Thursday, December 11, 2025

Year In Review 2025 - Favorite Albums Part 1 (Honorable Mentions & Let Downs)

Another year is finishing up and @RockBodElec wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so RtBE presents 2025's Favorite Albums Part 1 (Honorable Mentions and Let Downs):


In the instance that RtBE has reviewed the album, either on this site or elsewhere, we will link to that review and just give a quick summation, click on the name/title and you can read our full opinion. RtBE also worked with the Glide Team to give input on their Top 20, so you can expect some overlap if you already have seen that list.

Again the focus here is on full albums, not singles, but long playing releases you can slap on and listen all the way through. We know these are a dying breed, but it still is the way we consume music, no shuffle, Spotify, AI curated playlists, or streaming for us.

These are the albums that just missed out on being included in our top ten favorite for the year (coming soon). After some excellent albums, we have a few releases from artists we dig, which we were let down by. 

Like all of our lists or 'best of'', these are meant to start conversations, not end them...

Honorable Mentions: 

(In no particular order)


From Jelly Roll Morton to Professor Longhair to James Booker to Allen Toussaint to Dr. John, Roussel absorbs influences from each, but continues to craft his own style. For Church of New Orleans, Roussel had help from a host of hometown players as he moves through jazz, funk, rock, gospel and more. 



The 22nd entry into the Jazz Is Dead series is a winner. The Afrobeat legend Taylor and his son Henry along with Younge, Muhammad and everyone involved put out a really engaging effort. The cool upbeat, brief for Afrobeat, offerings work as the legendary Taylor at 89 still can put out some inspiring music. 
 

The partnership between Ale Hop (Peruvian electronic musician and researcher Alejandra Cárdena) and Congolese guitarist Titi Bakorta is a very interesting mix of cultures, sounds and styles as the music bounces, shakes and shimmies down a new path of Peruvian/African rhythms. Mapambazuko is a wild ride and one very much worth taking.


We already mentioned the cool art work on this one, but we need to also praise the music inside. This solo project from Bobby Cole (THE ANNIHILATED, Brainrotter Records) is RtBE's favorite hardcore/punk album of 2025. 



On her recent albums, Faster and Kill or Be Kind, as well as her duet album with Jesse DaytonDeath Wish Blues, Fish pushed her sound towards more modern pop flourishes with neon tinged buzzing and hip-hop collabs. While the pop sheen is not completely removed from Paper Doll, it is incredibly toned down as Fish focuses on classic rock touch points and hill country blues. In a way this is a retro record for Fish, returning more to her blues/rock roots with confidence.



Big Money has a very loose feel; at times, the recordings sound like first takes, and this tossed-off fashion works for most tunes. The multi-faceted Jon Batiste blends past and present expertly, while successfully mixing genres and inspirations with natural ease.    



As the title suggests, the 89 year old legend Buddy Guy has more blues to give on his fine new album Ain't Done With the Blues. Guy sounds strong on both guitar and vocals as he hooks up with a host of friends, but this is not a duet album, Guy commands the stage. 



For his most recent effort, Foxes in the Snow, the singer/songwriter Jason Isbell stripped down to as basic as it comes. Isbell set up shop at Electric Lady Studios with just an all-mahogany 1940 Martin 0-17 acoustic guitar and his impressive vocals. Working with producer Gena Johnson over the span of just five days, Isbell's open, raw and hypnotic tunes are enchanting.



The newest offering from singer/songwriter S.G. GoodmanPlanting Signs, looks deep into her home territory of Western Kentucky with a collection of weepy folk/American tunes. Goodman mixes story songs, sweet love offerings and tunes of sadness as she mourns the passing of time and friends. 



The Santa Fe, NM based singer-songwriter Esther Rose's fifth album Want  on New West Records is a intoxicating mix of dramatic folk, enchanting vocals, powerful lyrics and stout rocking. Rose's honest style and strong musicianship leads to an album that sticks around in the mind and ears long after it has finished spinning.




Whether creating a dystopian future, or funking out with sounds of the past, Mobley is certainly an artist to watch as We Do Not Fear Ruins shows immense creativity talent and passion.   


The Jeffersonville, IN based Ryan Davis & the Roadhouse Band go over the top with their newest offering New Threats from the Soul. This album is a lot to digest as long songs stretch out with unique instrumentation while Davis delivers heaping helpings of poetic lines, flooding unique images and phrases into the listeners brain. 



More robust and deeper than their debut, Wet Leg's sophomore release, moisturizer, displays growth, increasing musical scope and improvement as the band flourishes in love. 



Flashes of Paul Simon, John Mellancamp and Billy Joel are sprinkled over Dunne's Clams Casino
That connection can be felt in Brian Dunne's pop sensibilities, a throwback to when everyone sang the same songs off the radio. Even in these splintered times Clams Casino works with solid sounds, questioning lyrics and an urgent author.    



The Let Down's:

Now for the bad news...some albums that let RtBE down...we had high hopes for these...no dice. These are by no means the worst albums of the year; they are just from artists RtBE like/respect that went a different route which we didn't particularly care for.

There are always releases RtBE does not particularly like that others seem to, but these let downs are harder for us to swallow because these are artists we enjoy, love, or at least respect:

Uncle Neil has a double dose of let down in 2025, for two different reasons. Oceanside Countryside is on this list, because it is unnecessary with Young revisioning his catalog and starting to milk it a bit. Talkin' to the Trees is on here because it just isn't any good and on top of that, it is mean.

A really weird live album that is not worth the time. It is too bad because I am sure they have an amazing live album in their career somewhere.

This one hurts. In the review for Glide Magazine I wrote, "Todd Snider seems to be in transition with this record. Here is to hoping he finds his way back from being High, Lonesome and Then Some." 

Then when, I posted that review on this site I wrote, "A bleak affair all around and I hope that Snider is doing a bit better mentally/physically/emotionally than he sounds here." 

Unfortunately, he never recovered from the pains that wrecked him and he sadly passed away in November at only 59. Our heart goes out to his friends and family and while we won't reach for this album again, he has a host of others that are worth seeking out

Top 10 coming next week, but for now, how'd we do? Feel free to post any suggestions in the comments. 

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