SPEW pronounces the 21st-30th best albums of 2017. Shazam!

21.    Wire – Silver/Lead (Pink Flag)

          Wire are one of my staples, consistent and consistently surprising: https://spewrocks.blogspot.com/search?q=wire

22.    John Murry – A Short History of Decay (TV)

         And then I wrote … https://spewrocks.blogspot.com/search?q=john+murry

23.    Whiffs – Take a Whiff (High Dive)

          I liked it then https://spewrocks.blogspot.com/search?q=whiffs … I like it now. 

24.    Aldous Harding – Party (4AD)

Not that anyone asked, but if Aldous Harding reminds me of any of her contemporaries, it’s Cate LeBon. They both have this striking ability to swing from the confidential to the bel canto stentorian more than once over the course of an album. Harding’s songs, mostly accompanied by her guitar and piano, are koan-like without being obscure. Harding uses space deftly, yet her spare arrangements sound full, partly because her voice is so personal and pre-possessing. I’ve seen Party described as everything from alt-country (she’s from New Zealand) to Goth. And I guess it’s all true, Harding’s songs and performances are declarative without being rigidly defining; she makes room for you in these songs - It’s a skill, people. 

25.    Low Cut Connie – Dirty Pictures 1 (Contender)

Were the cake as good as its ingredients Low Cut Connie would be the saviors of rock n’ roll. Not quite, their composite of Stones, Jerry Lee, and ‘Mats only occasionally lives up to its lineage. But close gets a cigar because these Philly believers are pretty damn good. On this, their fourth album, Low Cut Connie dig deeper, get more soulful, and even show a working class embattled patriotism, providing roadhouse kicks and something almost like vision. 

26.    Kevin Morby – City Music (Dead Oceans)

Kansas City kid, Kevin Morby moved to New York right after he got his GED. With Cassie Ramone from the Vivian Girls he formed the Babies, a refreshingly, unaffected rock band that released two albums. Going solo in 2013, City Music is his fourth solo record, and his best. Recorded with his live band it’s a compelling mixture of introspection and sinewy rock that Lou Reed would have enjoyed for its sly intelligence. 

27.   Courtneys - II (Flying Nun)

These three women sound like a Flying Nun band, veering between power pop and buzzing shoegaze, complete with breathy female vocals floating on the band’s bed of distorted, jangly guitars. A Vancouver band recording for the New Zealand label, the Courtneys measured pop aggression is more market friendly than most of the Nun stable because the Courtneys drive the groove home. Singer and drummer Jen Payne sings about infatuation and heartbreak and the usual ‘girl group’ emotional menu, but the band powers these songs well beyond twee. 

28.    Endless Boogie – Vibe Killer (No Quarter)

The concept almost seems like a joke. Endless Boogie = Blues Hammer. Ha ha ha. But these guys, who all started jamming at the record store in Brooklyn (can’t remember which one), take the most searing parts of Canned Heat’s “Endless Boogie” and the Stones’ “Midnight Rambler” (the sped up part, all wailing harp and guitars) and jam on their facsimiles ad infinitum. You’d be excused for thinking that sounds dull. It’s actually strangely mesmerizing. This is their third album, featuring the closest thing to tunes they’ve arrived at yet, without sacrificing the drone-buzz that stoner rocks you into nirvana. 

29.    JD McPherson – Undivided Heart and Soul (New West)

I gave JD’s first two records a little more respect. His first was a co-number one, his second a top ten record for Reverberations, my older blog. This is a really good record, good writing, inspired performance, and maturity that occasionally slides into mannerism. Such are the perils of excellence, if this were the first thing I ever heard by McPherson I’d think it was amazing. And it kinda is. 

30.    Joan Shelley – s/t (No Quarter)

When an artist goes the self-titled route for a fifth album it suggests either a lack of inspiration or a belief they’ve done definitive work. It’s safe to say that the latter applies in the case of Joan Shelley. Jeff Tweedy’s attentive, but unobtrusive production focuses on Shelley’s guitar playing and riveting vocals. Hers is a voice that’s ice and fire, a Yankee emotional analog to the incomparable Sandy Denny, with a similar emotional range, her songs expressing romantic isolation, romantic gratitude, and most points in between.