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

Jul 26, 2018

Album Review / Cody Jinks / Lifers

When I review music, I do it primarily from the point of view of a fan. I'm a music lover with a platform, not a music historian or trained writer (clearly). The focus will always be on the sound, the lyrics, and the emotions the songs bring out. 

Luckily, Cody Jinks is an easy subject to cover - you know what you're going to get: modern sounding country based in honky-tonk and 70s 'outlaw' country. Some people want their artists to explore new sonic territories and "evolve" over subsequent albums. While I embrace that sort of growth, I'm more invested in artists who grow in their songwriting while hewing close to a signature sound. 

On Lifers, Jinks nails it. The rich vocals, steel guitar, whiskey, regret …all the things you've come to expect from Cody are here. And while he's certainly written some classics along the way, the overall consistency of the songwriting has never been better. There's a lot to be said for finding your niche and just freakin' owning it.

"Holy Water" leads the way with a mid-tempo search for truth. It's a look in the mirror at a man who's been grasping for something. That something, he realizes, is spiritual in nature and the female backing vocals come in like a choir of support. 

Lead single "Must Be The Whiskey" was written by Joshua Morningstar. It's a loping modern honky-tonker and a thinking man's drinking song… or a drinking man's thinking song. That damn chorus is such an earworm, it's been stuck in my head for weeks. 

There's a lot of points to hit here, so I'm going to speed up the proceedings. "Somewhere Between I Love You and I'm Leaving" is exactly what you'd imagine from the title - a tear in your beer ballad. Jinks' vocal performance is the star of this weeper, elevating it to possible song of the year territory.


Title track "Lifers" celebrates struggle and work ethic - the 'throwbacks and cowboys in old hats.' "Big Last Name" is going to be a huge concert sing-along. It's pure Texas country. "Colorado," co-written with Ward Davis, is another outstanding ballad and probably my favorite song on the album.

Things take an interesting turn at the end of Lifers. The last three songs, "7th Floor," "Stranger," and "Head Case" take a cue from "Holy Water" and get really thoughtful and introspective. Honestly, I'm still trying to absorb these two, particularly "7th Floor." If you're looking for evolution out of Cody, bookending the record with songs that look so decidedly and honestly inward may fill your quota. 

Lifers is probably the strongest album yet from an artist who's still ascending in popularity. Who knows if it's the vehicle to be his "big breakthrough," but it's certainly accessible enough to fit the bill. Cody Jinks is on such a roll that even though he likely has little interest in mainstream radio, it's still an embarrassment to have such vibrant and beloved music exist in a world where that's not even a possibility. 

Anyway, stay up till midnight tonight, download the album, pour a glass of something strong, and settle in for a damn good listen. Lifers is killer.


Jul 19, 2018

Album Review / Lori McKenna / The Tree

From my perspective, Lori McKenna is the best working songwriter whose last name isn't Prine. She has a gift - and 'gift' seems like the biggest understatement ever - for conveying real, lived-in emotion. She doesn't paint a picture; she paints you into the picture. You're there. 

No matter your particular station in life - when Lori sings, you're a broken-hearted husband, a loving mother, a thankful child. I'm almost convinced it's voodoo.

The Tree is McKenna's latest foray into messing with your feelings. Family is front and center across the eleven songs, and again, it doesn't matter what you bring to the experience - Lori's plucking you from your existence and plopping you down in her stories. 

"People Get Old," the album's first single, builds a world around its simple title. The passage of time and the certainty of aging are well worn themes to be sure, but you haven't felt them like this. The imagery - dad's cut sleeved t-shirt, turning off all the lights int the house like her dad did - doesn't just set the scene, it sets the mood. Lori's vocals pull you the rest of the way in, and suddenly you're reminiscing the past and pondering the future right alongside her. 

"You Can't Break a Woman" tells a philandering mate how little his drinking and running around matters anymore. She's still there, but she's not there for him to hurt. Even though the message is to the lover, you're the titular woman. She hasn't left yet, but she's long gone. 

Though a lot of The Tree's songs lean on shading and expertly arranged simple prose, Lori can wordsmith with the best of them. On "The Lot Behind St. Mary's," McKenna flexes her lyrical muscle. It's a longing and nostalgic look back to a couple's more innocent times. I'd pick a line or two to include here, but really, the entire thing is incredible. The most devastating thing about this song is what she doesn't explicitly tell us. When it hits you…

There's some joy to be found on The Tree - celebrating the small things and the everyday heroes (mom!). There's also a lot of struggle to go around - much like life. McKenna's brilliance is her searing honesty. Her ability to absorb the listener into the song is without equal. 

