Showing posts with label Album Reviews. Show all posts
Showing posts with label Album Reviews. Show all posts

Mar 1, 2018

Ladies and Gentlemen, The James Hunter Six

by Robert Dean

As a music nerd, few things are as satisfying as stumbling on a record at random and then being the first to put it on blast to all of your other music nerd friends. It’s like the smoke after a fantastic dinner for folks to dig in crates for vinyl or comb the hipster blogs looking for that perfect record to stream while they drive across the state next weekend.

The James Hunter Six’s newest record Whatever It Takes is precisely that record. For some reason, The James Hunter Six have alluded me. It pains me to know this incredible band was out there, spreading its brass-laced heart and soul without me, it makes me sad. Nonetheless, I’ve resolved myself to learning and loving their entire catalog, because friends and Romans, these cats are fucking amazing.

Whatever It Takes is an old-school shaken cocktail of blues, rockabilly, early R&B, Doo-Wop, and rock n' roll from the pre-Elvis era. The smooth tenor of the record is straight out of a classic Scorsese bar fight scene with red bar candles and abused Formica bar tops and the scent of smoke permeating everything, no matter how many years ago the smoking ban passed.

Whatever It Takes is a collection of songs meant for small rooms with close bodies, for people to sway and swing in comfortable shoes and sport jackets with no ties. The vibe is analog, and there’s no allusion to anything current, it’s a throwback and doesn’t miss a lick. Whatever It Takes was recorded on a classic-soul era eight-track tape and transferred over digitally. The vibe is sweaty and one that demands your attention cuz Jack, The James Hunter Six swing hard.

If you crave dulled mono-styled tones that feel straight from the classic Stax or Chess playbook, then The James Hunter Six have tapped into a vein that rivals and on some songs surpass Leon Bridges. Hunter's voice is a bombastic chameleon that can wail with the best of them, but then whisper and moan. He’s not trying to do anything outside of the norm of the genre, and that’s why Whatever It Takes works flawlessly.


“I Don’t Wanna Be Without You” is a stone cold opener that sets an immediate tone for the record, it’s breezy and a little sleazy, too. There’s plenty of overtures to sex, sin, and long nights, which for some of us is all we’re looking for when sifting through the endless choices presented every day.

Grab it off Amazon and show these dudes that have slogged it out over six records that we’re ready for their arrival. 

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Whatever it Takes is available on Bandcamp, Amazon, iTunes, etc.




Feb 26, 2018

Chicago's Harm's Way Rips Out Hearts and Souls on Their Newest, Posthuman

by Robert Dean

I’m just gonna make this review as easy as possible: The newest Harm's Way record is like a chainsaw to the face. Evolving beyond their fast, straight ahead hardcore roots, Harm’s Way is forging into water explicitly held by tried and true metal bands and ripping the seams off the baseball every step of the way. Despite its early release this year, Posthuman will be a hard record to top for its sheer violence, riffs, and brutality. 

While their prior release Rust was a step toward the direction of full-on “metalcore” Posthuman straddles both the lines of a band that can hold their own with Sick of It All, but also wreck shop opening for Max Cavalera. Harm’s Way has found a way to take the best Roadrunner riffs of the late 90s and early 00’s and package them together, but without abandoning credibility to tread new artistic waters.

The songs on Posthuman aren’t formulaic and instead try out a lot of different time signatures and thematic styles. It’s a formidable mixture of violence mixed with the history of Chicago’s tougher than leather hardcore style. Having grown up in Chicago’s hardcore scene, I couldn’t be more proud of Harm’s Way carrying the battle flag for my hometown. (I saw them open for Soulfly playing the Nailbomb record and after finding out they were from Chicago, I immediately walked over to their table and gushed. I know I looked like an asshole. I don’t care.)

Posthuman is a complex, yet a beautiful mixture of ideas that should not work. Somehow Harm’s Way pulls Posthuman off. One minute, there’s a clear Godflesh or Nailbomb influence and just went you think the band will do something lame, they go harder than the previous track. Harm’s Way isn’t a one trick pony, if anything they’re capable of releasing crushing metal records, but also maybe dropping some straight industrial EP’s a la what Trent Reznor has been doing with Nine Inch Nails as of late.


"Dissect Me" is a perfect of example of crushing riffage but at the same time shows a clear influence by bands like Ministry or Skinny Puppy. Chicago’s industrial history with Wax Trax is present in the DNA of Harm’s Way, even if the band doesn’t realize it. While the metal featured on display is ridiculous, there’s so much going on throughout Posthuman, that it’s a tease for different looks into the band’s bright future. 

"Human Carrying Capacity" is the best hardcore song of the last ten years, hands down. Sorry Code Orange, sorry Knocked Loose. Harm’s Way has released a record that’s worthy of headliner status and should bring plenty of asses into the club to swing on posers. Get ready world, these dudes have arrived.

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Posthuman is available on Bandcamp, Amazon, etc.


Feb 19, 2018

Album Review / The Kreutzer Sonata / The Gutters of Paradise


by Jahshie P

About 17 years ago, I joined a band called Failed Resistance. We were a hardcore/punk band out of Chicago, completely out of place with the other local punk bands, who mainly played pop punk music. Yet we managed to get our own crowd locally and had a respectable draw throughout the country. I bring this up because I have always had an obsession with street punk/hardcore music, and frankly, in the past decade, I have only found a handful of new bands performing this type of music. And, none of them were from Chicago.

With the release of The Gutters of Paradise, The Kreutzer Sonata totally gave me new faith in local music. This album is a no-nonsense, relentless, brutal attack from beginning to end. Opening with the catchy “Ten Yard Stare”, a song that really sets the tone for the entire record, this album just doesn’t let up. “Nobody” follows nicely with some great guitar work and painfully great vocals. A lot of people don’t get it with the screaming vocals, but, it is truly an art that takes years to perfect. Adam of The Kreutzer Sonata has found his niche and that really makes the vocals the forefront of the entire album. And, that is not taking away from the rest of the band at all. They are a very tight and experienced group. Without a great band, great vocals do no good. 

The fourth track “Pulse” almost tricks you into thinking it may be a little more poppy with it’s opening riff, but, as the vocals come in, the aggression quickly returns and this makes for one of the finer tracks on the album. Almost every song includes gang vocals that make the songs all that more memorable and easy to scream along with when you see them live. It’s not easy making hardcore songs with hooks, but, these guys do it with ease. 

On what is perhaps the best track on the album, “Old Glory,” the band digs a bit deeper in political views. Complete with a bass breakdown and a shredding guitar solo, plus the gang vocals repeating “World Coming Down,” this one will get stuck in your head for days. 

The Gutters of Paradise features fifteen tracks in all, and it never slows down or becomes stale and repetitive. With so many cliche punk bands out there these days, TKS really know how to separate themselves from their peers.  Even though the band has been around for a few years now, I believe that this album finally gives the band a proper recording, capturing all the elements they have to offer and giving people something to connect with. The future is bright for this group of youngsters, and with proper booking and touring, I believe that TKS will begin to start making major waves, not just in Chicago, but around the world. 

