country is concerned, they’ve followed the time-tested, and once prominent, practice of apprenticeship. Only years served under the tutelage of bluegrass greats could have given them the experience required to release an album of this caliber. It’s a stellar debut of blistering breakdowns and tight harmonies. And the best part? They’re just getting started.

2. Coal, Kathy Mattea
The past 12 months witnessed several cover projects, but none were as well-planned and cohesive as Kathy Mattea’s concept album that revolves around a black combustible mineral substance consisting of carbonized vegetable matter–more commonly referred to as coal. It’s easy to pass Coal off as dry and monotonous, but after repeated listens clear the dust away, the diamond shines through.

1. This One Is Two, Ralph Stanley II
The strongest aspect of Stanley’s album is his choice of songs. He opts for those that stand up well in the construct of the genre and complement the layman nuances of his voice rather than the disgustingly positive material that has hijacked country radio.

Jim Malec, Managing Editor

10. The Foundation, Zac Brown Band
Zac Brown Band’s major label debut showcases a surprisingly honest and direct songwriting voice. Once we move beyond the album’s catchy and well-executed (but nonetheless topical) “life is good tracks” like “Toes” and “Chicken Fried,” we find an album that is full of soul, and one that digs deep into love and loss, at times revealing characters who are in a state of reverie while at others those who are mired in heartwrenching despair. The Foundation is one of the year’s most unexpectedly satisfying debuts.

9. The Life Of A Song, Joey + Rory
Joey + Rory’s The Life Of A Song is notable for the way the husband and wife duo seamlessly blend their voices together, and also for the often startling strength of its material. It is most notable, however, for its vulnerability–a trait seriously lacking from most contemporary country music (mainstream and otherwise). Joey sings about her man’s obsession with the rodeo with a desperate weakness and about her grandfather’s stories with a child-like charm, and her ability and willingness to completely open herself up and allow us to see the most private parts of her emotions sets her uniquely apart as a vocalist.

8. Love On The Inside, Sugarland
We can only hope, as Sugarland’s Kristian Bush gently plucks a melody from his six-string, ushering in Jennifer Nettles’ low, emotive twang and the Dobro that subtlety underlines “Very Last Country Song,” the stunning ballad at the end of Love on the Inside, that the song’s title is a misnomer, and the duo will be writing country songs for a long time to come. (JM from American Songwriter, Sept/Oct).

7. 12 Ounce World, Rodney Hayden
Written, produced, recorded, and released by the artist and his band, Rodney Hayden’s homespun 12 Ounce World is a truly independent project in every sense of the word. And who needs a high-powered record label or a big recording budget when you can make music like this on your own? A brilliantly mixed album that is underlined throughout by the standout guitar work of bandmate Matt Slusher, Hayden’s latest is one of a rare breed, so good at certain points that it’s easy to forget you’re listening to the songs of a regionally successful Texas act and not a country music legend.

6. Tennessee Pusher, Old Crow Medicine Show
Old Crow Medicine Show is often classified as a bluegrass band, but that classification fails to speak to the group’s unique and exploratory sound. Built on bluegrass sensibilities to be sure, Tennessee Pusher draws from folk story-telling traditions and alt-country musical settings to tell the tales of rural America’s poorest and most downtrodden. And even a non-user can relate to a song like “Alabama High Test,” which deals with the awareness, dismissal, fear, and consequence of knowing that you’re doing something wrong or dangerous and choosing to do it anyway. Tennessee Pusher may be an album that talks about drug use, but it is an album that speaks to the human condition.

5. Call Me Crazy, Lee Ann Womack
Aside from the handful of moments when Womack’s musical discipline falters and she falls into songs that brush against feel-good pop country, like on the album’s least engaging track “I Found It In You,” Call Me Crazy is a brilliant country album that finds Womack soaring to new heights vocally. She does so by reeling in some of her penchant to push and prod at a song’s seams; here she stays snugly within the vocal pockets carved out by these starkly traditional numbers, a fact which allows the nuance and character of her voice to really shine. Call Me Crazy is a detail-oriented, delicately produced album on which Womack’s singing is absolutely phenomenal. Truly a vocal masterpiece–perhaps one of the most well-sung albums put forth by country music’s current generation.