Give this album your full and undivided attention, but prepare yourself. This isn't a record of pat platitudes and mindless entertainment. It demands of you. I don't get "in my feelings" much, but if you really listen to this album and don't go there, you missed out. 


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The Tree is out 7/20 on all platforms.


Jun 4, 2018

Album Review / American Aquarium / Things Change

by Matthew Martin

When I heard the news last year that American Aquarium was experiencing a mass exodus of all members except for singer-songwriter BJ Barham, I wondered what form Barham would continue on in.  I knew that he'd continue.  The songwriter in him showed no signs of quit, of having that hard-earned time out on the road be for nothing.  I will admit that I was shocked to hear that the name American Aquarium would continue on with all new members.  But, at the end of the day, Barham's earnest lyrics and dedicated-to-the-craft workmanship is what made American Aquarium truly work.  So, it should be no surprise that the latest output from Barham and new mates is just as impressive as ever.

Barham seems to find that muse of his when his back's against the wall.  When he feels like he's been backed into a corner and the only way to get himself out is to fight like hell.  It's what we saw with 2012's stellar Burn. Flicker. Die.   And now we see it here on Things Change.  I think that muse was burning from both ends of the same candle on this latest output as Barham saw not only the end of his band, but a change in the U.S. that was hard for many to grapple with.

I'll get that political upheaval out of the way first because I think that may turn some folks off.  It shouldn't.  Barham writes from his personal worldview.  You might disagree, but he isn't wrong either.  When he sings of seeing the hate his grandfather fought against being alive and well, it's there.  And, regardless of who won the election of 2016, it was still going to be there.  So, before getting mad at yet another artist who should just "shut up and sing," just listen.  Try understanding that there are folks out there that are worried- on both sides.  We are scared of each other, but we can change that.  Music is one of the things that can, and does, bring us together.  

As far as the other subjects on the album, there is a mighty heavy dose of regret and hope when it comes to losing friends you've had for years.  There's always sadness when you lose someone- whether it be by choice or, god forbid, death.  But, there is always hope and happiness in what that change can bring.  Barham doesn't shirk responsibility for those relationships failing.  He meets them head-on and tries to learn lessons from those failures.  He addresses the man he used to be when he would blame every trouble he had on every woman who did him wrong ("One Day At A Time").  He addresses the booze that always led him astray and towards self-destruction ("I Gave Up The Drinking").  Barham knows he isn't perfect, but his ability to stare his demons in the face with hope is what makes the album so incredibly stunning.  And, that's just the words...


The music on this album is a synthesis of every single American Aquarium album up until now.  There are hard-driving rockers ("Crooked+Straight"), acoustic self-reflective songs ("One Day At A Time"), and straight up country songs ("Work Conquers All").  While the band prior to this iteration was a pretty damn good band, this new band has absolutely crushed any expectations one could have had going into this album.  Barham is the glue holding the band together, sure.  But, the band takes his bare bones songs and kicks them up countless notches.  I don't think Barham could have chosen a better group of musicians for this new era of American Aquarium and I can't wait to hear where this band goes from here.  

So, give these songs a listen.  Take time with them.  Don't get turned off because he says something that might not be what you want to hear.  Hear it from his point of view.  Music is the great equalizer and as always, hope springs eternal.   And don't forget to go see Barham and crew as they come to your town!

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Things Change is available everywhere you enjoy good music.

May 10, 2018

Album Review / Leon III

Leon III's debut album begins with a Grateful Dead-esque loopy guitar intro and then the heavy twang of a familiar voice. The band's background info describes them as a psychedelic Americana group, and based on the opening seconds, you'd have to say that's about right. 

The voice you recognize is that of Andy Stepanian, the head ass of the Wrinkle Neck Mules, a long under-appreciated alt-country outfit from Virginia. Mason Brent of the Mules is on guitar. Leon III is a bringing together of this duo's rustic aesthetic with the smoother sounds of acts like Wilco and the experimentation of jam and indie rock. While that may sound like an odd mixture, it's not a far cry from a lot of the alt-country I listened to in the early 2000s.

