Album Review / Steve Earle & The Dukes / Ghosts of West Virginia

 
By Megan Bledsoe

There are few figures in country music as inherently cool as Steve Earle. An influence on many younger country and Americana artists both musically and politically, the alt country legend has made a career out of doing things his own way, everything else be damned. In that spirit, instead of making what he would call a "preaching to the choir album,” amid the extreme political tensions of 2020, he chose to release a record for people who likely didn’t vote the way he did, seeking to use his music to unite us and focus on our common ground. Earle made an album for the twenty-nine miners who lost their lives in the Upper Big Branch Mine explosion in 2010 because of a coal company’s carelessness and disregard for their safety, and for the families who must wake up without their loved ones every day. Ghosts of West Virginia is a loving ode to that state and to its people, as well as a cry for justice from those forgotten miners and their families.

The album paints a somber picture of Appalachian life right from the opening song, “Heaven Ain’t Goin’ Nowhere.” At once futile and hopeful, this song highlights the duality of feeling defeated and forgotten in this world while also looking forward to heaven with hope and joy. It’s a reminder that nothing in this life is certain and that we can’t take any of it with us when we die, either the happiness or the sorrow we found on earth.

The struggle between hope and hopelessness continues throughout the record. They exist side by side and simultaneously. “Time is Never on our Side” is similar to the opener, but this one focuses more on the riddle that is time; it can fly or crawl, and as every moment passes by, we have less of it. The grandfather in “Black Lung” reflects that he knew the day of his first shift in a coal mine that this would be his fate someday, yet in the next breath he declares that "half a life is better than nothing at all,” saying that he wouldn’t have been able to make it without becoming a miner all those years ago. Mining is presented as the only viable option, the lesser of the evils when the other choice is a lifetime of financial hardship and struggling to survive.

Nowhere is this more apparent than in the album closer, “The Mine,” where the narrator is trying to console his partner by saying that things will get better when his brother pulls some strings at the mine where he works and gets this man hired. Upon first listen, it may seem like the album climax comes in “It’s About Blood,” where Steve Earle’s anger is on display in full force as he rails against the coal companies that can so callously allow these things to happen and then call it an accident, and certainly his fury is infectious as the song culminates in the naming of all twenty-nine miners who gave their lives that fateful day. But it’s really here in the quiet end to the record where the most sobering reality lies, that despite lungs full of coal dust and the possibility of disaster, working in the mines is still the dream for this West Virginian, still the only form of hope in this life. This narrator says that if he were going to try and make a life outside the state, he probably would have by now, but he can’t leave the mountains he has loved since he was a child. So he will stay in West Virginia and hope for the day when things will get better, when he will go to work in the mine and be able to provide a better life for his family.

With Ghosts of West Virginia, Steve Earle has made an outstanding, timeless tribute to the people of Appalachia. This is not only a record for the miners who lost their lives at the Upper Big Branch mine but also for the living miners who toil underground each day, for the men who gave their best years to a coal company in exchange for enough money to get by and permanent damage to their lungs, and for all of the forgotten people of West Virginia who find little joy in this world and seek their rest in the hereafter. The album captures all the beauty of this land right along with all of the harshness and hardship, and Steve Earle’s love for this place and these people shines brightly throughout. This will be one of the finest records of 2020 and one of the greatest albums in Steve Earle’s storied discography.

Jeff Crosby Points The Way With New Album, Northstar

By Travis Erwin

Jeff Crosby’s new album, Northstar, conveys a strong sense of self-affirmation that often feels like inner dialogue. But within the lyrics and melodies there is a broader relevance for us all as if Crosby has exposed his scars, fears, and dreams to the light of day so that in them we can find our own brand of self-reflection. Sure, Crosby is standing there front and center, but look a little closer and we are there in the background staring back at the same visions, emotions, and experiences. This is the gift well crafted music can deliver perhaps better than any other art form.

“If I’m Lucky” is an opener for those of us hanging on by a thread, but hanging on still. Be it a relationship, a dream or sanity we have all felt time, opportunity, and drive slipping away to the point that making it another day or week feels like a matter of luck. The song ushers in the we are in it together vibe that holds through many of these selections.