The Gutters of Paradise is streaming now at https://thekreutzersonata.bandcamp.com and will be released in the near future on vinyl through Don’t Panic Records and Distro out of Chicago. Do yourself a favor and get your hands on this stellar record. 


NSFW:


Feb 8, 2018

Album Review / Caitlyn Smith / Starfire

by Josh Schott
(Formerly of the dearly departed Country Perspective)

Back in 2015 when Chris Stapleton released Traveller, it was clear how criminal it was for how long it took for everybody to hear his golden voice on a full-length album. How can somebody this great take so long to be finally be heard? And the same thing can be said for the debut, full-length album from songwriter Caitlyn Smith. She has spent years writing for some of the biggest names in music, but now finally she gets an album of her own. You may not know Smith, but just give her new album Starfire one listen and you’ll never forget her.

The album opens with the waltzing “Before You Called Me Baby.” Right away you get a taste of the absolute raw power of Smith’s voice. Her command and presence will grab your attention and hold it until the album ends. “Do You Think About Me” is a yearning heartbreaker about not being able to move on. The album’s title track is a fiery anthem about staying true to you. It reminds me of something Dolly Parton would have cut back in her prime. 

Every song on this album is great, but there are a couple that go even beyond and one of them is definitely “East Side Restaurant.” Smith’s voice is chill inducing on the chorus, evoking so much heartbreak and emotion as she hits her highest notes. The production brings an elegant, classy and refined feel, perfectly complimenting the lyrics and setting the scene in the listeners’ heads. Smith brings a palpable, aching desperation on “Don’t Give Up on My Love” that enraptures you. She goes through all of the emotions of a rising singer-songwriter in Nashville on “This Town is Killing Me.” She recalls all of the sacrifices she made to realize her dream of making music. It’s the story of so many names you’ll never hear, but something the listener needs to know.

Smith recalls in “St. Paul” the special place this city holds in her heart due to it being the place of her first gig and being from Minnesota. “Tacoma” is one of those songs you’ll instantly fall for on the first listen. Garth Brooks cut it on his comeback album a few years ago, but Smith brings the raw passion that is needed to take the song to it’s full potential. The bridge of this song goes to a place very few artists can go (it would be unfair to spoil this) and something that you need to hear for yourself.  Smith shows off her vivid storytelling ability on “Scenes from a Corner Booth at Closing Time on a Tuesday.” You’ll feel like you’re at that bar taking in the scenes with her. 


While the album tackles a lot of serious subjects and themes, Smith shows off a more fun side on “Contact High.” It’s a catchy love song that helps bring a great balance on the album and allows Smith to really show off the range of her voice. “House of Cards” goes on the opposite end of the emotional spectrum. It’s also the best song on the album. The song delves into faith, hope and self-doubt in such an emotional way. You can sense how much Smith has lived this song and in turn it makes you recall your own emotional hurdles. The song is a perfect demonstration in the powerful connection that resonates between people when showing vulnerability. The album closes with the romantic love ballad “Cheap Date,” a heartfelt and realistic look at love you won’t see in a Hollywood movie.

Caitlyn Smith’s Starfire is fantastic in every way. The songwriting is sharp, smart and relatable to the everyday listener. The production is smooth, flawless and really helps bring the words of the songs to life. Smith without a doubt has one of the best voices you’ll hear in music today. You’re doing yourself a disservice if you haven’t listened to this album. It’s one of the best you’ll hear in all of 2018. 

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Starfire is available on Amazon, iTunes, Spotify, etc.

Dec 11, 2017

Album Review: Drew Womack - Here’s Some Stuff I Wrote

by Jamie Berryhill

There’s no two ways about it. Drew Womack possesses one of the most amazing voices in the history of well...history! Pair that with world class songwriting and you get Here’s Some Stuff I Wrote, the latest effort from the Brownwood, Texas born troubadour. 

If Drew’s voice sounds familiar and you just can’t place it, let me help you.
He fronted Sons of The Desert in the 90’s, churning out hits like "Whatever Comes First" and "Leaving October Behind." He can also be heard prominently on Leann Womack’s cut of "I Hope You Dance."

Equally impressive is that Drew played all of the instruments on this album. There are several co-writes on the record as well, from the likes of legends like Radney Foster and Rodney Crowell.


Overall, Here’s Some Stuff I Wrote is a forty three minute showcase of genius. Excellent vocals, writing, instrumentation, and production. The hard copy will make a great stocking stuffer for the music lover in your life this Christmas, or you can download it on iTunes here: 

Dec 1, 2017

JD McPherson: Rockabilly Gold & Maximum Fun

JD McPherson: Rockabilly Gold & Maximum Fun

By Kevin Broughton

Jonathan David McPherson grew up a rural cat, even for an Okie. The son of a farmer and retired Army veteran (mom was a preacher), JD grew up near the town of Talihina, a random spot the railroad decided to drop a turn-of-the century depot in Indian Territory. “Where I grew up,” he told the New Zealand music blog Libel, “was just completely removed from anything resembling a town or a city. It was an hour away from the nearest supermarket.”

Drawn to the guitar in his early teens, the isolation proved a boon. Music became his sole focus, and he’s been in bands of one sort or another from then till now.  We can be thankful that in his formative years he was drawn to the work of Buddy Holly and other 1950s icons; his Undivided Heart and Soul positively oozes authentic rockabilly. 

If The Flat Duo Jets (or iconic front man Dex Romweber), The V-Roys, Marshall Crenshaw, Robert Gordon and Brian Setzer got together for a twenty-teens hootenanny, they’d hope the could collaborate on something that could rival McPherson’s October release on the New West label. 

There’s a brilliant range and diversity: McPherson’s goes from to throbbing, pleading rocker on the opening cut, “Desperate Love,” to sweet, soothing crooner on “Hunting for Sugar.” The bass-driven backbeat and reverb-laden baritone guitar of “Crying’s Just a Thing You Do” are reminiscent of Elvis Costello. And it’s impossible not to hear the Rockpile/Nick Lowe influence of a couple of songs, notably “On The Lips.” (A hint of Squeeze, too.) 

The money cut, though, is “Bloodhound Rock.” Fully a third of the 4 ½-minute song is a nifty buildup of standup bass, feint brushes on snare, understated guitar and just enough organ. It burns. You can’t not shimmy and shake. 


There’s not a more fun song, or album for that matter, of the year.

Dig it, Daddy-o. It’s okay to shake your hips.


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Undivided Heart & Soul is available on AmazoniTunes, and all the usual spots.

Oct 20, 2017

Album Review: Turnpike Troubadours - A Long Way From Your Heart

A Long Way From Your Heart and Wonderfully, More of the Same

By Kevin Broughton

The striking similarities come quickly. There are too many common threads to miss in “The Bird Hunters,” the opening track of the Turnpike Troubadours’ 2015 self-titled album, and “The House Fire,” our introduction to A Long Way From Your Heart, out today on Thirty Tigers. A hard-driving country beat. A Browning shotgun. Searing heartbreak, met first with resignation and then just a smidgen of hope and resiliency. In fact, the dame who eventually crushes the protagonist shares a name (Good Lord, Lorrie) with a temptress a couple albums back:

I remember smelling smoke, I woke up I was choking.
Lorrie grabbed the baby and we made it safe outside.
She never missed a note, took a breath and cleared her throat,
And wrapped him in a Carhartt coat she found out in my ride.