The band is rounded out by drummer Brian Kotzur of Silver Jews, pianist Tony Crow, singer Jordan Caress, and guitarist Chris Scruggs - Scruggs as in the grandson of Earl - this is a top notch collaboration of musicians. 

So, I've listed the influences and ingredients, but what does Leon III sound like? Downtrodden folk rock might be the best descriptive. Stepanian's gruff vocals combined with the softer textures laid down behind him is an intoxicating presentation. For me, the familiarity with Wrinkle Neck Mules' jubilance made it an even more disconcerting experience at first. It's not a challenging listen, but it's a challenge to absorb this album. The reward is worth repeated listens. 

The album is meant to be digested as a whole, but there are a few standout tracks for me. "Faded Mountain" is driven by bass and drums, punctuated by piano and steel guitar. It's one of the quieter moments on Leon III, but the simplicity of the sounds and the poetry of the lyrics make it one of the more poignant.


"Alberta" is the heart of this record. It's a slow build of a song about realizing you'll never have it all. The progression of this track will raise the hairs on your arms - horns push the horizon higher and Stepanian's yearning grows then fades. It's an emotional trip.

"Between the Saddle and the Ground" talks about the swiftness in which salvation can be found, even in the fleeting moments. It's constructed around a William Camden quote referred to on the Dead's "China Doll." The tune is reverential to the Dead, but the sound is pure epic Americana. 

Leon III isn't an easy album to love, but once you've let it seep in for a few listens, it won't leave your mind or soul. This is emotional, intelligent, artful music in an era of throwaway culture. If you dig Wrinkle Neck Mules, Silver Jews, Wilco, or any act in between, it's well worth your investment to give this record a few spins. 

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Leon III is available on Amazon, Cornelius Chapel, and all the usual outlets. 



Apr 30, 2018

Don't Call Him An Outlaw, Joshua Hedley Is So Much More To Country Music

by Robert Dean 

When people ask about Farce The Music, I like to think of what we do around here is spread “The Gospel of Good Shit.” We’ve helped give a little credence to folks who are either up and coming or out there killing it, who deserve more ink than other outlets are providing them.

We talked about Sturgill before he was cool, and we blabbed on about Chris Stapleton when he was still “that big, bearded dude from The Steeldrivers.” We shouted from the rooftops about Tyler Childers and Colter Wall back when no one had so much of heard of these dudes outside of Ole’ W.B. Walker. We’ve not shut up about Margo Price since she was talking about losing the farm and wanting a bottle of wine for momma.

Lindi Ortega, Jason Isbell, Lillie Mae, Ian Noe, Kacey Musgraves, and Justin Wells - all of that amazing music, we’ve been waiving those flags a long time now. This isn’t a pat on the back; it’s a mission statement: we’re dedicated to helping champion amazing artists, and hopefully getting some of these folks who are still slugging it out in bars, playing for tips, sell a few t-shirts or at least another bottle of PBR after their set. 

There’s a name that keeps popping up on my radar over and over again, someone who thanks to my mate Harsha down in Sydney, I got the chance to see in a tiny little room above a Spanish restaurant on the other side of the planet. That name is Joshua Hedley. 

While I enjoyed my experience seeing him in a packed room full of Aussies in their best country gear, it wasn’t until I heard his new record, Mr. Jukebox, when I was flabbergasted at Joshua Hedley’s beauty and brilliance.

Joshua Hedley is a name that will be mentioned in places “too cool” for country, that vaunted Sturgill Simpson territory, an area that blurs the lines of just who Sturgill’s “core” fanbase is, nobody knows – but there sure are a ton of them. Rolling Stone has already jumped on board, and then there’s NPR, The Chicago Reader, The Tennessean, to name just a few who are falling hard for Hedley’s debut Third Man Records release.

Having spent years as a featured Monday night performer at Robert’s Western World down on Nashville’s main drag, since his teens, Hedley knows a thing or two about playing the hits, and it shows on Mr. Jukebox. It’s become lore amongst the musicians on Broadway to cite how well Hedley knows his country music, but also that he can play it at the drop of a Stetson.

