The year in music 2024: New music edition

Here are my rankings of the best new music I listened to this year — and some old stuff, too

With the caveat that ranking music is dumb, but also that I’m the first dummy to click on any kind of music rankings every time, here’s how I heard 2024.

This is one of two pieces I did on music in 2024 — the other one is ranking of the shows I saw.

I listened to more new music in 2024 than I had since I was in my early 20s, but there’s more out there than I can ever listen to, so I stuck to what came into my radar. Also — another caveat — my opinion is just that. There was no scientific formula to these rankings and I’m no more qualified to rank this music than you.

(There’s also an explanation of the new Substack name and log at the bottom if you were wondering about it).

The end goal of rankings is to spark discussion. Please comment below if you have thoughts or your own rankings.

NEW MUSIC

These rankings look considerably different than they did when the Ridiculous Rock Record Review hosts took a poll about a month-and-a-half ago (sorry, guys). But I had time to dig in and give it more thought.

Top 10

1. Million Voices Whisper, Warren Haynes — I’m blown away by this album’s beauty, warmth and emotional punch. Stylistically, it’s all over the place. At times there's a Tedeschi Trucks feel (Derek Trucks plays on three of the songs), but with Haynes subbing in for Susan Tedeschi. There are a couple songs that could fit on a Govt. Mule album, some funk, a little jazz, some country, blues … but mixed together in a stew of 10 great songs. This was my favorite album of 2024 by a significant margin. STANDOUTS: “These Changes,” “Real, Real Love,” “Hall of Future Saints” — ⭐⭐⭐⭐½

2. Passage du Desir, Johnny Blue Skies (Sturgill Simpson) — Simpson returned from an absence with a sad album about loss and relationships, but it’s a good collection of songs and it sparked what turned out to be the best concert tour of the year (more on that in the concerts rankings). It’s well-done musically, though lacks the passion the songs are performed with live, and there’s some slightly annoying vocal production. But there isn’t a bad song. STANDOUTS: “Scooter Blues,” “Jupiter’s Faerie,” “Mint Tea” — ⭐⭐⭐⭐

3. Be Right Here, Blackberry Smoke — This one will always mean a lot because it’s the last album recorded with drummer Brit Turner, who died this year. But it’s also a great-sounding, well-produced album (there’s a reason everyone wants Dave Cobb). It’s a record with songs safely in the band’s comfort zone. But “Azalea” is among Charlie Starr’s most-inspired lyrics, and “Little Bit Crazy” will be a concert staple for the life of the band. STANDOUTS: “Dig a Hole,” “Azalea,” “Little Bit Crazy” — ⭐⭐⭐⭐

4. $10 Cowboy, Charley Crockett — A traditional country record exploring several different eras and often leaning into a classic soul sound on the best songs. In fact, often I wish he’d leave some of the country behind and lean more into soul-blues. But this album is a lot of fun and while Crockett may not dig deep with his lyrics, he does a great job of painting a picture with his songs. Standout songs: “$10 Cowboy,” “America,” “Getting Tired Again” — ⭐⭐⭐⭐

5. Mood Swings, Marcus King — King went a different direction for this album, going toward a more classic soul/R&B sound from his usual bluesy rock sound. It works, though Rick Rubin’s production is hit-and-miss in its effectiveness. The vinyl version cuts “This Far Gone,” which is among the album’s best songs. King bears his heart and it hopefully gives some comfort to those struggling with mental health issues. STANDOUTS: “This Far Gone,” “Me or Tennessee” — ⭐⭐⭐¾

6. Happiness Bastards, The Black Crowes — A divisive album among the fan base. The production is a little too polished (kind of like By Your Side) and the songs could be given a lot more room to breathe. While there are no all-time classics, it’s a good collection of songs and both Chris’ voice and Rich’s riffs sound great. I feel like they have better albums in them, but it’s still nice to have new music. STANDOUTS: “Cross Your Fingers,” “Follow the Moon,” “Kindred Friend” — ⭐⭐⭐¾

7. Olustee, JJ Grey & Mofro — There are a couple of Mofro classics on what’s an overall fun listen that shows Grey’s and the band’s versatility and chops. STANDOUTS: “Top of the World,” “Seminole Wind” — ⭐⭐⭐¾

8. Visions of Dallas, Charley Crockett — Two quality albums in one year?! This is mostly covers — it’s billed as $10 Cowboy: Chapter II — but comes pretty close to matching the quality of Chapter I. STANDOUTS: “Crystal Chandeliers and Burgundy,” “Lonesome Feeling” — ⭐⭐⭐½

9. Orgy of the Damned, Slash — Nothing too earth-shattering here — just some masters of the craft performing some classics of the genre and doing it well. STANDOUTS: “The Pusher,” “Awful Dream” — ⭐⭐⭐½

10. Red Moon Rising, Robert Jon & the Wreck — Solid collection of songs that gets better as the album goes. Lots of good sing-alongs and that sweet Southern Rock feel. STANDOUTS: “Ballad of a Broken Hearted Man,” “Worried Mind” — ⭐⭐⭐½

Other new albums of note

Luck and Strange, David Gilmour — I’ve mostly avoided Gilmour or Roger Waters solo material — they were the perfect match with Pink Floyd. I still feel that way … but I like this album — it’s calm and dream-like. It’s mood music. If you like Gilmour’s guitar style (who doesn’t?!), this is worth a listen. — ⭐⭐⭐½

