Album Review – Sarah Shook’s “Years”

Sarah Shook and the Disarmers’ second record Years doesn’t exhibit what would generally be considered incredible songwriting. The tunes aren’t performed by a top notch collective of hot shot players who are known as titans in their respective fields. There is no innovative or evolutionary musical leaps performed on this album, no underlying conceptualized approach that works towards a greater understanding, nor is it a sweeping thematic undertaking that resonates with the listener on a grand scale. There are no timely political narratives, no cross-genre collaborations or blending of influences in novel or inventive ways. Conventionally speaking, you probably wouldn’t even regard Sarah Shook as a great singer.
But what Years has that so many albums that boast some or all of the aforementioned attributes lack is what all true listeners ultimately come to music for—a trump card that supersedes all other concerns, benchmarks, and gradients. It’s the part of music you can never learn, never practice up, never teach or toil to capture. Either you have it, or you don’t. And Sarah Shook has it. She has it in spades, while so many others fail to grasp even the mere notion of it.
You think music is a skills competition? You think what speaks deeply to people in music is the perfection served through drum loops and Auto-Tune, or technically adept musicianship, or even vintage styling conveyed through cute production techniques trying to emulate past greatness? Four scraggly dudes and a single mother from North Carolina just proved they can supersede all other efforts simply by assuring the pain and the blood of real life experiences are sown straight into your songs, embedded between the notes, and born out in the melodies. Years is soaked in whiskey and sweat, tenderized through conflict, forged from 700-mile van rides to play $200 shows, and ultimately captured in studio recordings that like a great sponge, are able to soak up all of that pain, and convey it with lossless quality.
Sarah Shook is the badass woman we’ve been waiting years for. She can play the guys off the stage and drink them under the table, all on a half night’s sleep and her eyelids at half mast. Years is the exact type of country music album you crash little music websites and Spotify playlists searching for—that album that immediately sucks you in, and promises years of enjoyment and recurring listens, even in the world of endless audio variety. It’s a record that feels like it was made specifically for you, regardless of you’re in the midst of a breakup and a bout of drunken depression, or you’re beyond all of that and enjoying a stable, sober family life. It’s an album where every song begs to be heard, and not one gets passed over. There’s nothing expressly special about any of it. But there’s something especially warm about all of it, making you say, “This is what I’m talking about when I say I love country music.”
Sarah Shook and the Disarmers have the lovability of your favorite local band, yet with an international appeal. It’s not their skill, it’s their hustle. Sarah Shook’s songwriting is never challenging to the intellect, but it’s always clever. In the intangibles such as heart, soul, authenticity, and emotion, Sarah Shook scores off the charts, and makes it look easy. And it’s country, served with no prefixes, suffixes or hyphenated qualifiers needed, except to say this is country from the shadows, and the underground. In fact one concern you may feel bubbling under as you listen is if enough variety will present itself to keep you engrossed from cover to cover. But as soon as this thought enters your brain, Shook pulls out the song “Lesson,” which has just enough of a mod and surf feel to spice things up. This is chased by the swinging “Damned If I Do, Damned If I Don’t” that you could hear Bloodshot Records label mate Wayne “The Train” Hancock do in his prime.
If there is one thing you could pull out of this music and identify as to why Sarah Shook is so immediately infectious beyond the intangibles, it’s her ability to construct melodies, and ones that so perfectly fit with the mood she’s looking to convey. This is the portion of songwriting that so many of today’s top wordsmiths struggle with, while Sarah seems to effortlessly allow her choruses to become whirlwinds of emotion and appeal, rendering them so pleasantly inviting, no matter the dour mood of the often depressing stories she unfolds. As inviting as the melodies are, you almost have to remind yourself this is music from the dark underbelly of country, full of alcohol, depression, and conflict.
And you cannot overlook what Sarah Shook has accomplished without giving at least a mention to her ace in the hole, guitar player Eric Peterson. Just like Sarah, Eric Peterson perfects the blue collar approach to music with licks and tones and leads that you would never look to teach to others as technical fundamentals, but blow away what so many others players do because he comprehends the mood of a song, and is able to draw the emotions out of a piece of music while minding the melody by listening just as much as playing, as do all the Disarmers.