The title track is a lively track that puts me in mind musically of the band Reckless Kelly, to which Crosby once toured with as a guitar player. Lyrically there is a lonely desperation, that is palpable and makes me yearn for an impromptu road trip. Not because I have somewhere to go but because I simply need to be moving along.

Offering a big musical shift, “Hold This Town Together” also feels different vocally with a slow measured quality that works well to convey the ragged seams of a threadbare kind of town and its people desperately trying to make it feel like home. The fourth track “Laramie’ is arguably the best written of the bunch. A dark and brooding reflection of lost love you can feel the icy streets beneath your feet as you listen.

“Out Of My Hands” finishes the first half of the album with a dreamlike vocal style that conjures thoughts of Orbison, though lyrically it did not speak as loudly for me as the other songs comprising Northstar. The self-depreciating track “Liability” is a meandering song that feels exactly like a woeful stream of conscious that we have all let ourselves slip into, and here it feels like a classic drink-in-hand kind of number.

The sad refrains continue with “Born To Be Lonely” though the honky-tonk sound lends a different quality to this track, making it feel more upbeat than a closer listen at the lyrics would suggest. I like this slight conflict as it gives a nostalgic spin to the overall feeling of the song. “Heart On My Sleeve” is a duet and Lauren Farrah helps draw out a mournful side of love that pairs perfectly with the slow fiddle present in the track’s more powerful moments.

“My Mother’s God” ushers back in a more upbeat tempo, though there is still that longing spirit of regret tinged hope. The vocals at times reminded me of James McMurtry and given that you can feel every word here the comparison can be extended beyond vocal tone.

Closing out the album, “Red White Black and Blue” delivers a somber tone at a methodical pace. A songwriter’s track that might miss its mark upon the first listen this final number is a bit slow to reveal its emotions, but then again, aren’t we all. Lucky for us, we have music to help express the thoughts and feelings lurking inside us all.

Travis Erwin is a published author of numerous books, novels, and articles. Follow him on twitter @traviserwin to talk about this review, or music in general. Look for his body of work wherever you shop for books.

Album Review / Van Darien / Levee

By Megan Bledsoe

In the overcrowded marketplace of 2020, wading through all the new releases can be an especially daunting task. We have the whole musical landscape at our fingertips from our favorite streaming services, but all these choices can in turn be overwhelming. When it comes to finding cool new artists, it's theoretically easier than ever these days, but everyone has become so used to skipping through everything which doesn't grab them in the first 8.6 seconds that some of the magic of discovering something new and letting it grow on us over time has been lost. In these times, uniqueness and distinction are incredibly important; you will hear this from every judge/coach on every singing reality competition when they are especially taken with an artist: "There's no one quite like you." It's special and exciting when a new artist stands out and immediately captures my attention as both a music fan and reviewer, and such is the case with Van Darien and her full-length debut album, Levee.

For this listener, it was Van Darien’s voice which stood out from the very first line of the opening track, “Ponderosa.” She’s the vocal love child of Stevie Nicks and Tanya Tucker, with all the grit and soul of both of them and some Bonnie Raitt rasps in her higher register for added color. Vocal ability is not always prized in Americana, and it’s refreshing to hear a technically gifted singer who still sounds this raw and unpolished and just plain interesting.

Sonically, this album fits within Americana, but less because of a folk style and more because of the sheer variety of styles from which Van Darien draws here. The previously mentioned “Ponderosa” is rife with steel and acoustic guitar, with an atmospheric, western vibe that makes it seem like the album might be a thoughtful, quiet, mostly country affair. But then we have songs like “Twisted Metal,” one of the album’s most interesting tracks both lyrically and musically, a hard rock anthem about the chaos and danger of being in love with someone even though logic might say it’s not the greatest idea.