What Mr. Jukebox isn’t, is another record featuring a desire to be a bar room badass, a fighter in a leather hat ala Waylon with a Kool dangling off his lip, ready to clean a clock and peel out on a Harley, middle fingers up. Outlaw isn’t a world uttered when describing what Hedley does, in fact, it’s the exact opposite of what he does.

When Waylon and Willie were coming up and energizing the idea of what the Outlaw scene meant, it was on the merit of beer swigging hooligans who write songs for guys with hard knuckles and a constitution for cheap blow and fast women. The songs weren’t complex arrangements, nor did they lean on the traditions of Nudie suits or songs about horses and other fairy tales of the scene back then.

Outlaw was decidedly not what was popular in the day’s country music, which featured lush string arrangements and stories about heartbreak, and deceit by a lovelorn partner. There was a sense of beauty to those songs, a purpose driven by big choruses and a beat that anyone could two-step to, drunk or sober, happy or sad.

That’s precisely the nerve Joshua Hedley taps into on Mr. Jukebox with booming traditionalism and on the nose respect to the late 50’s early 60’s era of country, before disco or rock n' roll changed the flavor.

The soul of Mr. Jukebox is decidedly unhip to mainstream Nashville standards, but the songs are glorious throwbacks to guys like Ernest Tubb, George Jones or Buck Owens. The reason Mr. Jukebox succeeds is his backbone of traditionalism, not only in character, but also because of Ole’ Hed’s dedication to the heart of real country music.

Hedley’s fiddle furiously battles his smooth vocal runs with a multi-disciplined attack that's just damned good music. Joshua Hedley can strum a guitar, sing with a clean, clear harmonious range, and write lyrics that are not only witty, but also painstakingly crafted so that the words on some of the record’s tracks land like guy punches.

Mr. Jukebox is the record you can slip on for MeeMaw while she’s in the kitchen and you’re likely to get a head turn out of her because the sound, the style, the playing is so believable, so in the moment; it’s hard to reckon that Mr. Jukebox is brand new. Say what you will, but there’s always something pleasing about getting a flicker of recognition from the old school, even if she’s just making a gumbo in her slippers.

The record’s opener, “Counting All My Tears” lets the listener know that without a doubt, Conway Twitty’s stamp is there.  All throughout the album, the steel guitar slides and wanes while the harmonies are large productions that harken back to the thick, wall of sound delivery, but with a slight tinge of gospel power hidden in the rafters for a sprinkle of good luck.


“Weird Thought Thinker” feels like that era of Willie Nelson before he moved back to Texas, while “I Never (Shed a Tear)” feels straight off Patsy Cline’s vine and broadcast to the world via The Grand Ole Opry. This is pure classic, country music that’s without any of the bullshit sparkles. We’re getting closer and closer to two factions of country music coming to the forefront: Southern Pop and Country Music.

If there was any doubt of what Joshua Hedley does, brother you ain’t been paying attention. Mr. Jukebox is here to stay, and the waves we’ll see in his wake will only push those boats higher and higher – green Nudie suit and all. 

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Mr. Jukebox is available everywhere you consume fine music.


Apr 27, 2018

Sleep Transcend The Holy Mountain And Enter The Sciences

by Robert Dean 

When a band releases a record that defines their career, it’s Sisyphean task to follow it up. Very few bands can write a Sgt. Peppers and come back swinging with the White Album as the Beatles did. The same goes with the Stones, who managed to write five classic records in a row, starting with Beggars Banquet and ending with Goats Head Soup. 

Bands like At The Drive In, Glassjaw, Refused, and At The Gates, all have classic records people obsess over and study to an almost scary degree. Genres and styles of play have evolved around the seminal The Shape of Punk To Come and Slaughter of The Soul. Over twenty years later, kids are discovering those records and trying their best to copy the magic caught on tape.  

When Sleep released its droning, doom-defining monolith Dopesmoker, it was met with a resounding thud thanks to the band's label refusing to release it in its original form. A secondary tracked down edition titled Jerusalem finally was released, but it was always Dopesmoker that found its way into tape trading circles and bootlegs pressings. But, the fervor for Dopesmoker bubbled up from the tar pits and over the years, has become canon for all things stoner. 

In the wake of Dopesmoker’s release and subsequent troubles, Sleep broke up, but remained brothers in smoke. Al Cisneros formed his otherworldly OM while guitar hero Matt Pike challenged Lemmy for the baddest man in rock and roll with High on Fire. Drummer Chris Hakius played in OM for a few years but ultimately hung up his sticks to focus on being a family man. 