Also, finally we have a performer who will be lauded by certain critics due simply to identifiers and other non musical concerns whose music is actually superior to the standard Americana or mainstream fare instead of being judged on a sliding scale—that is if the often exclusive east Nashville media syndicate will give Sarah Shook and the Disarmers the attention they deserve. Sarah embodies the very roots of country music rebellion, and the staunch, independent approach first sparked by the original Outlaws, and embedded into the founding of organizations like Bloodshot Records.
Sarah Shook was first championed here on Saving Country Music when she was unsigned and still very much a local personality simply looking for an avenue to share her music. Now she is a name everyone should be paying attention to for setting the bar for infectiousness and authenticity. The Years may have been hard on Sarah Shook, but they’re kind to us from the results that bear out in her music, and hopefully they finally pay off for all the sweat and toil she’s captured in this record.
Two Guns Up.
– – – – – – – – – – –
April 6, 2018 @ 8:23 am
Spotifying it now awaiting the arrival of my vinyl later today. “Sidelong” was bolt of energy, and really looking forward to this. They’re doing a show with Robbie Fulks in my town next month and you can be DAMN SURE I’ll be there
April 6, 2018 @ 9:09 am
Damn what a billing! I’m already looking up flights to KC…
April 6, 2018 @ 8:24 am
Sarah Shook and the Disarmers give me hope for the species. This is such an excellent LP.
April 6, 2018 @ 8:47 am
She is a huge part of the reason I keep trusting that country music will continue to survive and thrive. Thanks to SCM for the tireless efforts in finding and sharing gems like her. Saw her a few years ago in a dingy bar in Somerville MA — will see her in the same bar in a few weeks — and I hope that the next time, she’s playing much bigger venues and we are all bitching about how she’s gotten too big to see.
April 6, 2018 @ 10:46 am
We travel in the same circles then LOL..
Can’t wait for the Atwoods show!!
April 6, 2018 @ 9:08 am
“Sarah embodies the very roots of country music rebellion, and the staunch, independent approach first sparked by the original Outlaws”
Simple, succinct, truth.
I’ve been waiting for more ever since I finished my first spin through Sidelong, but with many of the
new releases from decent artists sounding too polished or over-reaching in the production, I’d really been trying to limit my expectations here. Similar concerns regarding Ashley Monroe’s Sparrows…
First trip through ‘Years” here has me relieved, that dynamic edge remains un-rounded. Perfect in
every way that matters to me, I see this album improving my world for a good long while…
April 6, 2018 @ 9:19 am
Totally agree – great sounding record. And I found a video on YT – of them live in a Seattle radio studio – check it out: Sarah Shook & the Disarmers – Full Performance (Live on KEXP) – they do two songs from the previous album and one from YEARS – plus some great insights from Sarah on the band and its origin.
April 6, 2018 @ 9:41 am
“This is what I’m talking about when I say I love country music.”
Dilly, Dilly!
At 12:01 two albums downloaded into my iTunes. I poured some Beam over ice and listened to Pat Reedy, repeated a couple songs … but we’ll get into that latter. Almost went to bed, but decided to cue up Shook. When “New Ways to Fail” played I knew I that bottle of Beam and I weren’t going to be friends in the morning. What a fucking fantastic album.
I’ve been in a new music drought since October, last night the skies opened and this morning I’m knee deep in outstanding new music …. Shook, Reedy, Blackberry Smoke.
April 6, 2018 @ 10:08 am
‘I knew that bottle of Beam and I weren’t going to be friends in the morning. …”
One of the best line I’ve ever heard Hoptown……
April 6, 2018 @ 11:01 am
That’s awesome. I did the exact same thing this morning… except it was a little lamer bc it was over coffee and not bourbon. I think “New Ways to Fail” is going to be a song of the year contender. I’ve been listening to both of these albums all day and think they’re fantastic. Hope to see a Reedy review on here soon.
April 6, 2018 @ 9:49 am
Got mine yesterday in the mail, and its easily my favorite release so far this year! Some great country music coming from the east coast lately, with Zeb O’hora, and Sarah Shook leading the charge. Plus a new Karen Jonas (Virginia) coming in June!
April 6, 2018 @ 10:05 am
This is country music in all its traditional glory ….pure and simple .
