From this Friday's release, Providence Canyon.
Showing posts with label Brent Cobb. Show all posts
Showing posts with label Brent Cobb. Show all posts
May 8, 2018
New Video / Brent Cobb / "Come Home Soon"
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Brent Cobb,
New Videos
Feb 20, 2018
Top 10 Biggest Jerks in Americana Music
Some would imagine that the fan-friendly, honest Americana music scene would not be as likely to contain divas and d-bags as the more mainstream genres of music. However, thanks to critic and hipster love for the buzzworthy genre, things have changed of late. This groundswell has slowly created a context wherein all manner of unlikely aspirants are more apt to let their jerk flag fly. Here are some of the genre's most egregious offenders.
10. Brent Cobb
"Forgets" to invite cousin Dave to family functions
Band members only allowed to speak to him by text message
9. Rhiannon Giddens
Borrows band members' phones and logs out of everything
Once put a fan who accidentally called her 'Rihanna' in a triangle choke submission hold
8. Amanda Shires
Wouldn't speak to husband, Jason, for a month when he opposed the name "Taco Lucinda" for their daughter
Performed an entire show of Rob Thomas covers when one crowd was smaller than anticipated
7. Rob Baird
Always eats the middle cinnamon roll out of the pan first
Spends hours a day leaving 1 star iTunes reviews on other Americana artists
Will only autograph thongs
6. Shooter Jennings
Puffs, doesn't pass
Got a secret tip and sold all his Bitcoin to Marilyn Manson just before Bitcoin crashed
Plans to do an all-EDM tour later this year
5. Ward Davis
Secretly bullies Cody Jinks
Still says "Dilly Dilly!"
Keeps telling everybody new music is coming "soon" but it never does
4. Holly Williams
First person to ingest a Tide Pod on video
Can only name 3 Hank Sr. songs
Drives 10 mph below speed limit in left lane
3. Drew Kennedy
Never cleans stations in the gym after using them
Doesn't wash out the sink after beard grooming
Tour rider includes "organic kale candy" and "fitted hemp Phillies cap"
2. Courtney Patton
Spreads rumors about Jamie Lin Wilson on Snapchat
Tells dirty jokes at funerals
Vapes dill pickle flavor at songwriting sessions
1. Paul Thorn
Does the old "replace the vodka with water" trick on his tour bus
Constantly reminds fans he used to be a boxer
Never plays his top 5 songs on Spotify in concert
Always has a few credit card skimmers on hand
Jun 14, 2017
Brent Cobb Performs on Conan
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Brent Cobb,
Conan,
Live performances
Feb 9, 2017
Brent Cobb Performs "Country Bound" at the Grand Ole Opry
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Brent Cobb,
Grand Ole Opry,
Live performances
Jan 13, 2017
Brent Cobb: The Farce the Music Interview
By Kevin Broughton
Brent Cobb is an old soul. He’s wise and even-keeled like
you’d expect a man twice his 30 years to be. Heck, he sounds old on the phone; his conversational tone matches up with a
grizzled roughneck, not the soothing troubadour on Shine On Rainy Day. Critical acclaim poured forth upon the album’s
October release, and it finished at a heady No. 4 in the FTM critic’s poll –
ahem – no small feat. Our intrepid publisher described perfectly it as “a slow drive down a gravel road on the outskirts of your hometown, with
nary a bro in sight.”
And therein lies the irony.
Or paradox. Whatever, the bro issue
is inescapable in a discussion of Cobb’s musical journey, and it’s evident that
the dichotomy puzzles the man himself. Because this guy – who hasn’t needed a
day job outside of music for 10 years – has written plenty of songs that bros
and their producers have fattened their wallets on. And while Cobb would never
say it, the bros and their auto-tuning technicians commit aggravated musical
assault on his art, dumbing it down in the pursuit of (a) filthy lucre; and (b)
the approval of millions of 80-IQ drones.