In fact, the way Van Darien depicts love as a whole on this album is nothing short of fascinating. “Twisted Metal” has a harsh beauty about it, perfectly describing the way these two feel drawn to each other despite circumstance. “Insanity” reflects a similar emotion, comparing true love to feeling insane and asserting that perhaps it’s better to be alone than in a relationship which feels lukewarm, mundane, or really anything less than completely, gloriously out of control. “The Sparrow & the Sea,” featuring Owen Beverly, might be the highlight of the whole record, as the story of two people who long for each other and yet cannot be together is revealed to us through the illustration of the sparrow who wishes she could swim in the depths an the sea who dreams of joining her in flight. Each can see the other, but neither can reach across the divide. These three selections show Van Darien at her best as a lyricist and always frame love in a bittersweet light, seeming to portray all the complexities and emotions of it all at once, joy and heartache sometimes existing side by side.

This is a strong, interesting debut from Van Darien. She’s a refreshingly unique artist and a special vocalist. A couple of the songs have not quite caught up to her vocal talent, but there are some truly remarkable examples of songwriting here, displaying enormous potential for her. It’s a promising introduction with some standout moments, and Van Darien’s next record could be an absolutely incredible album. For now, Levee is a good one, go enjoy listening to it and discovering a cool new artist along the way.

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Levee is available today on iTunes, Amazon, and the other usual spots.

Album Review / Trigger Hippy / Full Circle & Then Some

By Travis Erwin

The title of Trigger Hippy’s latest album, Full Circle & Then Some is fitting in so many ways given the journey that the individual members have taken to find each other and form this collective. And, the title also is indicative of the band’s sound which often circles back to replicate sounds of other, memorable music which gives these tracks a jam band kind of vibe, that showcases the talent at hand without fully establishing a definitive essence for Trigger Hippy themselves. On this, the sophomore album for the band, it still feels at times as if the band is trying to establish precisely what they will become. That is not to say the insane amount of talent does not deliver a richness of sound and the strength of this collection is the obvious musicianship and the variation delivered both vocally and in the musical styles.

The album opens with Don’t Wanna Bring You Down, a track with a Southern Rock and Roll Funk vibe, complete with a lively groove and layered harmonies. A hard drum beat ushers in The Butcher’s Daughter which for me conjured thoughts of Dusty Springfield with its narrative soulful vocals.

Strung Out On The Pain is my favorite track among the dozen making up this album. Delivering the aura of old school country song from the late 80’s or early 90s this is a song that you can either two-step through the pain to, or kick back with whiskey in hand and reflect while your body goes numb.

The jam band spirit lands hard on Born To Be Blue. This eight plus minute track is long on ethereal intro mood setting, before the harmonies roll in like ocean waves some two minutes in. Overall, this one felt a bit like Steppenwolf’s Magic Carpet Ride and hit me as a song meant to fire one up and burn it down without ever having to change grooves. The end of the track settles into what I’d describe as a nice underwater conversation with a friendly whale.

The Door opened with a vocal style that brought to mind Harper Valley PTA before layering in a melody reminiscent at times of the recently departed, Kenny Roger’s Love Will Turn You Around and it was such blends of recognizable elements of music past, that kept me from ever completely settling into this album.

The title track, Full Circle and Then Some lands square in the middle of the cuts and as I stated in the opening paragraph is spot on in capturing the theme. The focus lyrically is on an old relationship and comes via a rocking soulful style that is as smooth and easy to listen to, and sing along with. A bluesy harmonica and low, lazy days of summer vocal style, clean and pure and direct delivers Dandelion.

Adding to the plethora of sounds, Goddamn Hurricane comes with a bluegrass vibe that feels a lot like a new track from the deeply missed band, The Gourds. That funky string arrangement vocal style made this my second favorite song among the twelve offerings. Long Lost Friend gives us tinkle keys and a honey sweet vocal groove. Fans of The Tractors and Confederate Railroad will enjoy One Of Them for its boogie beat and harmonious bounce.

Ironically, Low Down Country Song just might be the purest rock song on the album. That said it is still far more real, genuine, and thereby country, than damn near anything you will hear on Mainstream Country radio where everyone is hell-bent to be a Hip-Hop Pop star while dancing in bedazzled jeans on a jacked up truck’s tailgate as they sing about cliched dirt roads. Speaking of roads, Paving The Road closes out the album with an entirely different sound vocally.

