The ‘‘Reccy’’ Awards continue with unique album choices

*Editor’s Note: This week’s music review is a continuation from the Feb. 8 edition.*

**BEST PUNK ALBUM: “THE CHATS – GET (REDACTED)” by The Chats**

The award for Best Punk Album of the year is going to have to go to Australian punk-rock powerhouses The Chats. I can’t tell you the name of the album because it has a naughty word directly in the title. It’s their second album and it was released in 2022, so you should be able to find it. For the record, MY punk band also released an album last year, but I can’t promote myself in the newspaper, so we’ve been unjustly denied the award that is rightfully ours. The Chats gave us some fun, cheeky tracks to enjoy, though, so I don’t mind conceding it to them too much. If punk is your thing, give ‘em a go. If you don’t know Australian slang or the state of their country, you might not get some of the references, but the songs are catchy enough that you probably won’t care.

**BEST ROCK ALBUM OF THE YEAR: “Coping Mechanism” by Willow Smith**

I grew up knowing Willow Smith as the vocalist behind a very unfortunate song about whipping her hair back and forth, likely masterminded by a group of soulless executives in matching charcoal suits. She was nine when that happened, so she’s had a lot of time to grow as an artist. And grow she did. I really didn’t expect to like this album, but I ended up enjoying it a lot. I’ve heard her last few records are in a similar vein, so I might just end up going back through her discography until I find the point where bubble-gum pop Willow became alternative-rock Willow. Willow comes from a famous family. Perhaps her father’s rap career inspired her own entry into the music business. Jada Smith was apparently in a nu-metal band for a while, which seems like a more likely influence. The nu-metal elements are mixed with hints of pop-punk, all dressed up in modern production. There are quieter, more elegant moments to contrast with the abrasive loud parts. Extreme dynamics are paired with expertly arranged production to create a sound that’s classic and contemporary. This album is the second most interesting thing involving the Smith family to happen in 2022. The first is, well, you know… I’d say it, but given that I’m doing an awards show of my own right now, I’ve probably gotta be careful with the jokes I make. Even on campus, I’m not safe. We’ve all seen how far Will’s reach is. All I’m going to say is that Willow put out a surprisingly great album despite the circumstances.

**BEST JAZZ ALBUM: “Pastel Blue” by Nina Simone**

“Pastel Blue” was the best jazz album I listened to in 2022. The fact that it was released in 1965 is a minor detail that I consider to be irrelevant—I’m not going to disqualify an album based on a technicality. I used to listen to more modern jazz but I mostly listen to old stuff now, so, naturally, the best jazz record I heard for the first time was an old one. It’s my list and my opinions, and I get to make the rules. This is vocal jazz, which I don’t usually listen to, but the album is so brilliant I had to make an exception. There’s a solid blues influence, more so than you’d usually hear in the already blues-influenced genre of jazz. You can hear that shine through especially well in “Nobody Knows You When You’re Down and Out,” which is a really gripping cover of an already great song. There’s also a version of “Strange Fruit” on here. The last track is a really triumphant finale—the ten minute “Sinnerman” is taken from a live show in New York. It’s like that performance has been frozen in time—you can feel the energy in the room as you embark on the tremendous journey the song takes you through. I can’t really describe this album beyond saying that it’s just really good. The amount of passion and talent on display is just incredible. I don’t care what year it is—everybody’s gotta hear this.

**BEST METAL ALBUM OF THE YEAR: “Patient Number Nine” by Ozzy Osbourne**

Ozzy’s the Godfather of metal. I have to give him the award. This album features Ozzy rocking with a ton of collaborators, with a different musician featured on each track. That includes two tracks with Jeff Beck—some of the legendary guitarist’s last work. Ozzy’s old bandmate from Black Sabbath Tommy Iommi is here, too, alongside Mike MCready of Pearl Jam. Ozzy’s certainly pulling out all of the stops here, and the effort pays off. Mr. Osbourne announced in 2023 his intention to retire from touring, which leads me to fear we may not get many more albums out of him. He’s committed himself to churning out as many bangers in the time he has left, and I listen in awe as the phoenix burns himself out in what could be his final burst of beautiful metal magnificence.

**BEST COMEDY ALBUM OF THE YEAR: “Honestly, Nevermind” by Drake**

You might not agree with calling “Honestly, Nevermind” a comedy album, but you can’t deny that it’s the most laughable album to have come out last year. Drake’s newest project was one of 2022’s biggest jokes—I’m just not sure that the creator was in on it. It may not have been a traditional comedy album like The Lonely Island or Flight of the Conchords, but I’m still giving Drake the award this year because his album made me laugh harder than all the others despite his best efforts. Drake plays the part of a clown on this album so well, I’m not sure I can ever take him seriously again. I’d create a category for worst album, too, but I don’t think Drake deserves to win two awards. I’m afraid if I make fun of Kanye too much he’s going to come up with a mean nickname for me like he did for Skeet—sorry, Pete Davidson. Drake is the safe choice. If nothing else, Drake’s lyrics on this album prove to me that I don’t have to worry if he tries to respond with a diss track or something.