Oh, his frustration
occasionally bubbles up, but in an understated way in keeping with his gentle
temperament. Except that one time two years ago when he went into the studio to
vent; that’s when “Yo, Bro” caught the ear of notable outlets like Rolling Stone. (Though, by the way, Cobb
sent it to FTM first.) The magazine was one of many platforms to make the
obvious comparison of his parody song to the work of one of the reigning bros,
who happened to be a friend of Cobb’s.
It picked up steam to the point the artist felt compelled to preemptively
reach out to the pop star in question. “He asked me,” Cobb said, “whether I was
making fun of bros, or if it was something I wanted him to record.”
Yeah.
It’s a stretch to say Cobb
has a foot in both camps. It’s indisputable, though, that there’s some overlap
because of his personal and professional relationships. It gives him a unique
perspective into the critical/commercial contrast, and you won’t find anyone
with Cobb’s artistic integrity who has such a realistic window into the tragic
dumbing down of country music.
When Jody Rosen coined the term “bro country”
three and a half years ago, it cut deep with the thin-skinned millionaires
whose songs are confined to beer, trucks and heavy petting with loose women.
Jason Aldean – who stares at the orange juice can because it says concentrate – remarked, “It bothers me
because I don’t think it’s a compliment.”
“You have no idea,” Cobb says, “how personally they take it.
You wouldn’t think it would bother them too bad, since all they have to do is
go to the mailbox and pick up a check. I don’t know why it bothers them so
much, but it does.”
Brent Cobb may never sleep in piles of money; he’ll also
never have to worry about the respect of his peers.
On a Sunday in December, Cobb took a break from singing the Frozen soundtrack with his little girl
to talk about songwriting. And the music business. And having a cousin who
churns out Grammys for the guys program directors ignore. The “bro” thing may
have come up, too.
I’d like to start
with a question about tradecraft. For a while you made a living writing songs
for other people. Is there a different mindset for writing a song for somebody
else? I would imagine you attack it differently, for instance, when the goal is
to get a song on mainstream radio.
Well, I got lucky, really. I’m with a great publishing
company, Carnival Music, that’s always supported people and let them be their
own artists and writers. I can’t imagine being anywhere else. There are a lot of places in town,
where you go in and it’s a nine-to-five, and you have to try to write hits and
that sort of thing. I’ve never had any of that kind of pressure. And for some
reason I’ve gotten lucky enough; the songs I’ve written I’ve always done for
myself. And I’ve been fortunate that there have been folks to record them.
About six months
before the release of Shine on Rainy Day,
there was the compilation from your cousin Dave Cobb, Southern Family. Your song on it, “Down Home,” seems like a preview
for the album. Was that a song you’d been working on for a while? Put another
way, if Dave hadn’t done the compilation, would that have been the eleventh
song on Shine On?
I’m sure it would’ve been, man. It’s funny. I had gotten
started on that song and had maybe a half a verse or a full verse. When Dave
gave me a call [about the compilation] I knew it would be a perfect fit. But
it’s definitely a Sunday in the life of my Southern family. And on my album
there’s definitely a lot of that, so yeah, no doubt it would’ve been the
eleventh track.
It looks like y’all had a lot of fun recording that one.
Oh, yeah. It was definitely good to get back in the studio
with Dave; it had been about 10 years since I’d done that with him. So it was a
blast. I’ve said this before, but he kinda produces the way I write. There’s a
lot of spur-of-the moment stuff, and if he says, “something doesn’t feel
right,” he means from his heart, not technically. And that’s the way I’ve
always approached writing songs.
You met your cousin
Dave, I believe, when you were about 16. He was an established producer then,
but not the big name his is now in the industry. He’s kind of a big deal….
That’s what I’m saying!
…How big an asset is
it to have a producer who’s not just blood kin, but the hottest hand in
Nashville right now?
Ah, that’s gonna be pretty beneficial. It’s definitely
helped me out a lot. When we first met I was 17, and he had produced Put the O Back in Country by Shooter
[Jennings], which was one of my favorite records at that time and is still one
of my favorites.