Where exactly the road leads for Trigger Hippy remains to be seen, as the band has now given us two albums each with a slightly different lineup. There is promise of a bright future given the incredible talent present across this spectrum of styles and sounds. The harbingers of these talented musicians’ pasts lingers within these songs and while I appreciate the difficulty of launching new creative projects without bringing some elements of that with you, I found myself often comparing the tracks here to something that came before it. Talent and experience are great things to have, and as this band forms more of an identity tied solely to their existence, I expect Trigger Hippy to take aim with even more precision.  

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Travis Erwin is an author and freelance author. His work ranges from the comedic memoir, THE FEEDSTORE CHRONICLES to the emotional novel WAITING ON THE RIVER, and includes the Townes Van Zandt inspired TWISTED ROADS. You can contact Travis via Twitter @TravisErwin or find his music reviews across a number of outlets.

Album Review / James Steinle / What I Came Here For

By Megan Bledsoe

As a rule, Texas country music comes in two flavors. There’s the thoughtful, introspective, singer/songwriter material being perfected by artists like Jason Eady and Jamie Lin Wilson, full of substance and heart and soaked in fiddle and steel. Then there’s the stuff with less lyrical substance, but no less heart and even more fiddle, from artists like Aaron Watson and Randall King. It’s not too often that a Texas country artist succeeds at both, but this is precisely what we get from James Steinle on his new album, What I Came Here For.

The lyrical standout of this album is undoubtedly the title track, as the narrator muses on what his purpose might be in life, or if he even has one. This song does a nice job of conveying a universal sentiment that we’ve certainly all felt at one time while also painting specific pictures of this mans life instead of broad sentiments that wouldn’t have the same impact.

The songwriting also stands out on “In the Garden,” as this song takes the clever approach of being told from a dead man’s point of view. This man is waiting impatiently for his soul to be set free and lamenting the fact that the world has forgotten him and others, never paying heed, as he notes, to "what’s lying down beneath.” This is such a well-crafted song, and it’s also helped by Steinle’s worn and weathered vocal tones, as are most of these tracks. The ability to write and choose songs to best showcase one’s particular vocal delivery is an underappreciated art, and James Steinle does this excellently well.

To balance out the deep songwriting, there’s some lighter, and frankly, just plain fun, material here. “Back out on the Road” isn’t going to blow anyone away lyrically, but it’s just so infectious, with the rollicking, carefree piano and joyful harmonies. And if the bluesy vibes of “Low & Slow” don’t put a smile on your face, you’ve become completely immune to good music.

That bluesy vibe is what separates Steinle from his Texas country and Red Dirt contemporaries; where Texas generally goes for a hybrid of country and rock, Steinle opts for blending country and blues in a way that really makes this record stand out in the scene. Blues and country have always been intertwined, but these days, we mostly see country blending with pop or rock, and the influence of the blues on country music has largely been lost or ignored. Songs like the aforementioned “Low & Slow” and “Black & White Blues” intrigue me and make me wish more artists would experiment with this type of sound. “Blue Collar Martyr,” a song about a factory worker losing hope in the wake of being replaced by machines, uses the bluesy licks, together with Steinle’s weather-beaten tones to create one of the coolest moments here musically; if you only listen to one track from the album, please make it this one.

Any fan of traditional country and the blues should certainly check this out. The style is such a great blend of the two disciplines. If you’re looking for something hard-hitting lyrically, try the title track. If you’re looking for something to brighten up your day, crank up “Low and Slow.” If you’re just looking for good music, check out the whole great record.

What I Came Here For is available today everywhere.

Album Review / John Moreland / LP5

By Travis Erwin

John Moreland's latest offering, LP5, delivers the same acoustic sensibilities we have come to expect, while showcasing his notable evolution as an artist and as a human. The end product for the listener is honest, thought-provoking songwriting, delivered with authentic emotion.

The album opens with tender guitar notes pulling you into the single “Harder Dreams,” though Moreland’s poignant lyrics soon take over. And while it is hard not to get lost in the calm tones of his voice, the songwriting is what truly elevates both this track, and the entire album. The lines …   Are you lonely in your convictions, staring through the glass tonight? Is the truth a work of fiction, better ask the blood-stained skies … stuck out for me, but the emotional imagery within this opening song is gripping. This opening track foretells what’s to come, in terms of quality of sound, songwriting prowess, and in the teasing the overriding theme.