This is what , I believe , most people -yes even millennials -think of when they think of COUNTRY music REAL honest unprocessed , unfiltered, unperfect and unperfected COUNTRY music. Band sounds great , honest ‘live’ , raw energy . Lyrically I’m not quite as on -board as Trigger .Vocally, Sarah , for me , may not be in the ‘you’re going to Hollywood ” camp …but not for lack of character , style and passion .
It takes courage to make country music like this today . Thank goodness many still are because when it comes to doing live shows for live people this stuff plays itself . By that I mean that,like the best rock and roll, there is an undeniable ‘whole is greater than the sum of its parts” element at work that people FEEL and respond to on all fronts .
THIS music written and performed THIS way is sooooo necessary to keeping the rest of the ‘country music’ community from writers to players , singers and producers honest and in touch with REAL whether they want to be or whether they are Sam Hunt . .
April 6, 2018 @ 10:32 am
Another great album from Sarah Shook and the Disarmers. Hard to see how anybody could top this for album of the year. Still early in the year and the equally great Cody Jinks will be delivering a new album soon. Already been an outstanding year for Country and Americana music with excellent albums by:
1. First Aid Kit
2. Laura Benitez
3. Vivian Leva
4. Courtney Marie Andrews
5. Lindi Ortega
6. Ashley McBryde
7. Morgan Wade & the Stepbrothers (for those who like Sarah Shook you might want to check it out)
April 7, 2018 @ 11:53 am
Don’t forget Mike & the Moonpies sir.
April 6, 2018 @ 10:32 am
Album of the year so far. She deserves all the acclaim she’s been getting on this one.
April 6, 2018 @ 10:58 am
I’ve said this many times, on may different threads. I love love love Sarah Shook.
She has something.. There is this simple truth about her.
She isn’t for everyone.
It is music from the other side of the tracks.
IDK how many times I’ve listened to Sidelong..I remember how that album just became infectious with me, my wife, and now a lot of friends.
I saw her headline this intimate show and she was just so real. There is no gimmick her.
Her background is might interesting as well.
This is the type of musician I love to support, who deserves it.
“Just like Sarah, Eric Peterson perfects the blue collar approach to music with licks and tones and leads that you would never look to teach to others as technical fundamentals, but blow away what so many others players do because he comprehends the mood of a song, and is able to draw the emotions out of a piece of music while minding the melody by listening just as much as playing, as do all the Disarmers”
I know what your saying here Trigger, but when I saw him in front of me, he put on a guitar freaking clinic. He has all the technique, but applies it perfectly with then utmost taste.
April 6, 2018 @ 11:20 am
i’ve been looking forward to this album – Sidelong was excellent in it’s imperfections and cant wait to light a cigarette and fall into this one as well
April 6, 2018 @ 11:31 am
Love the first half of the album & like the second half.
From “Good As Gold” to “Parting Words” the album is a winner. The only track i dislike is “Lesson”. Sounds like the b-side of a single.
More Great Music:
Robynn Shayne – Coffee Days & Whiskey Nights – EP – Released 06/04
Singer/Songwriter (Texas) with a great voice & sound. For the fans of the “old” Kacey Musgraves, Bri Bagwell, Breelan Angel & all other female country acts making real country music.
April 6, 2018 @ 11:45 am
“She can play the guys off the stage and drink them under the table, all on a half night’s sleep and her eyelids at half mast…”
Why a sneaky gender comment? How about just saying she is a phenomenal artist without subtly always bringing in this “female-male” thing? Artists stand on their own regardless what gender they are.
April 6, 2018 @ 12:49 pm
Get Out!!!
None of that PC, righteous negativity for this article!
Let’s just enjoy the fucking music. It’s rare we get something this good and all agree.
April 7, 2018 @ 12:18 pm
I don’t agree. And it further backs my point that we may never see greatness again.
April 6, 2018 @ 1:04 pm
“How about just saying she is a phenomenal artist without subtly always bringing in this “female-male” thing?”
No idea what you’re talking about. I’m the most raging sexist in all of country music. Just ask Twitter.
April 6, 2018 @ 10:43 pm
NO MA’AM for life haha
April 8, 2018 @ 2:09 pm
I’ve seen some of that. One thing I hate about Twitter is that people who seem to want to appear original, or clued in, or in some instances “critical thinkers” get easily caught up in tropes that they all repeat even if the basis to them is shaky at best. Especially with media. It’s like they expect every source that speaks to their demographic (age, political leanings, musical tastes, etc) to be exactly what they think it should be without actually doing the work of running a website or running a tv network or being a journalist themselves. I find their attitude tiresome and far from being original or edgy they are more like parrots.