And then in 2009, Sleep reformed out of nowhere. Capitalizing on the growing doom and stoner scene in mainstream metal circles, Sleep went from playing ½ filled bars in cowboy towns to packing bodies into rooms holding a few thousand across the globe. For almost a decade, the band toured sporadically, hitting the Blue Chip festivals or doing a nationwide run for month or two, raking in the cash. 

Stoner metal fans devoured the chance to see their heroes live, for the chance to be taken to the church of all things Weedian. 

In these past years, Cisneros, Pike, along with new drummer Jason Roeder of Neurosis fame pummeled their way through Sleep’s greatest hits and no one was one bit mad about it. They still got the cherry festival payday, while red-eyed fans gobbled up the band's merch with no fear. For the band, the promoters and the fans, this worked, and it was easy for one simple reason: writing new music could taint the legacy for the world’s greatest doom band that’s not Black Sabbath. 

Music, especially metal fans can be fickle. People care about legacy in heavy metal. Bands can go from hallowed legends to “they wrote The Ugly Organ, but the new stuff sucks” real quick. Once the band falls down the ladder a few rungs, people stop showing up to the shows, and the hype dies down. 

Sleep continually teased new music, but only released one track, “The Clarity”. Everyone figured they’d write a new record, someday, but till then, fans would enjoy hearing “Dragonaut” or “Holy Mountain” at shows, knowing they’d never be bumped out of the set list. 

But then on 4/20 Sleep surprised the world with their first record in two decades, The Sciences through Jack White’s Third Man Records. The Weedians had awoken, and they brought forth new tunes for the stoned masses, but the question that was on everyone’s mind: would Sleep cheapen their legacy or affirm it?

The band did neither. Instead, The Sciences is one of the year’s best records and moves beyond, “good follow up to Dopesmoker,” and places Sleep as the undisputed heirs to the throne of Black Sabbath. The Sciences is not only a neck breaking, sludgy love song to the universe, it’s a poem to the mysteries of faith, but it’s also a masterpiece. 

Al Cisneros taps into the wild, unearthly drones of his OM project and interjects them seamlessly into the 2018 edition of Sleep. The band capitalizes on tight, circular driving grooves that feel familiar, but not tired or a rehash of what they’d already achieved. 

The Sciences offers a narrative on what’s it’s like inside Sleep’s world of churning riffs that demand the listener join them on a quest into the deep recesses of the mind. 

Instead of mindless wandering, which many of their burned out contemporaries are guilty, tracks like “The Botanist” and “Marijaunauts Theme” are soulful explorations of what stoner metal, doom, or whatever you want to call it are capable of thanks to Sleep challenging not only themselves, but where the genre can go sonically. 


The record takes the classic riff exploration of the Sleep blueprint, but showcases the intensity of Matt Pike’s furious playing, should anyone forget he’s more than the shirtless guy with the beer gut, but a metal icon that happens to be relentless guitar hitman. 

The Sciences transcends because of two primary reasons: one being Jason Roeder utterly and undeniably changed the DNA of the band for the better with his brilliant handwork along with his in the pocket, dynamic drumming that’s more John Bonham or Bill Ward than he lets on with Neurosis. 

The second major plot point regarding the success of The Sciences is easy to spot: the band are students of the game. Cisneros, Pike and Roeder are still stoners playing metal in bands who tour most of the year. They’re involved in the evolution of the scene with Sleep, but also High on Fire, Neurosis, and OM. These dudes never lost touch with their mission but evolved as musicians, and people in the process of the band’s successes. 

The songs on the record are playful and on the nose with their love of all things Black Sabbath and the dank kush. The vocals are less hooky sing-alongs to capture an ear, but instead on “Giza Butler” or “Sonic Titan,” they’re droning absolutions to a realm we probably cannot fathom. 

Instead of a lousy cash grab, we’re lucky enough to see this trio of brilliant stoners evolve before our eyes. Who knows how long a record after this one will take to craft, it doesn’t matter, anyhow. These six new tracks on The Sciences are good enough to hold us over for a long while, or at least till the pipe needs repacking.

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The Sciences is available everywhere you enjoy music. 