With a bit more of a bluesy funk, “A Thought is Just a Passing Train” offers a different vocal style than the rest of the album. At nearly five and half minutes long, this second track has a jam groove that sort of relaxes your senses and allows you to close your eyes and settle in for the long haul. But don’t dismiss the power of the lyrics, because we’ve all been hit hard by an emotion, fear, or doubt, and this song is all about recognizing the brevity of such gut punches.

“East October” is the kind of track that subtly reveals itself. Painted with broad strokes in places and refined thoughts in others, the track repeatedly asks the question, … How Am I ever going to get by, all my myself? The song left me thinking about a divorced man reflecting on the memorabilia of a marriage gone bad. Though the fact it was written with a nod to Chris Porter’s song, “East December,” makes it clear Moreland wrote it from more of a grieving friend’s viewpoint. Porter passed away in 2016. That such a song can be parlayed into broader emotion is more proof of Moreland’s talent for bringing forth our humanity.

My personal favorite track on the album is “Learning How to Tell Myself the Truth." The song delivers unrelenting truth. Coming via a stream-of-consciousness style, the track brings out the nuances of Moreland’s emotional vocals. This track is the musical equivalent of staring into the mirror and talking to the person looking back. 

“Two Stars” is a soft guitar instrumental that bridges the gap over to “Terrestrial,” another track about overcoming the self-doubt and uncertainty that washes over all of us at times. Discovering what is real both within our own heads and the outside world around us is the prevailing thought behind much of this well-written album. 

Moreland again pays homage to his friend, Chris Porter, with the track “In Between Times.” Written a mere two weeks after Porter’s untimely passing, Moreland puts words to the kind of grief that often leaves others speechless. The pain is palpable, and his voice is raw, over a stripped-down melody. 

Not known for love songs, Moreland proves he can take on the most vulnerable of emotions with “When My Fever Breaks,” a track he began writing, while first dating his wife. The song took him more than three years to finish, but the result is a song that stays with you. It feels genuine without resorting to being overly sentimental, simply for the sake of the poetry.

“I Always Let You Burn Me to the Ground,” feels like a goodbye, not in the literal sense, but in the admission of our own weaknesses, so that we can finally let the ashes of our past blow away in the wind. “For Ichiro” is another instrumental track that serves as an emotional reset. This track has a digital vibe laid over keys and a guitar, making it feel slightly out of place with the album, though it is tranquil and entertaining enough to certainly have merit.

The album finishes with “Let Me Be Understood,” which is fitting, because I imagine this is the internal plea of every songwriter, when they release new material out into the world. But here, this track is about growth and wisdom that comes to us on down the road, giving us a new outlook over hindsight. Bluesy and folksy, the track brings forth many of Moreland’s best sounds, both musically and vocally, and as always, the songwriting is relatable and makes you ponder your place in this world.

Or perhaps more importantly, the song and the album are meant to reinforce the fact we all have these complex thoughts and emotion running through our heads.  And the lasting message is that it's okay to let them in, because we will emerge on the other side all the better for having them. As a writer and fan of his work, I hope that is what Moreland wanted understood, but no matter the intent, his new album, LP5 is definitely worth your listen. 

LP5 is available Friday everywhere you buy or stream music.

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A native Texan, Travis Erwin is an author and music reviewer now living in Southern California. Find his novels and memoir, anywhere books are sold, or visit him in the Twitterverse, via @traviserwin.

Album Review / Luke Combs / What You See is What You Get

By Megan Bledsoe

What You See is What You Get. It’s the perfect album title for this unassuming collection of songs and especially for Luke Combs, a guy who someone once told me looks like he could change your oil at Jiffy Lube and whom you actually believe when he sings about drinking beer and fishing. It’s this difference which sets Combs apart from so many mainstream artists; it’s neither completely disingenuous, like Luke Bryan in skinny jeans singing about dirt roads and moonlight, nor a calculated marketing strategy to establish country cred, the obstacle barring so many people from getting onboard with Midland despite the quality of their music. However you view authenticity, Luke Combs has shown that it matters, and shows, and isn’t always about fiddle or steel or even deep lyrics, but more about being true to yourself.