4. Bulletproof, Reckless Kelly
Bulletproof is exceptionally pleasing. Reckless Kelly has delivered a sonic masterpiece with tracks perfectly constructed so as to give each instrumental nugget enough space to glow, without causing the whole to sound overly sparse. It’s rare to find an album where every track is a winner, and this is one–the whole clings together tightly and holds your attention for the duration. And while it’s not entirely country, it is an example of just how good country rock can be when it’s done right.

3. Highway Prayer, Twilight Hotel
Easily the most overlooked album released in 2008, Canadians Brandy Zdan and Dave Quanbury, whose music teeters between modern folk and old-school country, write with a narrative voice that is beyond their years or expierience. Highway Prayer is a phenomenally restrained album that features one of the years best country songs, “Impatient Love,” as well as “Viva La Vinyl,” one of its grooviest and most quirky. It’s difficult to say for sure where the line between Americana, Roots, Folk and Country exist in today’s musical environment, but Highway Prayer has a foot in each without ever being completely or even predominately bound to only one. Hard to define but easy to love, Highway Prayer deserves your attention.

2. This One Is Two, Ralph Stanley II
This One Is Two is an album filled with heaven, hell, the road, trains, honky-tonks, Mama, longing for home, a little bit of love and a whole lot of heartbreak–all parts which make up the heart of country music. It is not an album for the post-Idol crowd–those people who say they like country, as long as it’s not too twangy; those people who say they like country as long as it’s not slow and sad; those people who say they like country, so long as it’s not too, well, country. And I’m exceptionally thankful for that because it is, nonetheless, a remarkable record–one made for those of us who not only appreciate but crave all of the above.

1. Rattlin’ Bones, Kasey Chambers & Shane Nicholson
Chambers and Nicholson strip country music down to some of its most elemental roots on this stunning and unapologetically gritty collection. Here is country music the way it was meant to be, a satisfying exploration of the coarseness of the human condition and the sweetness of redemption. Supported by acoustic foundations and blending a stark, sparse traditionalism with hints of bluegrass, Rattlin’ Bones is a country music masterpiece.

Kelly Dearmore, Podcast Editor/Host

10. Meet Glen Campbell, Glen Campbell
Reaching out of one’s range, and even generation, can be tricky (and dumb). Campbell reaches out and turns songs from others into his own with this impressive collection that shows he still has a golden voice.

9. Country Jam, Eleven Hundred Springs
Mix Bakersfield Boogie with Texas Twang and you get a big ol’ heapin’ helpin’ of Country Jam.

8. Sings Murder Ballads and Disaster Songs, Charlie Louvin
Don’t call it a comeback. Louvin, who has influenced generations of greats, has returned to remind everyone why those artists revered him so.

7. The Life Of A Song, Joey + Rory
What a surprise to see actual talent come from a “talent” show. Sweet vocals and excellent teamwork that should keep them in the spotlight for some time to come.

6. Comal County Blue, Jason Boland & The Stragglers
Perhaps the best example of why Texas Country is just that–country. (No Red Dirt required.)

5. The Foundation, Zac Brown Band
ZBB joins Ashton Shepherd, Jamey Johnson and even Joey + Rory as examples of how the mainstream can still be unique, credible and authentic.

4. Sounds So Good, Ashton Shepherd
Why can’t mainstream country embrace this young gun and make her the star she should be?

3. Bulletproof, Reckless Kelly
More rock than country, no band sings of life on the road or the search for truth with more conviction and grit than Reckless Kelly.

2. Trouble In Mind, Hayes Carll
Comparisons to Guy Clark and Townes Van Zandt are fair, but also are limiting to Carll. His sharp wit and even sharper writing is as evident in his rockers as they are his softer tunes.

1. Rattlin’ Bones, Kasey Chambers & Shane Nicholson
Touching, heartbreaking, clever and spiritual. No CD was played more by me this year.