And it was funny, man. When I moved up here [Nashville]…
well, actually, I moved to L.A. for a minute. I lived in the middle of
Hollywood for about four months and went back and forth for about a year and a
half. Then I moved back to Georgia, then back
to Nashville in March of ’08. And I was looking around trying to find a
publishing deal and learning about being a staff writer. And the first thing
everybody asks is, “Are you a songwriter or an artist?”
So I would always say, “I thought they were one and the
same.” And they said, “Well, we’ve gotta get you a producer.” And I told
everybody the same thing, for eight years: I’ve got a cousin who’s a producer,
and he’s badass. But folks were a little scared to invest money in someone
who’s somebody’s cousin who happens to be a producer. And I didn’t have the
money and Dave didn’t have the money, so we sorta did what we had to do there
for a second. But now a lot of those naysayers are red in the face, I believe.
[Laughs.]
Around the time Something More than Free came out, Jason
Isbell talked about the collaborative way he and Dave worked in the studio.
Your cousin, he said, had a real knack for knowing where to place a bridge, for
example, or whether to start a song with a chorus or a verse. Did you
experience a similar chemistry in the studio?
Yeah. Well, definitely on my first album, Dave would
structurally set up songs. I was 17 at the time. And there’s still a lot of
that because he’s just got such a great instinct for… well, I might think a
song is incomplete and he might say, “I think it’s done; let’s just put this
little melodic thing at the end.” He’s just fantastic, and that’s why everybody
loves him, because he thinks like an artist. Well, he is an artist, not just someone who can afford a bunch of equipment
and calls himself a producer.
I imagine he’s as
valuable – if not more so – than any great session man.
Yeah! And going back to the staff-writing thing, I approach
that the same way Dave does: It’s a collaboration that comes down to “What’s
best for the song?”
How long had you been
working on this batch of songs? Did you do any writing while in the studio?
Some of them longer than others. Like I said, I’ve always
written for myself, so I’ve always had a deep pocketful of songs that kinda
lent themselves to this album. But some of them I finished up in the studio in
the moment; I might have a melody in mind and I’d say, “What do you think about
this one, Dave?” So, a little bit of both.
There’s an uplifting
air to this album of yours. There’s sort of a demarcation point, I think, between
the first seven and last three songs, but for the most part there’s kind of a
contentment running through it. Is this a reflection of your personality and
general outlook on life?
I think it has to be. I come from a very musical family, a
positive family, a loving family.
For me, it’s been a long decade professionally in music and I’ve seen
some people come behind me and excel and surpass me. But I’m still rockin’,
professionally. I’ve been able to make a living from just music for almost a
decade. So I’ve gotta be positive.
The other thing I wanted to show, you know…I’m friends with
everybody on both sides of the fence; I can’t really pick a side because I’ve
got so many friends on both sides of this invisible wall. My thing is, I wanted
to do country music in such a way that just because you’re going beyond
scratching the surface and doing something a little deeper, it doesn’t have to
be depressing. You can write something that feels good and also has a little
more meaning to it, a little more depth.
So that was always in the back of my mind while I was
putting this album together. And also – having a two-year-old – I wanted to put
something out where if I never did anything else, my daughter could listen to
it and say, “Man, that was my daddy’s album!”
From Brent Cobb's Instagram |
You'd easily fit into the mainstream country neo-traditional revival
(artists like Stapleton, William Michael Morgan, Jon Pardi). You've seemingly gone the more
straight-Americana/less-commercial route. Was that a business decision, or just
staying true to your style and comfort level?
Yeah, it’s just the way I write. If you
go the traditional or commercial route, there’s just so many people who have to
get involved, and that wouldn’t have been a good representation of what I do.
This album is just natural.
And, speaking of the commercial route, let’s talk about an elephant
in the room. There are several folks in the “mainstream” camp who’ve recorded
your songs. You wrote “Tailgate Blues” and Luke Bryan had a hit with it. (editor’s note: was a popular album cut) It might be hard for folks to reconcile
the songs on Shine on Rainy Day with
that one. Was that a case of “well, that’s just what the music-listening public
wants, so give it to them?”