The great thing is that Combs staying true to himself results in a very country record, not some 70’s throwback affair, but a great example of how traditionalism can move forward and still exist in modern country. This is exactly what you want in the mainstream, and the numbers have shown that the general public still wants this as well. Sonically, this is what the evolution of country music should mean. There are a couple of moments of overproduction, but most of this is decisively country, and injected with the energy that you don’t always find on independent records.

Lyrically, there’s nearly always enough substance to further separate Combs from the crowd and hold the attention of the listener. The hooks are smart, and the songwriting is strong, offering simplicity without losing the substance. Songs like “Even Though I’m Leaving” and “Refrigerator Door” even go deeper, providing something meaningful and yet still relatable to a wide audience. “Dear Today” is the hidden gem here, with its thoughtful perspective and gentle warning not to take tomorrow for granted. On a 17-song record, there will always be filler, and this is no exception, but the filler is just that as opposed to what we often see on mainstream albums, where an otherwise good record is hindered by one or two terrible missteps. This could have been trimmed, but it is solid throughout.

Regardless of your personal stance on Luke Combs, the most important factor concerning him and What You See is What You Get is the influence on the genre as a whole. There will be staunch traditionalists and independent fans who never give Combs even a passing glance simply because he comes from Music Row. But Music Row is where the future of country music either lives or dies, where the artists and albums that define country music for generations originate, and where the torch for country music is passed down to its listeners. And with Luke Combs carrying that torch, the sound of our beloved country music is country, the lyrics are substantive, and the artistry is real. If Combs is the future of country music, then the future is indeed beginning to look brighter.

Album Review / Ottoman Turks (s/t)

By Matthew Martin

Ever wondered what it would sound like if Iggy Pop and the Stooges had been born south of the Mason-Dixon line?  Well, look no further than Fort Worth, Texas's Ottoman Turks.  With a sound as much garage rock as it is country, this seems like that kind of band that could win over the staunchest of Dads who don't "get" their kids' taste in music.  From the apathetic Southern drawl to the snaking slide guitar and driving drum beats, this is definitely music for Saturday nights.

The Ottoman Turks first came to my attention due to some posts by their guitarist who happens to be the incomparable Joshua Ray Walker.  The band had been playing on and off together for the last few years but due to a few conflicting schedules never really did anything more than play a few shows whenever they got back together.  However, in the last year or so they decided to finally get this album out there.  And for that, I couldn't be happier.

The album starts with the perfectly named and played, "Apathy."  With the slide guitar slinking around the whole song, it's hard not to feel entranced.  It's the kind of song you want to open up a beer and just let it wash over you.  The album then breaks into my personal favorites- "Snake Song" and "Glass Bottles."  These are perfect encapsulations of the Ottoman Turks.  You can hear the party in the songs and you can hear the slight danger.  But, you can also sense that note of that sadness that makes country music so endearing and relatable.  

Then there's the almost pure garage rock "OCP."  A song about fighting.  A song definitely more at home on Funhouse than Ol Waylon but feels so uniquely Ottoman Turks.  This song even has a pretty sweet drum solo.  What's not to love?!  Seriously, the last half of this album is one long party.  It's worth the price of admission.

The whole album more or less bleeds into each other almost feeling like one long live set. It's a production technique that I am quite fond of. For a band with one album, I feel they have pretty distinct sound.  If I were to turn on the radio and hear more garage rock country, I'd immediately assume it was Ottoman Turks.  I can only guess what these songs would sound like live.  I imagine the smell of sweat, booze, and cigarettes.  I imagine dancing and all around rowdiness.  But, most of all, I imagine an awesome time.  I hope these dudes make it up to D.C. sometime.  And, if you live in the Fort Worth area, you oughta go see em.  Until then, go get the album and crank that shit up loud.

Ottoman Turks is available on Amazon, Apple Music, etc.

Album Review / Chris Knight / Almost Daylight

By Travis Erwin

Somebody killed somebody songs. That’s the foundation of Chris Knight’s reputation as a songwriter and we’ve all seen the memes. They are funny and bring a smile, but those of us who call ourselves fans of Knight’s work can appreciate the truth of that reputation, as well our realization he routinely brings so much more than death and despair to his music. Under the layers of grit and Kentucky sweat, there is an authenticity that makes Knight’s words relatable. In that vein, his songs often offer the idea of hope, springing  from places of desperation. 