Ben Cisneros, Correspondent

10. Waylon Forever, Waylon Jennings
Waylon Jennings’ “last album”–he recorded the vocals with his son Shooter 13 years ago–is a well executed concept from start to finish. Shooter and his band bring some heavy rock grooves with touches of the psychedelic soul that mark his own recordings, and Waylon’s vocals are authoritative. Whether moaning laments on the re-interpreted, and essential, version of “Outlaw Shit,” or his deliberate, funky take on “Waymore’s Blues,” Waylon Forever is a fitting last stand for Waylon Jennings, and finds him once again being better than just about anybody else in the country music game.

9. Silver Dollars, Axton Kincaid
Portland/San Francisco-based band Axton Kincaid is tough to classify. The band’s vocals have the charming self-awareness that characterizes modern indie folk, they flirt with old-timey harmonies, they play honky-tonk tunes, and they have some really smart rock arrangements. No slouches in the songwriting department either, the band gives us more than a few great ones on this record. But I think what I like the most about Silver Dollars is how new and modern it sounds; that and how excited Axton Kincaid seem to be playing their music. This is smart, often very touching, but always really pleasing and engaging country music. I really dig it and can’t wait to here what they do next.

8. The Life Of A Song, Joey + Rory
Joey + Rory’s The Life Of A Song walks a fine line. Despite ideas to the contrary, it is a mainstream country album, albeit a curious one, and even with the tremendous talent and vision that Joey + Rory displayed on this record, they couldn’t avoid including more than a few songs that are just way too silly. Even so, the good songs on The Life Of A Song are some of the best that mainstream country has produced this decade, and the bad ones still feature the two qualities that separate this record from the herd; tasteful, musical, and gutsy sparse arrangements, and Joey Martin’s incredibly focused, intent, and beautiful vocals.

7. Love On The Inside, Sugarland
With Love On The Inside, Sugarland released what was, by a longshot, the best Nashville corporate “country” album to come out this year. There is just no denying their ability to write infectious, exhilarating acoustic-ish countrypop that avoids pretending to be more significant than it is, and as such, doesn’t insult the audience’s intelligence. They are cutesy, and too fun, to be sure, but they are completely enjoyable, legitimately clever, and the music just works on every level it sets out to. Nettles is likable by a mile as a vocalist, and actually shows off some real chops on this record. Plus, they have a talking blues number about Steve Earle–how rad is that?

6. The Good Life, Justin Townes Earle
Justin Townes Earle wants to save country music–and he seriously might. The Good Life is a charming and impressive debut that finds Earle making the old new again. He has a distinct and smooth baritone with a touch of twang, he has a firm grasp on the rhythm of language, and he’s bold enough to play his mix of honky-tonk, riverboat folk, and pop music with no apologies. It’s young, old, smart, simple, and is almost surely going to mark the start of an impressive and impactful career. A really beautiful record.

5. The Tejas Brothers, The Tejas Brothers
Another very impressive debut, The Tejas Brothers’ eponymous release introduces to the world a focused band that knows exactly what it wants to be, and knows exactly how to be it–definitely to the listener’s delight. Following in the footsteps of the groups like the Texas Tornadoes and Los Lobos, The Tejas Brothers play tex-mex honky-tonk that has all of the emotion of the best classic country and Mexican music, while having a distinct roots-rock edge. It’s great to dance to, great to sing along with, and it is such a joy to listen to. Every note is soulful, it’s not pretentious in the least, and they are an extremely talented group of guys–what more could you ask for?

4. Sings Murder Ballads And Disaster Songs, Charlie Louvin
As one half of the famed Louvin Brothers, Charlie Louvin is one of the most important figures in country music’s history, and on this record he tackles a slew of murder ballads and disaster songs. The material is some of the most striking that country music has to offer, and the record was incredibly well-produced. The final element–Charlie himself–is in stunning form, singing smartly and soulfully, wringing pain and regret from these tragic lyrics like the true master of the art that he is, despite not having access to the vocal range he used to. This album is a master class in country music vocal phrasing.