Turns of phrase like that one are why Troubadours front man Evan Felker is one of the premier songwriters in country music, and by extension, why these guys are the undisputed kings of the Red Dirt scene. Could “The House Fire” be a metaphor for Felker’s recent past, what with several drunken performances the last few years? Maybe. But it’s a damn fine song and a great way to kick of the group’s fifth studio album.

And why, frankly, mess with success? A Long Way From Your Heart is the perfect, logical follow-up to the band’s 2015 release, the hands-down FTM Album of the Year winner. “Something to Hold On To” is straight-up rock ‘n’ roll with a dash of Okie sensibility. “The Winding Stair Mountain” gets in your face with frenetic dose of fiddle, steel and mandolin for a wild, three-and-a-half minute ride, so hang on.

But there’s balance, as with all Troubadours’ records, best exemplified by “Pay No Rent,” a tender friend song reminiscent of “Down Here” a couple years back. No matter the tempo or time signature, nearly all of Felker’s songs have a gentle, human touch. If he can keep his personal life between the ditches, look for the Turnpike Troubadours to sustain this level of greatness for a good while. Because this album sounds like it’s almost too easy for these guys.

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 A Long Way From Your Heart is available today everywhere you consume music.


Oct 19, 2017

Chris Porter & The Bluebonnet Rattlesnakes - Don't Go Baby It's Gonna Get Weird Without You

Art by Pearl Rachinsky Moreland
by Matthew Martin

This one was honestly kind of tough. It's such a gut-wrenching album.  And, I feel I don't have the words to properly articulate the feelings Don't Go Baby It's Gonna Get Weird Without You gave me. 

For those of you who don't know, Chris Porter, longtime musician and by all accounts good dude, along with his bass player Mitchell Vanderburg passed away after a traffic incident on the way to a show in Baltimore, MD.  Their drummer survived the crash. This happened exactly one year ago from Thursday (October 19, 2016).  

Porter and his bandmates, the Bluebonnet Rattlesnakes, were working with Will Johnson (of Centro-matic fame) on recording Porter's follow-up to his stellar 2015 release, This Red Mountain. Unfortunately, Chris and Mitchell would not see the release of this album, but - a credit to the likability of Porter - many got together to ensure this album was finished and would see the light of day.  That day is Friday, October 20, 2017.

One of my favorite Porter projects is the Porter and The Pollies EP from a few years ago.  It was rollicking, fun-loving, and just a loose affair.  It really showed off Porter's skills as a songwriter and a bandleader.  This Red Mountain focused more on the songwriting than the rocking and rolling, documenting a tumultuous time in Porter's life when he moved to Austin, TX.  

In 2016, talk began circulating of a new album Porter was working on with a crackerjack band and producer.  I got incredibly excited, hoping that the album would continue to grow the talented Porter's popularity.  Tragically, as I mentioned, Porter would never see that album released.  However, I was right in my hopes.  This is the album that would have hopefully, at least in a just world, sent Porter on a trajectory of playing larger venues, at the very least, and it is an absolute masterpiece of an album; the final puzzle piece of Porter's career.  

Every song leaves a mark, with a gut-punch lyric that seems foreboding in retrospect.  There are moments that careen almost off the rails, but are held together by a thin thread, and it's truly magical to hear.  "Your Hometown" is a perfect example of this careening.  It's a rocker that happens to be one of my favorite Porter songs.  To me, a great song is one that seems it was written either specifically for, or about you/your life.  And this song hits every note for me.  Small, rural, Southern town living...I'm a long way from that now, but damn this song takes me back there with every listen.

This is an album full of heart-breaking songs about, presumably, Porter, his relationships, and the past.  There are songs dealing with tragedy, and those are some of the hardest to listen to.  When you hear "Shit Got Dark", it's hard to get through...  But, it's also a song played and sung with sheer defiance.  Yeah, shit got dark, but maybe there's enough stubborn attitude in us to not let that be the end of the story. 


As far as final albums go, this one is crushing to me because it's absolutely Chris Porter's best and most fully realized album.  The promise the album shows was taken from us last year, and that deserved recognition Porter was always riding towards, always just out of reach, will sadly never be reached.

Credit the musicians on this album as well - an Americana who's who featuring John Calvin Abney, Shonna Tucker, Will Johnson, and The Mastersons. Everyone involved in this project worked incredibly hard to get this album out and I have to believe Porter would be incredibly happy and satisfied with the final product.

To close this out, remember that we love these artists for the release they give us.  The way they make us forget our problems, or let us wallow in them knowing we aren't alone.  We forget that they are real people at times.  People with darkness and light, ebbs and flows.  People with flaws and imperfections.  They work hard for us- to show us that we aren't alone.  So, please, when a band comes through, go see them.  Support them.  Buy all of their albums.  Keep them going.  

To Chris Porter, who I never met, I will quote one song I have a hard time making it through still ("Go On And Leave Me"):

"Hope you find a spot where the lights are hot and draw a crowd..."



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Don't Go Baby It's Gonna Get Weird Without You is available tomorrow on Amazon, Cornelius Chapel, etc. 





Aug 18, 2017

Album Review: Ray Wylie Hubbard - Tell the Devil I'm Gettin' There As Fast As I Can

Ray Wylie Hubbard - Tell the Devil I'm Gettin' There As Fast As I Can

by Trailer


Ray Wylie returns with another heavy dose of what he's damn good for. You know the deal: gritty Texas blues, God, the Devil, philosophy, the particulars of being a musician, and lots of stories. "God Looked Around" is a retelling of the Garden of Eden story through Hubbard's trademark filter of wit and candor. The lead single and title track is as close as you'll get to commercial-sounding in RWH's world - it brings together our fearless leader with Eric Church and Lucinda Williams providing support for this world-weary anthem about life, music, and pondering the long, strange trip. "Old Wolf" is a stomping snapshot of a dive bar and its regulars, with Ray giving us his best Warren Zevon howl. My only complaint here is that there's a sameness of sound in general, and across the first half of the album in particular. A little variance in tempo and melody could have brought the record up a notch or two in my book. Still, anything from Ray is hardly unwelcome and he's consistently consistent - a legend by any standard - and Tell the Devil I'm Gettin' There As Fast As I Can gives you exactly what you need, no more, no less.

The album is available everywhere you might imagine.


Tell The Devil I'm Gettin' There As Fast As I Can by Ray Wylie Hubbard from Ray Wylie Hubbard on Vimeo.

Aug 4, 2017

Album Review: Tyler Childers - Purgatory

Tyler Childers taps into the dark side on Purgatory

by Robert Dean


After years in the shadows, Tyler Childers is finally emerging. On his official debut record, Purgatory, Childers is ready to step out and into the sunlight, and boy, is he gonna need a pair of shades. In contrast to that bright light of likely success, he's bringing along with him a deep look into the darkness of life.

