My 2024 Completely Subjective Top Albums List
Each year I put together my own top list—not a traditional top list, but a subjective one. These are a few of my favorite things.
What’s that? Another end of year list? Another end of year list. It was a good year for new music releases, and a busy one too. Like last year, I won’t be doing a numerical ranking—I opt for a tiered system.
Here’s to hoping that you, the reader, finds something new to jam to after reading this list.
One Sentence Honorable Mentions
Lil Dicky—Penith (The Dave Soundtrack): The court jester of rap releases a companion album to his short-lived sitcom.1
Ty Segall—Three Bells: Prolific and exacting surf/garage rock to soothe the soul.
Corb Lund—El Viejo: Underrated real life cowboy continues to make excellent twangy jams.
The Dandy Warhols—Rockmaker: A return to form for a stalwart of the alternative rock scene.
Frank Turner—Undefeated: Free from major label constraints, punk rock troubadour makes a true independent album.
Eels—Eels Time!: Mark Oliver Everett and crew churn out yet another excellent indie rock LP.
Johnny Cash—Songwriter: The man in black remains relevant—even posthumously.
Fontaines D.C.—Romance: This album probably deserves more than a one-sentence blurb.
Nick Cave and the Bad Seeds—Wild God: Another collection of dirges from the Aussie Bob Dylan.
Dwight Yoakam—Brighter Days: If it ain’t broke, don’t fix it should be Dwight’s motto when entering the studio.
The Black Keys—Ohio Players: This duo seemed to have lost their magic with another album cut like a James Patterson novel.
Ryan Adams
In a quest, maybe?, to reignite his career a bit, Ryan Adams released 5 albums in 2024. Starting on January 1, he released a tetralogy which I discussed at length here. He also finally released the elusive BLACKHOLE to mixed, but appreciative reviews—Including one here. I decided to rank all 5 in their own tier, since much of the tetralogy was recycled rather than new material, and the final release being a great album—if it were 2008. Also, none of these were covered anywhere else due to Adams being essentially blackballed by most critics, new and old. I didn’t want to mix them in to my overall rankings, so I created a standalone tier.
1985
This one is probably my least favorite of all the releases, I can see where he was going with it, but it is not as good as the first Husker Du-fueled LP, 1984. I think for him it was a fun way to blow off some steam and explore another genre. Can’t Miss Tracks: ¯\_(ツ)_/¯
Heatwave
This album did not get a ton of listening time from me, probably why it is ranked so low, but while writing this I am happy I am reexamining it. It is slightly less brash than the prior album, but has up tempo punk elements drenched in reverb. There are a few songs on there deep cut listeners will recognize from before, but polished they sound pretty good. Can’t Miss Tracks: “Mercy”, “I’m Insane (Again), “Too Late”.
Sword and Stone
This is some classic Ryan Adams work here. Little bit of Love is Hell era, some Heartbreaker, and maybe a little of the more recent sonic dabbling in the mix. I feel like this album did not get the release or the attention it deserved, but that is kind of how all of these albums are. Can’t Miss Tracks: “I Was Here”, “Sword and Stone”, “Manhattan in the Rain”.
BLACKHOLE
As I stated in my review, I had already heard the bulk of this LP due to a series of demos that had been passed around certain circles for years. This “lost” album did exist, but this final released version is bereft of one of the best, and officially released prior to, tracks, “Disco Queen.” I was still happy to see that it got a proper release, but someone needs to get this guy a proper sound engineer stat. Can’t Miss Tracks: “The Door”, “Catherine”, “Call Me Back”.
Star Sign
This LP is a great successor to 2014’s self-titled. It even has a couple of songs that sound straight out of the Ashes & Fire sessions. I rated it at the top because it is my favorite to listen to front to back. Can’t Miss Tracks: “Star Sign”, “Tomorrow Never Comes”, “Speeding Car”, “Stay Alive”.
Decent Releases
Records in this tier are decent, maybe stream it, I wouldn’t buy it, or I didn’t buy it. You may discover something new here—and you may even like it more than I do.
Blackberry Smoke—Be Right Here
Even though I don’t laud or worship Dave Cobb the way many do, especially after he worked with Oliver Anthony, the production and work on this album is top notch. Blackberry Smoke is a band that I think gets unfairly lumped into a “southern rock” box. They are so much more, and this album shows it. Lots of soulful hooks and grooves. It will have you tappin. your feet for 40 rockin’ minutes. They are coming to Williamsport in February and I am thinking I might go. Can’t Miss Tracks: “Hammer and the Nail”, “Little Bit Crazy”.