3. Damn Right, Rebel Proud, Hank III
Damn Right, Rebel Proud is an indispensable ass-whooping of a record. Even when he’s reserved, Hank III is so straightforward with his nihilism and feelings of alienation that the material reads like a beatdown. His once prettier voice is now honed by years of abuse into a piercing nasal growl, and every track finds him fighting-mad and deadly serious. The record is, at times, unfocused, and he makes strange creative choices, but his choices are so strong, so definitive, and so evocative, that even when they don’t “work,” they are notable for shining a light on the artistic spirit of one of the most underrated and ostracized country music singers in the business today. This is a record that kids will be listening to 15 years from now.

2. Passion, Pride, and What Might Have Been, Amber Digby
Real, hardcore, well-done country music–though scarce–isn’t obsolete. Amber Digby’s excellent record Passion, Pride, and What Might Have Been proves it. The album finds Digby tackling songs that were originally performed by artists such as Mel Tillis, Loretta Lynn, Buck Owens, Melba Montgomery, and Johnny Paycheck, among others, and, with this record, she boldly proves that not only is she a talent who belongs in their ranks, but that this kind of music–the real stuff–still speaks clearly and rings true in the present day. This is a completely uncompromised record that really raises the bar for female vocalists who’d like to be called “the best.”

1. Country Jam, Eleven Hundred Springs
Eleven Hundred Springs is the best band in country music, and their absence from “the big show” is a crime. Country Jam is a supremely well-balanced record that is both varied and consistent; simply put, every element of it works. The production is accessible while still being exciting, the musicianship is superbly tasteful from start to finish and the remarkably sweet tone of Matt Hillyer’s voice–as well as the level of control with which he uses it–sets him apart as a singer. Meanwhile, the record is full of songs that are instant classics which smart live honky-tonk bands all over the country should be covering. Country Jam is not simply an homage to the past, nor is it a bold move in a new direction–it strikes the balance that great country music always strikes between being a damn good record “right now” and being one that is going to remain listenable and relevant indefinitely.

CM Wilcox, Contributing Writer

10. 12 Ounce World, Rodney Hayden
Hayden’s voice has some of Robert Earl Keen’s twangy whine to it, but the arrangements are straight-up, sawdust-stirring honky tonk shuffles. This is country like George Strait used to make it–sometimes better.

9. Around The Bend, Randy Travis
For the health of the format, it’s best that Randy Travis show up every few years to remind everyone else of how it’s done. Here he does just that, applying his well-weathered, almost impossibly expressive baritone to the strongest set of material he has assembled in this century.

8. Call Me Crazy, Lee Ann Womack
If you want proof of Womack’s dyed-in-the-wool traditionalism, hear the way her voice drips regret and sorrow even on the honeyed pop confections here. She’s an exceptional country singer regardless of the material handed to her, but becomes damn near unbeatable when hooked up with stone-cold traditional numbers like “If These Walls Could Talk” and Jim Lauderdale’s “King of Broken Hearts.”

7. Bulletproof, Reckless Kelly
Call it country or call it rock–Bulletproof is just outstandingly smart, hooky, hard-charging music that kicks off in high gear and doesn’t let up. Braun and the boys have never sounded more confident.

6. Coal, Kathy Mattea
The real highlight of this set is the strength of the narrative presence, with Mattea providing the voice of truth and compassion that binds together these disparate tales of life in the mines.

5. The Good Life, Justin Townes Earle
Earle the Younger has a remarkable gift for crafting songs that sound like they predate him and delivering them in a simple, unaffectedly retro style that’s as believable as it is charming.

4. Sleepless Nights, Patty Loveless
It hardly seems fair that Patty Loveless should deliver another career record just seven years after 2001’s Mountain Soul, but the always-estimable singer can’t help but astound when paired with some of the finest country songs ever written. The album’s subtitle–The Traditional Country Soul of Patty Loveless–is no mere marketing catchphrase: Loveless bares it all, offering a bit of herself in every syllable.

3. Trouble In Mind, Hayes Carll
Carll’s album mines the rich interior life of the traveling troubadour and barroom loser, finding room for remarkable expressions of regret, humor, and self-understanding. Handling rollicking rockers and reflective ballads with similar proficiency and his trademark wit still very much intact, Carll is one of the finest young singer-songwriters working today.