April 6, 2018 @ 11:49 am
It’s the part of music you can never learn, never practice up, never teach or toil to capture. Either you have it, or you don’t. And Sarah Shook has it. She has it in spades, while so many others fail to grasp even the mere notion of it.”
You nailed this one. I’m normally a sucker for writers first, players/singers second, and melodies third. And she does deliver melodically. But this record is different––even from most other roots music. Just an intangible quality that draws you in and doesn’t let go. This is what authentic, artistic human expression sounds like.
The fact that the masses may never have a musical experience like this record is the unforgivable crime of the “country” music corporate machine.
April 6, 2018 @ 11:55 am
I don’t know, Trig, I’m counting 3 guns up over here! ????
AOTY, pending upcoming Cody Jinks and Whitey Morgan releases.
This is real country music at its best.
I don’t see a problem with the songwriting either. Country isn’t supposed to make the listener ponder over a song six times to understand what the hell is being said. Give me the TRUTH and leave all the bullshit behind. She does an awesome job.
April 6, 2018 @ 1:10 pm
I don’t think there’s a problem with the songwriting either. I think it is well-rounded, and ultimately excellent. Too often we get stuck overpraising songs simply because the words used spellbind us, even if the songs lack a melody or pentameter that make them appealing or infectious.
April 6, 2018 @ 12:04 pm
YAAASSS!! Now that’s what I’m talking about!
Most excellent review {and damn quick too).
Most excellent album, from my newest favorite band. Will be listening to this for Years to come.
April 6, 2018 @ 12:14 pm
“It’s so, so fucking frustrating to me to watch a bunch of rich ass motherfuckers playing pop country parading around in skin-tight jeans with their fucking bleached teeth and perfect hair singing about how hard their life is and how they have to drink whiskey every night to cope,” she says. “It’s like, no you don’t! I own this shit, this is mine. Don’t take what’s very real and very important to me and throw it into this cookie-cutter bullshit.”
have I mentioned how much I love Sarah Shook!
April 20, 2018 @ 6:47 am
Yeah I loved that moment in the interview. She the goods.
April 6, 2018 @ 12:29 pm
I’ll also be waiting impatiently for Whitey’s and Cody’s upcoming releases.
I’ll halfway disagree with the point made here, in that I think there’s a time and a place for intricate, esoteric songwriting. Ray Wylie Hubbard can do some of this stuff as well as anyone without making it unappealing. Where we’ll agree is that there is most certainly also a place for straight forward, no BS truth telling, and Sarah can certainly do that as well as anyone.
April 6, 2018 @ 2:32 pm
I should mention this comment was meant to reply to Benny Lee’s comment above, but I somehow got glitched to the end of the line.
April 6, 2018 @ 12:49 pm
This sounds solid. She has a good, unlovely voice — which is fine, because it’s distinctive. The band is tight. I like the guitarist. He has a good feel for melody. At first I thought “this is typical Bloodshot cowpunk.” But it’s not. These are country rhythms and country songs. They’re just sung by a gal who parties with the Devil too much, thinking it’ll make her stronger. It doesn’t work that way. I guess it gives some people a thrill, but Jonah won’t be happy if the drink takes a hold, and he wouldn’t have deserved her self-destruction. Sarah Shook sounds like Gillian Welch’s tough little orphan girl — difference is, Shook ran away. Here’s to hoping her return doesn’t mean losing the strength in her bitterness. It wouldn’t hurt her to lose some of the bitterness in her strength. 3/4 cobs, a little burnt on the outside.
April 7, 2018 @ 12:22 am
Another insanely good album ..by a woman.
When you post your Best of So far blog in June I suspect that women will be THE story still dominating Alt. Country in 2018.
From high profile releases that have delivered (Lindi, Courtney, Sarah, Caitlyn, Joan, Brandi, I’m With Her) to impressive underdogs equally impressive art (Ashley McBryde, Vivian Leva, Bonnie Montgomery, Hannah Read, Gem Andrews, Darling West).
If it weren’t for excellant albums from Caleb Caudle, Nathaniel Rateliff, 3hattrio, Wes Youssi you’d have to wonder if the guys were even trying this year.