Gary Clark, Jr.-JPEG Raw
JPEG Raw is an acronym for Jealousy, Pride, Envy, Greed, Rules, Alter Ego, Worlds. That is quite a mouthful. Clark, Jr. is somewhat of an enigma because most of his albums feature an eclectic mix of genres, blues, blues rock, country, R&B, soul, gospel, etc. This album is no different, and after one listen you can hear the unfiltered artistry. Can’t Miss Tracks: “Hyperwave”, “Triumph”.
Marcus King—Mood Swings
Marcus King is another great bluesman who does not liked to be locked into a box of being just a bluesman. Most of his albums run the range of blues rock, soul, little bit of jazz, and country. Mood Swings is no different because it features the type of musicianship one can expect from King, but this album gets down into the nitty gritty when discussing mental health. It goes to show that King is both a great musician and writer. Can’t Miss Tracks: “Me or Tennessee”.
Old 97’s—American Primitive
When I first heard this album from alt-country stalwarts, I thought “huh, sounds like a bit of power pop influence in there.” Sure enough, there is a bit of jangle in those guitars. Not only that, but they do what they have always done best—make solid alt-country tunes. Can’t Miss Tracks: “Falling Down”, “Honeypie”.
Orville Peck—Stampede
The masked cowboy returns with an album of collaborations and covers from artists he admires. While some of the tracks shine, I found it to be hit or miss. Peck has a fairly unique set of skills that he puts on display each and every album, Stampede is no different, but it just doesn’t have quite the same kind of repeat listening power as his prior LPs. Can’t Miss Tracks: "Cowboys Are Frequently, Secretly Fond of Each Other".
Osees—SORCS 80
Garage rock holds a special place in my heart and the Osees have been doing it quite well for a number of years now. On this album band leader and brains, John Dwyer, decided to meld together that same brash garage rock sound with some purely electronic impulses. He eschewed instruments for samplers in most cases blending a unique futuristic sound, but with a lo-fi aura. Can’t Miss Tracks: “Blimp”, “Lear’s Ears”.
Kendrick Lamar—GNX
Kendrick Lamar, in my opinion is the only rapper worth listening to anymore. Ever since Kanye lost his damn mind, Lamar has been the only rapper making good music for awhile now. Surprise dropping this great album a few months before he is set to perform at the Super Bowl while Drake resorts to filing a lawsuit after getting torched in their rap beef was a master stroke for the best rapper alive. Can’t Miss Tracks: “Wacced Out Murals”, “Heart Pt. 6”.
Zach Bryan— The Great American Bar Scene
Zach Bryan is becoming kind of guilty of sounding exactly the same all the time. While he is a prolific writer, and the lyrics on this album continue that tradition, he probably could have cut some of the tracks that have that element of repetitiveness in them. This one doesn’t quite hit the same as last year’s self titled LP, but it still has its moments. Can’t Miss Tracks: “Mechanical Bull”, “Sandpaper”, “Memphis; The Blues”.
Better But Not Best
This tier contains albums that I listened to a lot, but not as much as the cream of the crop. Maybe I bought it on vinyl, maybe its in a cart somewhere, or maybe I added it my Discogs wantlist.
Waxahatchee—Tigers Blood
On her last record, Katie Crutchfield, clearly matured as an artist. That’s not to say her prior work was bad, but it was kinda typical bland indie rock that didn’t do much, if anything, differently. She released this album this year and I remember listening to it constantly in March when it came out because it is just so damn good. It still has those bland indie hallmarks here and there, but the lyricism and melodies set it apart just enough to be an album of note. Can’t Miss Tracks: “Right Back To It”, “365”.
Khruangbin—A La Sala
Every time I hear music by Khruangbin I wonder how such a big sound can be made by such a tiny little trio. All three artists in this band have such mastery of the subtleties of their chosen instrument that when it all comes together magic is made. Can’t Miss Tracks: “A Love International”.
Mark Knopfler—One Deep River
One of the reasons this album made it to this tier and not the prior one is that I love Mark Knopfler. I have always been a fan of his guitar work and songwriting. It’s always consistent and doesn’t venture too outside of his wheelhouse. That being said, this album is safe like that, it demonstrates his godlike guitar chops as well as his honest and straightforward songwriting. Can’t Miss Tracks: “Before My Train Comes”, “Ahead of the Game”.