2. The Life Of A Song, Joey + Rory
Country radio programmers could do worse than to clear a permanent spot for Joey + Rory on their playlists. On their debut disc, the duo (wife Joey Martin on lead vocals and husband Rory Lee Feek on harmony) deliver fetching renditions of solidly country songs that stir up memories of everything that used to be good–and occasionally still is–about mainstream country music.

1. Rattlin’ Bones, Kasey Chambers & Shane Nicholson
She has been recording for years, but Chambers was little more than a blip on my radar until this fantastically gritty acoustic set, with husband and fellow artist Nicholson, became my musical epiphany of 2008. There’s an indefinable magic in the combination of their voices.

Karlie Justus, Contributing Writer

10. Burn Your Playhouse Down (The Unreleased Duets), George Jones
Country music’s top vocalist of all time shines here on duets with two of the leading ladies of his life: ex-wife Tammy Wynette and daughter Georgette Jones. It’s not as representative of Jones’ recording career as its predecessor The Bradley Barns Session—an all-time favorite record of mine—but gems like the album’s title track make it unique.

9. Trouble In Mind, Hayes Carll
Although Carll may be best known for “She Left Me for Jesus,” the year’s best collection of drinking songs also delivers one of the best lyrical lines from its cut “A Bad Liver and a Broken Heart:” “Does anyone care about truth anymore/Maybe that’s what songs are for.”

8. Passion, Pride, And What Might Have Been, Amber Digby
It’s hard to believe Digby is only four years older than Taylor Swift, because the albums each put out this year couldn’t be further apart. Digby’s album is pure, unadulterated country music that serves as a near-perfect tribute to the work of traditionalists like Johnny Paycheck, Mel Tillis and Loretta Lynn.

7. Waylon Forever, Waylon Jennings
Shooter melds his loud, rocking style of outlaw music with his father’s iconic voice and persona. It’s a cool addition to the Waylon recording library that’s worth buying if only for the masterful reworking of “Don’t You Think This Outlaw Shit’s Done Got Out Of Hand.”

6. Around The Bend, Randy Travis
After a string of bluegrass and gospel albums, it’s good to have Travis back doing what he does best: using his voice’s unique timbre to relate the full spectrum of emotions of country love songs. The strong variety of material on Around The Bend doesn’t disappoint.

5. Sleepless Nights, Patty Loveless
Loveless sings George Jones, Conway Twitty and Webb Pierce songs from a female perspective the way I’ve always related to them in my head. A cover album is a cover album is a cover album, but Loveless’ traditional authenticity makes her the top female vocalist of the past 20 years, and her many strengths are able to shine here.

4. The Wrights, The Wrights
There’s something about a husband and wife duo that brings an entirely new authenticity to the songs it sings about love and heartache. The only downfall of the abbreviated EP is that it only gives listeners eight songs of The Wrights’ sweet harmonies. Here’s hoping to more from this pair in 2009.

3. Sounds So Good, Ashton Shepherd
The female version of Jamey Johnson is a refreshing counterpoint to today’s pre-packaged reality show robots. Her snapshot of what rural America really looks (and sounds) like—sometimes rough around the edges, sometimes sweet, but always real—is also a good description of the singer/songwriter herself.

2. Call Me Crazy, Lee Ann Womack
Tammy Wynette’s rightful successor is the spokeswoman for honky-tonk glamour, and Call Me Crazy’s songs about failed marriages and barroom booty calls almost make me wish for a cowboy-with-mommy-issues of my own.

1. The Life Of A Song, Joey + Rory
The duo’s debut album is a continuation of the quiet confidence that placed the pair in the top two acts of CMT’s Can You Duet? competition. There’s not an overproduced note to be found and each song’s organic, effortless delivery speaks to the couple’s country courtship. In a year in which pop-infused music ruled the radio, the traditional roots of The Life Of A Song makes it the best country album of the year.