One thing Tyler Childers is not is your typical country singer. Even at just 26, he’s already a battle-tested road warrior, having logged a lot of miles and while out there, tallied up many sins. Tyler Childers isn’t banking his career on wack songs about trucks and little shorts. Instead, he’s logged down his transgressions, his adventures, and gives them out as cautionary tales via the tracks on Purgatory. When you’re writing about long nights, casual cocaine use, or swallowing a handful of pills, that ain’t the stuff Jason Aldean is singing about. It takes bravado to confront those topics and sing them with mastery. That’s the difference between the songwriters who get out and live, their songs carry weight because they’re genuine, not some crap that a songwriter in an office dreamt up.

While all of the playboys in tight muscle tees and cowboy hats pack the arenas on the message of their bullshit persona a few suits crafted, guys like Tyler Childers live what they dream about. You can buy an “outlaw” branded tee shirt, but until you write some songs about being whacked outta your mind on the shit and ripping down some back road in intimate detail, brother you’re just posing.

Childers is cut from the same cloth as artists like Bruce Springsteen and Jason Isbell; and despite his spacey eyed producer Sturgill Simpson being an influence, the two artists aren’t similar in sound, only in honesty and spirit. Don’t let the album credits fool you. Tyler Childers is his own man.

Purgatory is an incredible welcome to the world for Tyler Childers because under Simpson’s watchful eye, the songs they’ve collected feel like a testament to the hard life, but one that’s not met with dire pessimism, but instead with baring down and letting the knuckles get white.


"Feathered Indians" is a big-hearted, open-armed love song that doesn’t feel dismissive to the rest of Childers’ tracks because of the raw honesty that’s laced throughout the narrative. Directly following the joy of that previous track, "Tattoos" feels like the aftermath of that love taking a swan dive …and without much grace. Right there, plainly and simply, shows what Tyler Childers is capable of as a tactician of the human experience: he’s managed to draw you in with a romantic escapade of close encounters of a belt buckle pressing against a thigh, following it with a whispered dirge, calling back to when times were good.

The main thread that runs through Purgatory is its sheer authenticity. There’s no doubting the songs come from a real place, or that they at least were constructed through the haze of hard living, always with a strong sense of storytelling. Either way, real or make believe, the stories that Tyler Childers tells on Purgatory aren’t far-fetched concepts, but looks into the all too familiar hard lives in a small town.

To say that Tyler Childers taps into the past, and the darker side of country music, is understatement – this is a continuation of the dark masters, and Tyler Childers has surely been welcomed into the family.

Jun 30, 2017

Album Review: Lee Bains III & The Glory Fires - Youth Detention

by Matthew Martin
We're in an age of unfettered voicing of opinions.  Maybe it's always been this way bubbling just beneath the surface, but with social media and 24-hour news, that squall is reaching a fever pitch.  Each side is pissed and each side fears the other.  It's in this vein that a lot of great music is made.

In the times of slavery, the spiritual was a song or a chant decrying the atrocities happening to those slaves.  During the Civil Rights movement, countless artists and songs decried the tragedies happening to the weakest among us.  In the 90s and 2000s, hardcore and punk bands railed against the state of the world- from consumerism to seemingly constant war.  I say all this to simply state that music is release.  It's an artist's take on their world view.  Sometimes that view may not be our view, but it's an important view and one we shouldn't scoff at or denounce, but take that view and check it against our own world view.

In 2014, Lee Bains III & The Glory Fires released the incredible, loud, in-your-face Southern punk rock album Dereconstructed.  I said when I first heard that album, and still believe, that there hadn't been an album that important to the South since Drive-By Truckers' Southern Rock Opera.  It was an album that took the quick-paced Southern rock on their first album and ratcheted up the guitar and turned a mirror on the South's transgressions while still maintaining that love most of us Southerners have for our region.  Bains and crew have once again taken a look at the South as a microcosm of the nation on Youth Detention and tackle it the only way we Southerners know how to- loud, abrasive, and mad as hell.

In the first five songs, Bains tackles injustices that happen to those that aren't powerful ("Good Old Boy" is a minute and a half of pure adrenaline-fueled punk) and then hits the nail on the head with "Whitewash."  While the song is slower than the first four, it's the one that hit me the hardest.  With lyrics battling what it means to lose a sense of self and place over time, including our Southern accents (this hit close for me because after moving out of the deep South, I've mostly lost my Southern accent), "Birthmarks to be scrubbed away," Bains sings.

"Underneath the Sheets of White Noise" is a song that LB3 & The Glory Fires were meant to play.  It's a damn good song full of the social commentary we've come to expect from Bains played again, fast and loud.  The surprise song on the album to me is "Crooked Letters."  This song is a typical Bains song with a trudging guitar riff and bass line with lyrics damning and self-reflective at once.  However, it has a loop played mostly throughout of children chanting the chant most of us in the South used to learn to spell Mississippi.  Upon first listen, I was a little turned off by this addition, but to be honest, I can't imagine this song without that loop now.  It's going to be odd to hear the song live without the chant!

The next four songs- "I Can Change!" to "Nail My Feet Down to the Southside of Town"- are the best batch of songs on the album with "I Can Change!" coming in at one of my favorite LB3 songs ever.  The driving guitar with squelching feedback are perfect backdrops for a song that grapples with guilt, ultimately delivering "Guilt is not a feeling, it's a natural fact."



The album ends with two damn good songs- the first being "Commencement Address for the Deindustrialized Dispersion" which again deals with the dispersion of Southern people to other areas, but ends with the chorus "May we all grow old and free, And wander home again."  Amen, Lee, amen.  And "Save My Life!" takes us home with a pure Southern rock and roll song about the life-saving and life-changing nature of rock and roll.  That's what it's all about, man.  Rock and roll is good for the soul.  It releases something in us all.

Clocking in at around an hour and 17 songs, Youth Detention is a break-neck speed of an album touching on everything a good punk album should.  If you don't like your music loud and your artists' opinions worn on their sleeves like a badge of honor, then Lee Bains III & The Glory Fires likely isn't for you.  But, if you're willing to challenge yourself and your beliefs and like your music loud, brash, and full of life, then this is for you. Bains' voice is as good as ever and the band is as tight as you'd expect a band that's been together this long to be.  This is album will be one of my favorites of the year.  If you've never seen the band live, go see 'em.  But, dear Lord, wear ear plugs...

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Youth Detention is available on Amazon, iTunes, etc.

Jun 21, 2017

Album Review: Robyn Ludwick - This Tall To Ride

by Trailer

If Robyn Ludwick ever makes it big (well, as big as you can make it on the Americana scene), people will wonder just where the hell she came from. "How have I not heard her before?" they'll ask in exasperated tones. I've got news for 'em. She's been here all along, and it's a damn shame how far under the radar she's flown with even Texas country and roots music fans.

This Tall to Ride is Robyn's fifth album, and it's a strong one. It's brimming over with her trademark dark wit, seedy characters, and undeniable melodies. There are few artists in all of music, who can have you cheerfully singing along to a song about "freelancin' hookers" who sniff Visine.