Hermanos Gutierrez—Sonido Cósmico
While this duo may be an acquired taste for some, they have been one of my favorite groups for awhile. Sometimes you just want some expansive spaghetti western space cowboy shit to listen to while you work. Much like Khruangbin above, these two brothers create a big sound from just two guitars. Give it a listen, you wont regret it. Can’t Miss Tracks: "Abuelita", "Cumbia Lunar", "Luz y Sombra".
Bright Eyes—Five Dice, All Threes
While not the Conor Oberst of old, this Bright Eyes album mixes the emotion with a bit of grizzled veteran-of-life kind of feeling. I was hesitant to give it a listen because I feel like Conor has variated between very not sober to sober in short sprints that feels somewhat self destructive at times. This newer Bright Eyes era focuses a bit less on the whiny heartbreak songs of my youth and on more mature and relatable human condition problems. Can’t Miss Tracks: “El Capitan”, “All Threes”.
Father John Misty—Mahashmashana
Almost missed this one when it was released! This is a return to form for Father John Misty. He explores some of the same themes of religion, mortality, and soul-searching that he always has, but he is the master of turning a phrase and matching it to melodies so rich and vibrant, sometimes you just wanna get up and dance—despite the subject matter. Can’t Miss Tracks: "I Guess Time Just Makes Fools of Us All", "She Cleans Up", "Josh Tillman and the Accidental Dose".
Dawes—Oh Brother
Another artist with another return to form. This album just missed the next tier by a hair. However, it is nice to see Dawes back to writing songs that stick to their folk-rock roots. This has the occasional soft rock jam on it as well, but I haven’t been this excited about a Dawes album since 2011’s Stories Don’t End. Can’t Miss Tracks: “Mister Los Angeles”, “House Parties”.
S Tier—The Cream of the Crop
These are what I consider to be can’t miss records released in 2024. You should go to wherever they sell physical music and buy these records, stream if you must, but just know that $0.003 per stream is peanuts and Santa is watching.
Johnny Blue Skies—Passage du Desir
Sturgill has done it again. Only this time he did it under a different name. This album is a tight 8 tracks of classic sounding country rock. I wrote for Saturday Spins not long ago that I think he left it purposely short to leave us wanting more. While much of the album gives a the vibe described, the lyrics explore some sadder themes regarding heartbreak and longing. Give it a deep listen. I feel like Sturgill got a little lost in the weeds with The Ballad of Dood and Juanita, but this album returns to that early High Top Mountain and Metamodern Sounds in Country Music sound. Can’t Miss Tracks: All of them.
Jack White—No Name
I am loving this new old version of Jack White, releasing an unapologetic garage rock album reminiscent of his early days, barnstorming around the country playing tiny venues with his big band sound—tickets going on sale days and hours before the show. It’s no wonder this album has made it to the top of nearly every end of year list I have seen, it is endlessly repayable and I would hail it as an instant classic. White’s last few solo efforts have been good, and sometimes great, but the experimentation sometime got in the way. This, another return to form, suits him well. Can’t Miss Tracks: All of them.
King Gizzard & The Lizard Wizard—Flight b741
KGLW are at their best when they are genre-jumping and, while they have done boogie rock before, it was not an entire album. Many of you on Notes have probably seen me gushing about this album all the damn time. Hopefully my endless blathering resulted in you giving it a listen. I even have my daughters wanting to hear this one front to back nearly every day. This band always collaborates well in one way or another, but this album sees each and every member participating on vocals in virtually every song. Do yourself a favor and jump on this bandwagon ASAP. Can’t Miss Tracks: All of them.
Here is another shameless plug for subscriptions. Rather than go with a pay to read model, I switched to pay if you want. As an added incentive, other than the writing and supporting the Stack, I am giving away some sealed vinyl box sets and other ephemera worth exponentially more than the cost of a yearly subscription—read all about it here. As always, thanks for being here either way!
It’s actually a pretty funny show.
I also enjoyed the Khruangbin - Hermanos Gutierrez parley.
i really like the way you broke the list down in tiers! and i felt similarly about the Gary Clark Jr. album. it was enjoyable, but didn’t rank for me.