Juli Thanki, Contributing Writer

10. Asking For Flowers, Kathleen Edwards
Badass Canadian roots rocker Kathleen Edwards is back after nearly a three-year hiatus with some of her strongest—and most politically conscious—songs to date. Her lyrics have the ability to flay the skin from your bones (“The Cheapest Key” finds Edwards snarling “A is for all the times I bit my tongue/B is for bullshit and you fed me some”) or send tears rolling down your cheeks (“Alicia Ross,” the true story of a murder told from the victim’s point of view). Best of all, at only 30 years old Ms. Edwards has a bright future in front of her in the alt-country scene.

9. Sings Murder Ballads And Disaster Songs, Charlie Louvin
Perhaps the most controversial choice on my list, Charlie Louvin’s album of murder ballads and other uplifting songs is simply a great record from a living legend. His high lonesome voice has disintegrated over the past six decades into a geriatric warble, but it suits these eerie classics just fine.

8. The Lonesome Dirge, Rodney Parker and Fifty Peso Reward
Rodney Parker and Fifty Peso Reward is the band that Reckless Kelly wishes they could be. Alt-countrified covers of Bruce Springsteen and Kinky Friedman join well-written originals reminiscent of Fight Songs-era Old 97’s, only better. Though The Lonesome Dirge is definitely a country album, it’s sure to appeal to rockers as well.

7. Honest For Once, The Doc Marshalls
It’s a damn shame that a band this good is self-releasing their albums. The Brooklyn-based Marshalls are Americana’s greatest unknown band, mixing accordion-heavy Cajun music with Parsons-esque alt-country to create a sound both unique and infectious.

6. Keep On Walkin’, The Grascals
This bluegrass quintet is at the top of its game with Keep On Walkin’, a traditional bluegrass album that mixes quality originals, bluegrass standards, and classic Waylon Jennings and George Jones songs covered high lonesome style. Know someone who’s strayed from the bluegrass way? This might just be the album that brings him back into the fold.

5. Modern Hymns, Darrell Scott
This record is incredible, and although Scott is one of the best songwriters in the business today—having wrote “You’ll Never Leave Harlan Alive,” “Long Time Gone,” and myriad others—it’s nice to hear him using other people’s words for a change, giving classic songs new life with a rootsy edge.

4. The Good Life, Justin Townes Earle
He’s got a lot to live up to, bearing the names of two of the best country songwriters to walk the earth. And considering he wasn’t even old enough to rent a car when this album was released, Justin Townes Earle has displayed jaw-dropping talent on his first full-length release, an incredible blend of classic country, blues, and prewar folk. Earle is releasing another album in the spring of 2009; if it’s half as decent as The Good Life, the new year is looking mighty good already.

3. Around The Bend, Randy Travis
Though his recent spate of gospel records wasn’t half bad, it sure is nice to see Randy Travis back to recording (mostly) secular straight-up country music. Around The Bend is Travis at his very best.

2. Call Me Crazy, Lee Ann Womack
Womack is hands down the best female singer being played on commercial country radio these days. She’s got pipes like you wouldn’t believe, a knack for picking—and co-writing—strong material, and a traditionalist bent that will hopefully serve as a gateway drug to pop-country fans. “Everything but Quits,” her collaboration with George Strait, is destined to become one of country music’s classic duets.

1. Rattlin’ Bones, Kasey Chambers & Shane Nicholson
The Australian husband and wife duo knock it out of the park on the first pitch with Rattlin’ Bones, an album with tracks that range from Gram-and-Emmylou style duets to bluegrass-tinged oldtimey gospel. Though both Chambers and Nicholson are accomplished solo artists, clearly this record is worth more than the sum of its parts.

Pierce Greenberg, Contributing Writer

10. Sounds So Good, Ashton Shepherd
Ashton Shepherd took a chance on Sounds So Good, a self-written collection of songs that span all the emotions you want to feel from a country album. The production is straight-forward country (even if it’s sometimes a little too polished) and Shepherd gives a voice to free-thinking women throughout the country with “Takin’ Off This Pain,” “I Ain’t Dead Yet,” and “Not Right Now,” all of which exude a sophisticated type of redneck feminism.