Ludwick's voice is pure Texas with a hint of Stevie Nicks. It's expressive and relatable. There are times she gets a little pinched sounding, but you get used to it... it's not a flaw, it's a feature.

Her songwriting is full of character sketches of losers and funny stories without happy endings. At times, she uses an economy of words to convey a novel full of insight. And the lines… there are lines that can wet your eyes because they're so heartfelt.
If you can find
A place in your heart
For Junkies N Clowns
Then you’re halfway
To believin’ in Me


There are lines that'll wet your eyes from laughing.
Take Cyclops Boy
You know he don’t lie
And brother he’ll look you
Right in the eye


Despite this lyrical prowess, Ludwick never lets the words take precedence over the song. The hooks never fail. The transitions will take your breath. She builds tension then lets you exhale. Most of the songs on This Tall to Ride are ridiculously catchy. It's just a masterclass in songwriting.

It's a steady and consistent album, only because nearly every song is a highlight. If you're looking for a gateway though, "Bars Ain't Closin'" won't steer you wrong. It's forlorn  in its tale of being away from a lover, whether due to a break-up or being on the road, but there's a beauty and strangely uplifting tone. When you're listening to a sad song, you're never alone.

"Texas Jesus" might bother the Baptists if they focus on the title … oh, and the subject matter. It's about finding temporary emotional salvation in the arms… hands… whatever… of a part time hooker.   "Hard times, easy money, feeling good don't feel bad honey" is the song's refrain and it's how you'll feel listening. Folks on the edges of life finding what they need in a temporary fix. And a great line's in here too: "I can't spell hypocrisy, but I can smell it in the air."



Pretty much all of This Tall to Ride is like that. Broken people getting by however they can. Songs that make you feel so good while hearing about people having it so bad. It'd almost be misery porn, but there's always a bit of optimism, or acceptance at least, to be found in every story. Roses growing in a shut down truck stop parking lot.

Oh, did I mention who Robyn's brothers are? I didn't? Well, that's not even relevant. What's important is that you should listen to this album immediately. Ludwick should be appreciated and celebrated in this scene on her own accord. And don't be caught surprised when she breaks through one of these days. It won't be an overnight success.

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This Tall to Ride is available on iTunes, Amazon, Lonestar Music, etc.

Jun 16, 2017

Steve Earle and I Are Fighting: a Review of So You Wanna Be An Outlaw

by Robert Dean

I wanted to start this review talking shit about Steve Earle. I really, really wanted to. He talked trash on Oasis, which offends me because I’m an Oasis fanboy. To wit, I will take my jab by saying Steve’s theme for The Wire is unlistenable. It’s so awful, it makes every fiber of my being weep with sadness; to say it sucks would be a blessing because it’s so terrible; it’s almost as bad as the abortion that is the theme to Justified. (Different topic, but whoever green-lit that song for such a great show is a complete asshole.)

Ok, so I got that off my chest. But, this ain’t about Steve Earle’s distaste for excellent Britpop, nor his terrible theme song rendition, it’s about his new record, So You Wanna Be An Outlaw. And like I said, I wanted to dislike it, I couldn’t. It’s pretty damn solid.

Steve Earle is a workaholic road dog, and that’s worthy of anyone’s respect. After pumping out an impressive 16 records, you’d think the guy would be phoning it in by now, but nope. The guy who refuses to get a haircut is writing better record than anyone on pop country radio.


So You Wanna Be An Outlaw is a collection of songs that range from bummer country ballads to dirty rock and roll foot stompers. It's good to feel the tangibility of the record and see that the dude is still empowered by his craft.

"The Firebreak Line" sounds like it could pour out of any honky tonk from Austin to Memphis where folks two-step to bands playing for beer money, which is exactly what you want out of a Steve Earle record. While his slow jams are quality, Earle is at best when he’s going for it, playing fast, lighting a match.

The Dukes are definitely on their A game in this instance and deliver the goods for each track on the record. "Fixin’ to Die" is bold, filthy and feels more Jack White inspired than anything else on the record, which all told, would be a refreshing combination were it to happen. The spirit of "Fixin’ to Die" doesn’t feel constrained, but loose and almost like a driving rockabilly-cum-snake handling preacher warning the world of its transgressions.




Say what you want about Steve Earle, he’s effective when he’s playing the role of soothsayer, preacher of the madness, the bringer of truths – he’s had that knack for over thirty years, and that’s when he’s at his best. There are no throwaway tracks on So You Wanna Be An Outlaw, which says a lot about the band’s mindset going into the project. Instead of writing a record to use an excuse to hit the road, the songs feel vital, and personal, which bodes well for audiences who’ll head out to see the shows. There’s an underlying attitude, and it’s obvious Earle went into this record with an ear to the ground of what the slices of America feel right now, red and blue states, included.

All in all, the record is solid. So You Wanna Be An Outlaw is absolutely worth a few spins and maybe hitting a show for. You can’t go wrong with Steve Earle firing on all cylinders but damn him, for liking Blur better than Oasis.

You and me, Steve. We’re fighting.
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So You Wanna Be An Outlaw is available is all the usual spots.

Jun 12, 2017

Album Review: Jason Isbell & The 400 Unit - The Nashville Sound


Album Review: Jason Isbell & The 400 Unit - The Nashville Sound

By Kevin Broughton

Last year was a sonofabitch for nearly everyone we know.

-- Jason Isbell, “Hope the High Road”

A thought occurred to me while reviewing Jason Isbell’s Something More Than Free a couple years ago: “At some point, you run out of superlatives.” So let’s get this out of the way. Right now, Isbell is without peer as a songwriter. He couldn’t have a better band – and God bless him for giving The 400 Unit billing on The Nashville Sound. Throw in a producer – Dave Cobb – who should just buy a gadget that makes Grammy figurines, and you have a legitimate American musical juggernaut.

And a quick word about the band. It’s proper that current 400 Unit – Sadler Vaden and Amanda Shires are newcomers since Here We Rest – gets a spot on the marquis. When the book is written on this band, this lineup will be viewed as the Mick Taylor-era Stones were.

There are several great songs on this record, bookended by a pair of wholesome ballads. “The Last of My Kind” is just another great story of an Isbell blue-collar guy, who wryly notes that some Scripture might only apply when back home. “Something to Love,” on the back end, is a sweet, hopeful homage to Isbell’s rural roots, a companion piece to his “God is a Working Man” on Brother Cobb’s Southern Family compilation.

More than one song recalls Isbell in his peak Drive By Truckers days. (And no, they’ll never be that good again, and were never better.) The driving intensity of “Cumberland Gap” captures the defiant malaise of Never Gonna Change, only in middle age. Here’s a guy who probably wishes he’d been thrown off the Wilson Dam.


If you’re looking for other perfect B-sides, how about “If We Were Vampires,” a sweet, morose counterweight to “Flagship,” till now Isbell’s most tender love song?  

Sadly, the album is not as good as the sum of its parts. It’s a good but not great record, lacking the continuity and flow that made Isbell’s previous three studio offerings so compelling. Consequently the default focal point becomes the overtly political.