Ruining My Misery, The Heritage — Atlanta-based musician Bryan McClenning sent me a copy of his new band’s first album for review and I was pleasantly surprised at the quality of the work. McClenning’s guitar tone and leads are the standout. — ⭐⭐⭐½

Hayes & the Heathens, Hayes & the Heathens — This collaboration between Hayes Carll and The Band of Heathens features a lot of silly, party lyrics, but also a lot of fun if you’re in the mood for that. And, it is true, nobody dies from weed. — ⭐⭐⭐¼

No Name, Jack White — This isn’t exactly the style I’m into these days, but I like a lot about this — it rocks hard. Like the White Stripes at their best, these songs find their power and catchiness in their simplicity. — ⭐⭐⭐

Made by These Moments, Red Clay Strays — This band rocks. Another Dave Cobb-produced album — Cobb is also in the band — so it sounds great. But I didn’t connect with the vocal style or lyrics. — ⭐⭐⭐

Deep in the Trouble, Goodbye June — Raunchy, 80s-era rock with a Steven Tyler/Brian Johnson-style vocalist. Reminds me of Dirty Honey, which is another band a little too 80s rock for me. — ⭐⭐½

The Southern, The Cold Stares — At their best they have a bit of a Bad Company/Paul Rodgers sound. Nothing particularly special about most of the songs on this album. — ⭐⭐½

Cowboy Carter, Beyonce — I like the idea of this album, and there are some catchy tunes. But it needed pared way down. — ⭐⭐½

Meanwhile, Eric Clapton — If the whole album was in the old rock n’ roll style of “The Rebels” with Van Morrison that’s the eighth track on this album, I’d be into it. But other than the occasional bursts of ear candy — a classic Clapton guitar tone or an inspired lick — it’s SLOW, sleepy and not particularly interesting. — ⭐⭐

JPEG RAW, Gary Clark Jr. — If you listen to all of Clark’s catalog, you will find something you like. But he’s so genre-less, sometimes he never finds me — that’s the case with this record. — ⭐½

Dark Matter, Pearl Jam AND I Want Blood, Jerry Cantrell — In college, Pearl Jam and Alice in Chains were two of my favorite bands. I can hear what I loved about those bands in these albums, but … in both cases, I’m not attracted to those styles of music anymore. It’s more me than them. — NR

OLD MUSIC

Rolling Stones — The Rolling Stones have been a part of my life since I can remember, but there was a large portion of the catalog I hadn’t heard, or at least heard much of. I committed myself to listening to their entire, prodigious studio output. Beggar’s Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971), Exile on Main Street (1972) and Goat Head Soup (1973) can all be listened to front to back in what’s the greatest stretch any band has ever had. The rest … there are gems on almost everything — except Dirty Work (1986). Steer clear. Man, the 80s …

Leon Russell — I’ve always known the name, and was familiar with “Tight Rope,” but I read his biography this year and really dug in to both his solo work and work with others. His self-titled solo album, Leon Russell, and Leon Russell and the Shelter People are legitimate classics.

Neil Young — I was very into Young’s albums Harvest and After the Gold Rush in high school, and his contributions to Crosby, Stills, Nash & Young, but had never really connected with his electric work. But so many musicians I love swear by him, I decided to give him another try. If you’re looking for an entry point, I recommend the “ditch trilogy” — Time Fades Away, On the Beach and Tonight’s the Night, and also his work with Crazy Horse, particularly Zuma and Rust Never Sleeps.

Rich Robinson — My first time through the Black Crowes members’ solo catalogs, it was Marc Ford who stood out. But the State of Amorica podcast prompted me to dive back into Rich Robinson’s solo work and I’m glad I did. His solo debut, Paper, is great, but his music got stronger and richer with each effort.

Oasis — I recently wrote about Oasis but they were a big part of my year, particularly Definitely Maybe, Be Here Now and The Masterplan.

You may have noticed …

There’s been a name change and new logo — a rebranding!

To celebrate a year, and because when I started this I worried a lot more about the posts than the Substack itself, I rebranded with a new name, web address and logo (don’t worry, you don’t have to do anything if you’re already a subscriber and all the old posts are still there).

I knew going in I was writing this for me, but it was important that I was getting interaction — that these posts were being enjoyed and stimulating thought.

I have had thoughts about scrapping it a few times. But two things have kept me coming back:

1. I love writing this.

2. Every piece I’ve written has resulted in at least one (usually more) interaction where someone either told me they enjoyed what I wrote, found it interesting, agreed with it or disagreed with.

At some point I told myself once I quit getting interactions, I would quit writing. My year-end pieces are my 33rd and 34th posts and it hasn’t quit happening.

Why Illinois Drifter?

I was born in Iowa (right on the Illinois border in Keokuk, Iowa), but have lived in Illinois all my life — from Quincy to Fowler to Mendon to Peoria to Macomb to Jacksonville to Galesburg to Decatur.

Plus, I love to travel. I drove a lot during my days as a sportswriter on the high school beat and I saw a lot of this state — I know it well. I’m willing to do a little driving to see a great show — especially in the Decatur triangle, which also includes Missouri and Indiana.

What have you missed?

You can find everything at illinoisdrifter.substack.com.

There are a lot of concert reviews, some personal stories, book reviews, new music reviews and much more.

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