And it all stands in stark contrast to what’s happening over in the mainstream where they seem to be inching ever closer to that inevitable day when there aren’t any women in the Top 40 at all. It’s coming. Just like Trump’s eventual D-pics.
And there’s still more to come!
New albums from Kathy Mattea, Rosanne Cash, Ashley Monroe, Lucinda Williams …Maybe Loretta Lynn. Maybe Patty Griffin.
Also, it must be said, I read exactly 2 paragraphs of actual music discussion up there. I mean, I love Sarah and if I ever me her I’d probably proceed to shine her shoes too but maybe next time more focus on her music and less about everything else please. 🙂
April 7, 2018 @ 10:15 pm
We must have read two different reviews, because all Trig did was focus on Shook’s music. Unless you could point something out otherwise…
April 7, 2018 @ 5:12 am
I really tried to like it but I just can’t get over her voice. The band sounds fantastic and the musical theme perfectly fits everything I’ve been looking for. But as soon as she starts singing it ruins it all for me. Personally, I just find no trace of warmth or empathy in her voice, which is kind of a prerequisite for the comforting character country music has even in the darkest and most pessimistic tunes. To my ears it sounds as if she’s always singing half a note too low or otherwise off-key, but maybe my Spotify is somehow messed up. I also miss some intonation and variety in her voice. Hearing her sing reminds me of a drunkard consistently blaring at the sky in the same unnerving voice instead of someone carefully mincing her words in an effort to take me along on the story ride, and so I just fail to connect to her. To some there might be appeal in this theme, but to me it sounds like the mixture of a stale cigarette, a protester with a megaphone and a pounding headache. “New Ways to Fail” is about the only one I can listen to (and maybe even like a little) without immediately looking for a window to jump out of.
On the other hand, I just followed commenters OlaR and Robert S.’ recommendations for the new albums of Laura Benitez and Robynn Shayne (thanks a lot!!), and these two absolutely delivered exactly what I’ve been looking for. Robynn Shayne’s effort has even immediately jumped right to the top of my personal 2018 favorites (together with one half of Ashley McBryde’s latest release). I especially like “Hell Broke Loose” (including a steel guitar intro and fiddle outro) but all of the tracks are very pleasing.
Maybe have a look at her, Trig, I think she hasn’t been mentioned here before. And thanks for your continued effort behind all those fantastic reviews you’re providing, even if I can’t follow you on this one here. Best regards from a longtime fan and reader from far-away Switzerland, Europe
April 10, 2018 @ 5:19 am
Yep after 2 or 3 full listens that off key flat vocal isn’t really doing it for me. She’s playing a bar here in May so maybe I’ll check her out live and see it for myself. Maybe I’ll “get it” then.
October 29, 2018 @ 8:40 am
Ya know I had to come back and read what I knew would be a foot in my mouth stupid comment I’d written 6 months ago. Yep, you can read it above…lol
Once upon a time in 1978 I started working at Atlantic records and someone gave me AC/DC’s Powerage to listen to and said “you might not like the singer but give it a chance, the music and his voice fit perfectly and it’ll grow on you”. Obviously they were right, it did and Bon became a legend in music history. Fast forward 40 years and Trigger introduced me to Sarah and Years which has now grown on me so much it’s in my top 5 albums for the year and possibly (even though I originally scoffed at the notion when someone else said it) Cough cough……”album of the year” consideration? She’s playing here twice in January. I won’t miss it this time. Funny how that happens to me on this site time and time again.
April 7, 2018 @ 9:45 am
Goodness, my fellow Swiss above just perfectly spoke my mind. I was already thinking that I might be the only one among Trigger’s devoted readers here who hears Sarah Shook’s voice as sounding annoyingly flat. It’s pure coincidence, though – not a Swiss movement! – and just goes to show that vocal tastes and preferences are a deeply personal matter. I sure could list a few other generally highly praised female and male voices that I just can’t get into, but I won’t. I’d rather mention the ones that have really grabbed me so far this year with their new albums: the two Courtneys (Patton and Marie Andrews), Vivian Leva and Ashley McBryde (in parts) – Mike & the Moonpies and Western Centuries among the men. And I sure want to join in in my thanks to Trigger for all the discoveries, reviews and constant food for thought!