Have you ever thought about what a vile, racist country this is? This republic that twice elected a black man president, with solid popular and electoral majorities? No? You’re in luck, because Jason Isbell is here to beat you over the head with it. “White Man’s World” would be better titled “White-Guilt World.”

Granted, Isbell didn’t completely lose his mind the way his 50-something former band mates did last fall, stopping just short of pissing on Old Glory and renouncing their citizenship in a bid to curry favor with millennial piss-ants and Bernie Sanders-loving losers.  One wonders, though, how many minds did they change? How many people came around to their cop-hating, white-guilt, socialist point of view because of DBT’s temper tantrum of an album? Likely none, though countless bedwetting, gender fluid NPR fans got enough affirmation to stave off being triggered for at least a day.

While Isbell employs a modicum of subtlety compared to Cooley and Hood, “White Man’s World” is still heavy handed. And lest you think blacks are the only oppressed people in this fascist nation: “I’m a white man living on a white man’s street, got the bones of the red man under my feet. Highway runs through their burial ground…”

Really?

Yeah. Step right up for self-flagellation, Cracker Boy. You will be made to care.  And never mind that “red man” is way more than a microaggression.

You want privilege-checking? Got some of that, too. “I’ve heard enough of the white man’s blues, I’ve sang (sic) enough about myself” is our entry into “Hope the High Road,” an otherwise hopeful postmortem of the 2016 election. Oh, and “Anxiety” will be perfect fare for the “safe zones” (you know, where they exclude white people) on the campuses of Mizzou, Harvard, Brown, etc. It’s just flat-out whiny. The crybabies and victim-pimps will love it.  

It’s a sad thing when music – something that should draw everyone together to admire it as art for art’s sake – is politicized. More than a couple of the artists I’ve interviewed for FTM have told me off-the-record why they avoid it. “You're 100 percent right about the music and politics thing,” one told me recently. “I've worked really hard not to do that. The only thing that can come from that is that you piss off half of your fan base. And you won’t change anyone’s mind.” Indeed. But those on the Left seemed determined to politicize every aspect of American life and culture, as we’ve seen happen in the world of sports over the past few years.

Will Isbell lose some fans? A few. Not this one, who hopes it’s a one-off. Still, look for plaudits from all corners: “Jason Isbell courageously speaks his mind.” Yep. Takes a ton of courage to toe the Leftist line in song.

Ultimately, though, if you can do this, you can do anything you want. Nice record, Jason. Wish it were better.


The Nashville Sound will be available everywhere this Friday.

May 19, 2017

Album Review: John Moreland - Big Bad Luv

by Matthew Martin

The first thing I noticed about the latest album from John Moreland was the generally positive and upbeat tint to the album.  Where other Moreland albums burn and singe their ways into your soul, this album boogies its way in.  That isn't to say that this particular outing from John Moreland doesn't have those same gut-punch moments.  It does.  The man writes songs that are written, it seems, in the dead of night with not a lot going on- just your thoughts either haunting or taunting you.

The next thing I noticed was just how damn soulful and bluesy Big Bad Luv is.  I know that's always been there with Moreland, but on this album it's much more pronounced.  The album is such a throwback Americana album to me.  It's something that Steve Earle would have put out.  There's a hint of Full Moon Fever-era Tom Petty.  It's an album that will certainly grow as the Summer heat begins to intensify.  The laid-back bluesy songs such as "Love Is Not An Answer" or "Salisaw Blue" are perfect soundtracks to Summer.

So, the album is a damn good album.  It's a growth even if it, in reality, is a step backward for Moreland.  Sure, his last two albums were more somber in tone, but those weren't his first albums.  He's always had bands and this album is more or less a return to those earlier days.  I think that this is an artist who is happy, who is comfortable with the artist he is, and has found a group of musicians that has helped him realize his vision.

Let me get back to the positivity for a moment.  Yeah, there are some crushing lines on the album ("If we don't bleed, it don't feel like a song"), but those feelings of despair are mostly in the past and nearly every song has a moment of clarity for Moreland, acknowledging his love has more than made him happy- she's made him better.  He's a married man now, and that new truth colors his new music.

Yeah, there's a lot to think about in our pasts, but sometimes we get lucky and we have someone come along who makes those past experiences seem worth it.  Those experiences led us to this point.  And, it's not so much dwelling on those past experiences.  It's more acknowledging them.  That's always been Moreland's strength; turning a sharp, unblinking eye on those pasts and the feelings they conjure late at night.  He makes us confront what we may have been disregarding.  That's what makes us love him and his songs.

Every John Moreland album always ends up being one of my favorite albums of the year, and I don't see a way this album won't also be in my favorite albums list.  If not at the top, then damn near it.  If you've never seen the man live, he's going on an extensive tour this Summer and you should do all in your power to get out and see and support him.  The show is unreal.  It's stunning.  While you're there, or before, pick up Big Bad Luv and all the previous albums if you don't already have them.


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Big Bad Luv is available everywhere you consume music, except like, Walmart probably.

Apr 28, 2017

Album Review: Dalton Domino - Corners

"People like me have to live in hell to see if Heaven is worth it"

Dalton Domino's second album, Corners, is a sober but intoxicating look at the journey of a young man moving from the partying days of youth into the first blush of accepting adulthood. It's a fitting portrait of life, given that its painter is recently sober himself.

"Who I was ain't who I am"

Domino hasn't changed his sound for his second outing, though things are a bit more shaded and a little more guitar-driven. It's still a hearty mix of mid-American rock, red dirt country, and thoughtful singer-songwriter fare. Things are just seen through clearer eyes this time. With that clarity brings sharper detail; a little less giving 'em what they wanna hear, a little more giving 'em what I need to say.

The title track finds Dalton trying to mend fences by admitting the state he was in when he tore them down in the first place. He's okay with it if you can't get past his transgressions, but he's also confident in the transformation he's gone through. Jack Ingram guests on the song, adding gravity to the message and support to its messenger.



"Decent Man" is a funkier cut. A measured but rocking honky-tonk number with some southern rock swagger and another heady dose of truth …this time, gleaned from a run-in with the law

The lead single, "July," is a catchy, radio-friendly (in Texas anyway) mid-tempo rocker. It's a co-write with Kaitlin Butts about figuring out who's really to blame in a broken relationship: the dude she's cheating with, her, or himself (hint, it's the last two).

Thinking things through. That's one of the important distinctions between boys and men, and one of the main themes on this album.

On Corners, Dalton Domino has declared that honest confessions are more valuable than false optimism. It's a mature approach, and though it's a bit darker sound than his debut album, there's a boldness in being more assured of who he is.  Corners is a powerful second release, and one that should see Domino continuing to climb the ranks in Red Dirt and Americana music.

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Corners is available on Lonestar Music, iTunes, Amazon, etc.

Apr 19, 2017

Album Review: Charlie Worsham - Beginning of Things

Charlie Worsham – Beginning of Things

by Jonny Brick


Hi, my name is Jonny and I love country music. Nice to be here. I think it best that I start my first piece on Farce The Music by acknowledging my forebears.