Mar 23, 2018

Album Review / Great Peacock / Gran Pavo Real

by Matthew Martin

When I first heard Great Peacock's EP a few years ago, it felt like it was the beginning of something special - an inside peek at the beginning of the rise of an obscure band.  5 years later, and it still feels that way when I hear a new Great Peacock offering.  The band's sophomore album is no different as the band takes a slight turn away from the gentle, melodic Americana and more towards the psychedelic, Americana-tinged rock. 

The last output, their great Making Ghosts album, was everything we had been promised from their self-titled EP.  It was a melodic outpouring of yearning tunes with Blount Floyd and Andrew Nelson's voices working perfectly together.  The band toured restlessly off that album, coming to DC at least 4 times, I believe, during that time.  Around the last couple of times the guys came through, you could hear something shift in their music.  There were 2 acoustic guitars on stage, then there was one acoustic and one electric, then there were only electric guitars.  The songs began to shift sonically and jam a little more.

On Gran Pavo Real, those new sounds are apparent with the opening organ-heavy jam of "Hideaway."  The harmonies of Floyd and Nelson are still there and the heartbreak-driven tunes are still there, but there is a shift in the tone towards a Pneumonia-era Whiskeytown.  But, never to fear, there are still hints of the old Great Peacock there - "Begging to Stay" and "Miss You Honey" being the two most akin to their previous album.  


There's always a bit of concern with a new album from an artist you really like - are they going to hit the mark they were aiming for and if they do, is it the mark we're wanting to hear?  Will they grow in a way that stays close to their sound but sees them exploring new themes and sounds?  On all accounts, I think Great Peacock hits every note right on this Gran Pavo Real.  They take a chance moving away from their first album and coming up with an even better version of themselves.  They're bluesier ("Heartbreak Comin' Down").  They're subtler at times ("All I Really Want is You").  And, they're just all around better.

This is the kind of album that's just right for the upcoming Summer.  It's going to be on my stereo all year long, for sure.  There's a song for every occasion, high to low.  And the music is rollicking and a damn good time.  You should go buy this album, and then buy another for a friend.  Then, go to every show these guys put on near you.  Let's make the world know Great Peacock.

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Gran Pavo Real will be released next Friday, March 30th and you can pre-order it at iTunesBandcamp, and other music outlets.


Mar 2, 2018

Root For the Home Team: Say Hey to Caleb Caudle

by Robert Dean

When you do what we do, there are folks you consider “the home team,” the musicians we’ve watched grow over the years. The artists we were begging readers to check out long before they broke out or hooked up with a super producer. Tyler Childers and Colter Wall made their way onto the national stage. We’re always rooting for Justin Wells, and we want Lindi Ortega to do well. Jason Isbell is slowly taking over everything, and some of us can remember when Sturgill was playing rooms to 100 people. There are so many great bands out there grinding, The Quiet Hollers, Two Cow Garage, Shovels and Rope; we tip our hats to all of them. 

We take pride in seeing these folks bloom, which in some cases, submitted a few scratch tracks or sent us a tweet to check out their music. These once obscure artists are getting a shot at real success. 

Another one of those folks we love and are unbelievably proud of is Caleb Caudle. On his newest record, Crushed Coins, Caleb Caudle is making noise that’s booming louder than his critically acclaimed Carolina Ghost


Crushed Coins feels different than Carolina Ghost in that the body of work is less reliant on the big and bright late 80’s/early 90’s country overtones, and instead feels personal and more “Americana” than strict, by the book country and western. 

Crushed Coins features straight-ahead songwriting and a strict reliance on mastery of craft instead of studio trickery or layers of instruments designed to muddle the message. There are some heartbreakers, some good time jams and some beer drinking tunes, which as about all you can ask for in a straight ahead country record.

 If Randy Travis or Garth Brooks is on your Spotify playlist, be sure to check out everything Caleb Caudle has released, he’s one of the best dudes putting in the work. He’s skillfully adept at harnessing that clean, powerful and hooky sound those guys pulled off back in the day. I’ve said it before, but it bears repeating, Caleb Caudle is an artist that appeals to older country fans, but can also bring in a lot of new people. He’s got an immediate likability, but also listenability that many artists, no matter how great just can’t foster.

As Pantera taught us on the home video: KEEP THE SCENE ALIVE, MAN.

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Grab Crushed Coins from Caleb's Bandcamp site or find it at all the other usual places.




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.

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