April 7, 2018 @ 9:55 am
Sarah Shook is not a great singer, and I went out of my way to say that in the first paragraph, because it’s important to understanding this record. I’m not sure if she’s “flat” as much as just her tone is dark, whiskey-soaked, and lacks projection. But these same qualities are the exact reason others find her voice so appealing. It’s real.
April 7, 2018 @ 10:42 am
It’s kind of an acquired taste. After years of listening to Carrie Underwood and Shania Twain, it’s refreshing to get a bit more ‘flavor’ in the vocal tone.
I actually think Sarah’s voice is quite good… who else can do a warble like that?
April 7, 2018 @ 11:16 am
I wish she was a better singer.
April 8, 2018 @ 5:56 am
Why I love Sarah Shook: no chest beating patriotic bullshit, no southern pride cliches; just good honest music universal to the human experience. More of this please.
April 8, 2018 @ 5:25 pm
She is from upstate New York so I doubt you’ll hear any Southern pride cliches.
April 8, 2018 @ 2:21 pm
So excited. I had already purchased my ticket to see SS & D in DC on April 26th when it was announced that Zephania Ohora would be opening. I felt like I’d won the lottery.
April 8, 2018 @ 3:58 pm
Jesus fucking Christ this album is incredible.
Have to disagree with the opening paragraph. She may never have the vocal range of Freddie Mercury, but my god her voice is perfect for this album. The music and production value support at every juncture, and the pain is real.
This album has been on constant repeat for 4 days now. Currently sitting as album of the year.
April 9, 2018 @ 7:35 am
I agree with some of the previous commenters that I can’t get around Sarah Shook’s voice to fully get behind this album. I will definitely say that she has pizazz, moxie, “it,” whatever you want to call it. I have a feeling that this group has to be seen live to be fully appreciated.
April 9, 2018 @ 2:53 pm
I missed her previous album but went back and bought it after hearing this one. Both are just fantastic, genuine country music sung with incredible pathos.
April 9, 2018 @ 4:15 pm
She’s an excellent singer.
1. quite Unmistakable voice.
2. no screaming, shouting, above your range blues scale riffing.
(how can anyone not be tired of that stuff? it’s been hackneyed for years)
3. in tune.
4. Lower register… I like that.
great tunes too.
April 20, 2018 @ 7:05 am
I catch the band whenever they’re in town, one of my favorites, and really genuine cool people to talk to. Have to say I rather like the quality of the vocals, and for me they’re consonant with the mood and temper of the songs. There are plenty of pretty, polished voices out there. It’s nice when one appears that goes against the grain.
May 19, 2018 @ 3:05 am
The comparisons made above stand to reason, but in terms of intensity (i.e., that which stands to raw gut), Sarah’s got only one ancestor and that’s Patti Smith. Patti should thank you (or whoever) for finding her long lost daughter. For my own part, I thank you kindly, sir, for bringing her to my attention. She’s the shit.
One last pedantic remark: Country Punk is written without a hyphen, but yeah, that’s what this is – it ain’t your Strait-up ole Country. As someone who likes Punk Rock, this is music that makes me wanna go a-pogoin’.
May 19, 2018 @ 11:14 am
I don’t have a problem with anyone labeling Sarah Shook as country punk. But I also don’t have a problem with anyone labeling it just country. As a website that very much grew out of the country punk movement, that labeling now comes with a stigma that can be bad for a band, and bring up visions of a crust punk with a banjo screaming into a microphone. Sarah Shook is much better than that. Yes i has punk elements to it, but not so much where it overrides still being very much country.
November 17, 2018 @ 7:40 am
i’ve found her voice annoying at first for some reason but after re-reading this article and finally having the guts to play the attached videos, I understood why many of country music fans are fond of her and her music.
November 21, 2018 @ 2:09 pm
I’m late to this party, but really loving this band & this album. Sarah’s voice/ style immediately reminded me of one of my favorite female rock singers, Leah Wellbaum from Slothrust. They have very similar tone & diction IMO.
While the gritty alt rock style probably isn’t for everyone on these boards, I’m curious if anyone else agrees about Sarah & Leah. Check out Like A Child Hiding Behind Your Tombstone or Planetarium from Slothrust.
Anyway, this SS album is instantly my pick for AOTY. It’s going on heavy rotation!