Here is what FTM thought of Rubberband, Charlie’s debut from way back in 2013, when number one songs included the gruesome twosome "Cruise" and "That’s My Kind of Night" (I am contractually obliged to call both those songs rubbish):

Rubberband is mainstream country music as it probably should be in 2013. It's not rock masquerading as country, or country wishing it were pop, or (thank God) hick-hop.

‘Charlie's music is organic, honest and warm…It's accessible but not pandering. It's catchy but not built solely around hooks. It goes down easy, but requires repeated listens to get a full appreciation.’


If that’s your bag, or if you enjoyed Rubberband like I did – I was briefly addicted to "Want You Too" – then Beginning of Things is the album for you.

Here in the UK (I’m writing from London), we have adopted Charlie because you in the US didn’t want him, like a sort of Bush (the band) in reverse. (Gavin Rossdale is our version of Blake Shelton here, so go fig.)

As a nice gift to his fans over here in the UK, Charlie accidentally left copies of Beginning of Things in the hands of his fans at his gig in November 2016. When he returned in March 2017, playing Country2Country (C2C) in London and at small venues across the country, some fans knew every word to songs that had not yet been released.

To promote the album, Charlie released a wave of five songs (John Mayer-style) in January 2017, which all appear on the LP. "Southern by the Grace of God" is co-written with Luke Dick and the modern-day Tom T Hall, Shane McAnally. The harmonies in the chorus are awesome, as is the way Charlie tags the end of the chorus with a reference to the bluegrass style of singing like a hillbilly. It’s authentic and fun, and proves Charlie knows his heritage.

Daniel Tashian and Abe Stoklasa wrote "Call You Up," which has hints of the former’s work with the band formerly known as The Bees, now called The Silver Seas. The latter has played keyboards on Lady A’s tours, and wrote with Charles Kelley, who I am sure would leave Lady A to pursue his more interesting solo career…if only his mortgage would pay itself.

Charlie has told the story of headlining a gig above Sam Hunt and Kip Moore; the lineup was booked well before Hunty became a big star. Whereas Sam only played a few songs, the crowd grew restless when Charlie was up there trying to do his job. He should have been rubbing his sexy body like Shmuel, but must have been too busy playing chords and riffs on his guitar.

Charlie suffered a crisis of confidence after the tour, and is still too polite to blame old Hunty for this. I wonder if Sam’s expected second album will be musically better than Charlie’s, and about the Pope’s religious preference. I know whose album Nashville is betting their horses on selling a million copies. And it ain’t Chuck’s.

All this despite the fact that Vince Gill is his guiding light, that Marty Stuart played on Rubberband and that, in "Could It Be," Charlie has released one of the finest love songs in country music this decade.

(It’s better than "Need You Now," which I think is also an obvious easy target on this site; Lady A’s album will come close, in its best moments, to Beginning of Things, but will probably be weighed down by AOR. I am willing to be proven wrong.)

Consistency between Charlie’s two albums is maintained with having Ryan Tyndell on board once again. He wrote nine of the eleven tracks on the debut, and writes five here, including "Please People Please" (‘you can’t please people, please people, please’), a live favourite which really needs some airplay on country radio. Bobby Bones is a huge fan, and the Bobbycast with Charlie is a really brilliant hour of conversation.

Charlie uses his talents as a picker – he went to Berklee College of Music thanks to his brilliant pickin’ – to good effect as and when he needs to, sounding like Daryl Hall on the track’s solo passage. Hunter Hayes brought him onto the stage of the Greenwich Arena at C2C, so there is mutual respect from another act who deserved more appreciation.

Charlie can do throwaway pop songs (I’ll say it) like Paul McCartney or (I’ll say it) like Brad Paisley. There are a couple of them on Beginning of Things: "Take Me Drunk" has the great line, ‘What’s a drink got to do to get a guy in this bar?’ which is a song title on its own!

"Lawn Chair Don’t Care," with which he delighted Country2Country fans back in 2016, sounds like the theme tune to the Nickelodeon show Doug: ‘Boo-ba boo boo, boo-ba boo boo!’ Charlie sings. The chorus is a ‘sitting in a chair drinking a beer’, but with strong melodic heft.

It’s a co-write with Tyndell and Brent Cobb, and that trio also wrote "Only Way to Fly," a brilliant piece of music with a soaring chorus that demands to be sung at CMA Fest. Though, as I am contractually told to write, it’ll be drowned out by those darned FGL/Kane Brown fans, right?!

(Am I doing the right thing here by hating on T-Hub, The Other One and Kane Brown?)

Brent Cobb co-wrote "Old Time’s Sake" with Charlie and Jeremy Spillman, who also wrote "How I Learned to Pray," one of the softer songs on Rubberband. "Old Time’s Sake" is the equivalent song on this album, a magnificent ballad in 12/8 time. I love the line in verse one:
‘I love this song too. Can I dance with you? Let’s try something new, for old time’s sake.’ A killer.



The title track is a story in a song (duh, it’s country). Co-written by Stoklasa (who wrote "The Driver" with Charles Kelley), it’s a love story set to a lovely beat. The pace quickens with "Birthday Suit," whose chorus of ‘TAKE IT OFF, TAKE IT OFF!!’ must bring back awful memories of that Sam Hunt tour for Charlie. The song actually recalls the music of Beck, which isn’t bad musical company to be in.

Ben Hayslip, who is partly responsible for bro-country (he co-wrote "It Goes Like This," "Mind Reader," and "Honey Bee," as well as "Touchdown Jesus"), helped Charlie write "I-55," which sounds like its title, ‘a familiar stretch of interstate’. Fans of American rock music (which, from what I know, seems to be making a big impact on country sounds) will dig it, as there’s a lot of space between the notes on Charlie’s guitar part.

I am not surprised if Luke Bryan options this for his next record, as he’d kill for it and also deliver a great vocal. (I like Luke, get over it.)


"I Ain’t Goin’ Nowhere" shares a poppy sound with the likes of John Mayer – again, a guitarist-songwriter unafraid to go his own way, industry be damned – and is a big live favourite. It also stands as a sort of missing statement. Meanwhile, Charlie calls "Cut Your Groove" his ‘theme song’, and it’s the best thing he’s done and may well ever do.



Farce The Music readers will love how the three-chord marvel uses the physical object of the record to stand as a metonym for one’s life: ‘You got a melody, make ’em hear it!’ is a great affirmation from a guy who admitted to seeing a therapist to get his career back on track. "Cut Your Groove" is such a brilliant song that on any other act’s album it would relegate the rest to filler. Here it is just the best of a starry bunch.

It makes me wonder who else Britain can adopt because America are too stupid to make stars of proper stars like Charlie Worsham. We’ll make Charlie a huge star here of Sam Hunt proportions.

I know he won’t sell a million copies like Lady A, Sam Hunt or Luke will, but even if Charlie sells half a million (and gets people streaming too), at least that’ll ensure he can make another album and force these top acts to raise their game.

Just don’t make us wait four more years, Charlie!


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Beginning of Things is out this Friday and will be available on iTunes, Amazon, etc.