9. Keep On Walkin’, The Grascals
Bluegrass’ golden boys didn’t get as much press or hype for Keep On Walkin’ as they did their for two previous albums, but the best entertainers in bluegrass didn’t need big name help from Dierks Bentley or Dolly Parton to put together an excellent album. Keep On Walkin’ features country covers like “Choices” and “Today I Started Loving You Again,” as well as new songs like “Remembering,” the “In Color” of bluegrass. The pickin’ here is pristine, and Terry Eldredge adds his great high lonesome sound to every tune.

8. Angels & Outlaws, Aaron Watson
It’s only a matter of time before someone from Nashville tries to get on the phone with Aaron Watson. Or, hopefully, they already have–and he has respectfully declined. Watson has been making solid country music on his own for quite a while, and Angels & Outlaws is a generous offering of 14 songs that are diverse but not lacking substance. Dig in and enjoy some cowboy songs (“Hearts Are Breaking Across Texas”), trucker songs (“Breaker Breaker One Nine”) and love-makin’ songs (“Love Makin’ Song”). Also, there’s nothing better than that festive orgy of Texas country stalwarts joining together on “That’s What I Like About a Country Song.”

7. X (Ten), Trace Adkins
Despite an unimpressive slew of singles over the past several years, Trace Adkins’ latest release, X, erases all bad memories of “Got My Game On” and “Swing.” And that’s no easy feat. The album is a well-balanced mixture of contemporary fare (“Marry for Money”) and new risks (“Til the Last Shots Fired”). Adkins’ voice is consistent throughout the album and precisely evokes the emotional crossroads between sorrow and frustration in “I Can’t Outrun You,” one of the best tracks of the year. X is easily one of Adkins’ top releases.

6. Dailey & Vincent, Dailey & Vincent
Jamie Dailey and Darrin Vincent both have extensive resumes working with the some of the best in bluegrass history, which makes it no surprise that their self-titled debut album is stellar. Dailey & Vincent rarely step outside of their traditional bluegrass territory, and they don’t need to. This is the perfect album for a Sunday morning.

5. Troubadour, George Strait
After 27 years in the business, George Strait still knows how to please his fans. Troubadour has a fair mix of old George songs (which could fit on any album he’s released) and new George songs (the not-as-good songs). Luckily, there’s mostly old George here, shining with “Troubadour,” “House With No Doors,” and “Make Her Fall In Love With Me Song.” Even when new George rears his head, he can make average tunes like “I Saw God Today” and “River of Love” sound interesting. Strait clearly has as good a grip on today’s country as anyone else out there.

4. Randy Rogers Band, Randy Rogers Band
Randy Rogers Band has been one of the most consistent acts in country music this decade. Surprisingly, though, their latest self-titled major label album didn’t receive much fanfare or critical acclaim, making it quietly one of the year’s best. Rogers is the master of melancholy, lending his vocals to lonesome tunes like “Lonely Too Long” and the heartbreaking “In My Arms Instead.” Somewhere, Waylon is smiling.

3. Call Me Crazy, Lee Ann Womack
After her short, but successful, foray into pop-country, Lee Ann Womack came back in a big way with There’s More Where That Came From in 2005. She’s back again, in a bigger way, in 2008. Call Me Crazy is a thoughtful arrangement of mellow but ardent songs, and there is simply nothing better than the emotive vocals on “Last Call,” “Solitary Thinkin’,” and “I Think I Know,” and Tony Brown’s jazzy, old-school country production just adds to Womack’s mature mystique.

2. Comal County Blue, Jason Boland & The Stragglers
Jason Boland & the Stragglers, like Lee Ann Womack, just continue to follow up a great album with another great album. Bourbon Legend was one of the top releases in 2006, and Comal County Blue plays the same role in ’08. Between the fight for sobriety in “Bottle By My Bed” and the fight for justice in the political “Sons and Daughters of Dixie,” these Midwest troubadours show a great deal of diversity in the topics they cover. Throw in a tasty duet with Robert Earl Keen on “The Party’s Not Over,” and you’ve got one of the best albums of the year.

1. Around The Bend, Randy Travis
Travis clearly put the time and effort into making the perfect album, and he came closer than anyone else this year. There is absolutely no slack here, and no hints of trying to cut corners. The writing, production, and vocals all mesh together with ease, the end result being the quintessential country album of 2008–if not the millennium.