That said, Chris truly is “The Dark Knight of Country Music” and no contemporary delivers such heavy brooding emotion with such captivating integrity. His new album, Almost Daylight delivers a whole bunch of what we expect out of Knight, and a few surprises as well. 

Vocally there is that signature gruffness that has only grown more pronounced in the seven years since his last release, but given that Knight was never exactly a crooner in the first place, the influences of time upon his voice only intensifies the hardscrabble emotion of his work. Do I think this is his best work? No, for me the album was good, but never quite delivered the emotional hook of Knight’s best works. That is not to say, Almost Daylight is not a quality album, though for me, the songs often fell just short of their potential. 

The album opens with “I’m William Callahan” and this is the type of song that Knight has made a career of -- A hard luck character digging for purchase in life. This track does not stray far from that though it does feel a bit more dependent on guitar melodies and arrangement to deliver the mood rather than the emotional imagery Knight has done so well cultivating in the past. 

Like weeds sprouting from a windblown crack of earth, “Crooked Mile” is song is about a couple of so-called bad seeds who will grow just fine, if only the world will leave them alone. The imagery is great and the song memorable, though in the end, I found myself wishing for more to their story. 

The third track is called “I Won’t Look Back,” and leaving the pain of the past is the theme. Just as the title states, the character plans to leave without looking back. The writing is sharp and feels like vintage Knight, which stands in contrast to the following track. “Go On” is as close to a motivational tale as you’re likely to find from Knight, and though it toes the line the track stays just shy of sappiness in the chorus.  

These are indeed divided times we live but even with that fact at hand, the fifth track on the album seemed oddly out of character. Knight has used his talent as a songwriter to often uncover commonalities among us. Dark and light, these collective truths of humanity are delivered from his brand of storytelling as delivered by the downtrodden and fallen. There is no denying the world we live is full of lies these days, and yes, that is the “The Damn Truth,” just as Knight sings. However, it is impossible see truth when viewing the world with only our right, or left eye. This track didn’t offer any real truths, only more divisive political pandering in a society already ripe with too much of that.

The album gets back on track with “Send It On Down” featuring Lee Ann Womack. This is the tale of a man lost in his hometown. A place he doesn’t quite fit in anymore. If in fact, he ever did. 

Anyone that has ever had a long hard night of too much thinking and wondering has sought the solace of daybreak, hoping for the sun to chase away the demons of the night. The title track plays with that idea as well as life on the road and the importance of having someone waiting back home. While it did take me a few listens to get the full effect of these lyrics, ”Almost Daylight” is easily the best song among the eleven. Nuanced and complex, this is a set of lyrics that will mean many things to many different people. It is this kind of writing and nod to universal emotion that has made Knight one of the best songwriters going for over two decades. 

“Trouble Up Ahead” is classic Chris Knight tale of doom, despair, and desperation. You can feel the Kentucky sweat on the back of your neck, and the grit on your teeth after listening to this track. The harmonica on “Everybody’s Lonely Now” adds to the melody which for Knight is almost upbeat. 

Chris Knight is not a man who does many covers, but his take of Johnny Cash’s “Flesh and Blood,” feels fresh and authentic. Knight does a great job of making the track feel as if it is one of his own creations. For me, this is the second best cut on the album.

Closing with another cover, Knight joins yet again with John Prine on a version of the latter’s 1973 classic, “Mexican Home.” Together, Knight and Prine, make the strong imagery come alive as they transport the listener to a different time and place.

My takeaway is this … Almost Daylight is a solid album that will speak to longstanding Chris Knight fans, and deliver what they have come to expect while also presenting a few new variables to his writing. I am not sure the album will do much more than that, as it falls short of the high standards Knight has set in the past. Outside of the title track, I am not sure any of these cuts will be regarded among his best.

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Travis Erwin is a fiction writer, lyricist, and music critic. A native Texan, Travis now calls the West Coast home. His fiction can be found anywhere books are sold, and you can reach him on twitter @traviserwin or via comment on this post.