Please welcome Jonny Brick, who runs this fine site, to Farce the Music as our newest contributor. His tastes skew toward the mainstream it seems, but more often the good stuff than not, so we're looking forward to his perspective. He's also from across the pond, so that'll add some different spice to our formerly all American presentation. -Trailer

Apr 10, 2017

Album "Review" Mastodon - Emperor of Sand

How I Really Feel About Mastodon’s The Emperor of Sand

by Robert Dean

You know when you’ve got mutual friends with someone, and your friends try to sell you on that other friend like, “Oh man, you gotta meet Phil. Phil fucking rules. We went to high school together. Great dude. Kills on guitar. Hilarious. Knows every word to every episode of Family Guy.” And then you meet Phil, and Phil sucks.

You have no idea why your friends love Phil. Maybe it was because you were late to the game and missed out when this dude peaked and owned shit with that wicked sense of humor. (While we’re on it, despite it being funny, people who over-quote Family Guy are annoying.)

You keep giving Phil chances when you see him out. You’re desperate to like Phil. You study up on Phil history. You actively learn about Phil if he’s going to be a satellite member of your crew. You revisit his old material. You ask to be told the stories so that you can search for the deeper meanings in the payoff. Still, you’re just like, meh – Phil. Because Phil is relevant to your community of friends, you deal with Phil and learn to tolerate Phil, not love him as they do.

You’re having a few beers, and next thing you now, he’s there telling boring work stories, but doing a bunch of weirdo cartoon voices. He’s also obsessed with Rick and Morty to an uncomfortable level that makes his constant show references hard to keep up with. It’s kind of draining. But, you endure the night.

Phil LOVES Iron Maiden. Like, a lot and thinks they’re the best band ever when most people like a handful of tunes. Phil gets all obsessional about the content of the lyrics and by word seven of this whack conversation, you’re already fucking bored with Phil. It’s just too much.

You start to wonder if you even wanna kick it with your friends anymore because maybe you’re just as annoying as Phil is. Considering this, it blows your mind. It makes you wonder about all kinds of mind-altering, existential dread shit. Just because Phil is a dork, who thinks bacon flavored everything is cool. He’s spoken at length to you about “nature’s candy” and essentially just ruined breakfast meats for you.

Finally, you just learn to ignore everyone when they drop some Phil knowledge or try to sell you hard on him and his corny jokes straight from the pages of Reddit. Sure, he has some moments where he does shine, and you’re like, fuck – “why can’t you do that all the time?!” And then Phil goes right back to bumming you out. He’s not a bad dude, either. He’s just not your people. It took a little while to get it, but it just is what it is.

Once you’ve gotten over that crucial hump of learning to accept indifference and gain the ability to filter out annoying shit in your life, you can hang with Phil. Never alone, though. That’d be too weird. Phil will never be that cool, and you will never like him like that. He’s a group hangout instance only. You’ve been dodging that Facebook friend request forever and you ain’t about to hit the yes button anytime soon, despite the fact that he’s been following you on Instagram for like a year.

What I’m trying to say is, Mastodon is Phil.


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Emperor of Sand is available on Amazon and everywhere else, and the head honcho of this site thinks it's excellent.

Mar 31, 2017

Drake’s a Millionaire, and I’m Still Broke: A Review of More Life

Drake’s a Millionaire, and I’m Still Broke: A Review of More Life

by Robert Dean


I have a complicated relationship with Drake. Sometimes, he’s the baddest dude in the room, with a swagger that’s incredible, and then, in one swift move drops the softest bars imaginable. To quote my man A-Town Brown, “Drake is entirely capable of folding up like a lawn chair when shit gets real.”

You know what? I ain’t entirely convinced he’s not wrong.

Drake is like a paradox of songs meant for the club, but like, not partying hard, but slow dancing with a dude who’ll get mad if you insult his cologne. Drake is like an expensive purse that people want, but are kinda weird about taking out of the house due to embarrassment.  And, just when you’re like, damn, he’s finally done it, he releases some super lame tracks, then fucking Drake comes at you a million miles per hour with a track that slays. (See: "All Me") Shit is weird.

On his new record, More Life, it’s like half of the hardest tracks ol’ Mr. Wonderful Smile could conjure up, and then a bunch of club track trash. "Free Smoke" immediately sets a tone, but then a few turns later, we’re at "Passion Fruit." And "Passion Fruit" almost made pour water on my computer to stop the wack.



When Tribe Called Quest is still dropping records that destroy and Young M.A. is coming up as the best thing outta Brooklyn in forever, what’s the point of More Life?

It certainly doesn’t feel cohesive - it seems like a bunch of stuff slapped together to say there’s new music out there in the streets.

Since More Life is 22 songs, it’s considered a “playlist” vs. a mix tape. Whatever it’s called, people are buying it. It’ll be number one for the second week in a row. But, people think Five Finger Death Punch is good music too, so whatever. Views was commercial, but More Life feels trying to please too many people with too many styles. And what’s up with this Jamaican accent? You’re from Toronto, dude.

I think being from Canada finally caught up with Drake. Cuz, even as a casual observer, this one just ain’t working for me in the slightest.

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More Life is available anywhere and everywhere.

Mar 13, 2017

Fresh Grime in 2017: Mark Porkchop Holder’s Let It Slide

Album Review: Mark Porkchop Holder - Let It Slide
by Robert Dean

If there’s one thing, I’m a total sucker for it’s some downhome-ass, dirty blues. On Mark Porkchop Holder’s new joint, Let It Slide, we’re treated to some fun blues jams complete with some filthy slide guitar work. Mark is a well thought out guitar player with some serious groove laced through the songs on Let It Slide. He doesn’t rely on cheap riffs, but grinds on those classic head shakers that guys like Dan Auerbach from the Black Keys manage to slay with.

My one gripe with the record is the vocals being too far up front in the mix. I prefer my blues to come with the classic, “all in one” mic’d up room technique from the lo-fi, analog days. I feel like it just makes records with grit sound more natural and warmer. It’s not just Mark’s record that I feel this way; it’s a general observation of recently recorded rock and roll and blues records.

Nothing on Let It Slide reinvents the wheel, but why would you want it to? When it comes to the blues, the guitar needs to ooze, and the battery behind the riffs needs to be airtight. Let It Slide accomplishes both tasks.

Living in central Texas, I’m super close to the famed Luckenbach that Waylon sang about, and "Headlights" is a track that immediately reminds me of the one bar in town. All of the road dog acts passing through on their way to Austin try to hit that stage, it’s a Texas legend. "Headlights" gives off the Sunday afternoon showcase vibe – a song you could drink beer with strangers on a nice day to. And there ain’t nothing wrong with that.

The record’s title track takes its cue from the traditional Chicago blues. It’s mean and talks about what else? a .38 – and we’re left with quite a few questions about not just motive, but what those problems Mark speaks of really are about?

But, minus the vocal mix, Let It Slide is one of the better records out there for the blues genre. If you’re looking for some good time music to throw on for the next barbecue, this one won't bum anyone out, and you might even get a few compliments on your solid musical taste.
Stand out tracks: Stagger Lee, Baby Please Don’t Go



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Let it Slide is available on iTunes, Amazon, Alive Natural Sound Records, etc.

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