No, that song was originally written
for me. I had a verse or two, and it was originally called “Mossy Blues.” And I
would ask people to go and listen to the lyrics of that song * before they made any judgments like, “Oh, he wrote that song for
Luke Bryan.” Because – and I don’t really want to be the one to say it – if
they listen to it, it’s structurally different. There are some of the same
phrasings, but we’re from the same area. But I think you can tell the
differences in depth.
And my co-writer, Neil Medley – it was
one of the first songs I’d had a co-writer for, and this was about five years
ago – he’s the one who said “Let’s call it ‘Tailgate Blues.’”
Well, that was certainly some foresight, right there.
[Laughs]. Isn’t that funny, man? And
look, I’m not saying we were the first ones to write about a buzz, or write
about a tailgate or crickets and stuff, because we damn sure were not. But
during that time period not a lot of people were saying that stuff. And then,
about a year or so after that…[laughs].
What’s more likely to happen: Brent Cobb writing another song about
a truck, or Luke Bryan covering “Down in the Gulley?”
Luke would do Down in the Gulley.
Yeah, but would you want him to? Wait. You don’t have to answer
that.
Of course I would! I want everybody to
do whatever they want to do. Wouldn’t it be cool to hear Luke do Down in the
Gully? That would probably change everything.
Well, it would help your bottom line, no doubt… So, you apparently
dipped your toe into satire and wrote something called “Yo, Bro.”
[Laughs] Aw, I should’ve sent that to
you.
I’d love to hear it, but I can’t, since all traces
of it have disappeared from the Internet. Can you clear up this mystery?
Ah, well…For about four or five years,
I averaged doing about 120 dates a year, and when we found out we were having
our baby, I decided I’d leave the road and just focus on songwriting. And
during that time, it was at the height, the peak really, of the bro country
movement, and I couldn’t get anybody
to listen to any of my songs.
So I got kinda pissed off. And what
happened…I won’t say any names, but I had a couple folks who are kinda high up
– Luke WAS NOT one of them – a couple folks in that camp told me, “Man if you
could just write some stuff that leaned that way, you could probably have a lot
of success.” And it really bothered me because it ain’t that I can’t do that; I
just don’t do that.
I decided to write something that was
that style of song, and I wanted to do it better than they can write their own
style of song. [Pauses] Against them. As a matter of fact, Neil Medley – the
same guy who co-wrote “Tailgate” – that’s who I wrote “Yo, Bro” with. And it
worked.** [Laughs] It did a lot of what I thought it would do; I figured it
would go over a lot of the bro fans’ heads…
That’s not a very high bar, Brent…
And later they were like, “Wait, I
think he’s making fun of us, but it doesn’t matter because it sounds so cool.”
What I didn’t expect to happen was that a lot of the more traditional fans – I
expected them to get the joke – but it kinda backfired on me and said, “Aw,
he’s a bro hatin’ on bros.”
[Howls with laughter]…
Yeah, that’s what happened. So, I
pulled it off the Internet. Someday I’ll put it back out there, but I took it
off before I put this record out because I didn’t want people to be confused
and not get the joke. Luckily we’ve got folks like [Trailer] and ole Trigger
(Saving Country Music) who do get the joke. But a lot of folks didn’t, so I
just didn’t want to deal with that.
Back to Southern Family for
a second: It’s become a cliché, what with the mainstream country bros checking
all the boxes (trucks, dirt roads, etc.) to show they’re authentically rural on
all their songs. On “Down Home,” you touch all the bases yourself, yet it’s
valid on its face. Did you write that song as sort of an ironic wink at the bro
template?
Nah, I didn’t really think of it that
way. The thing is, I’m friends with some of those guys. There was one time we
were sitting around in the writing room writing a song, and I had this really
cool idea. Where I grew up my
grandpa had a junkyard. He had a hundred acres that my great-grandpa bought for
a dollar an acre after World War I, and on one part of it was this junkyard.
So I had this idea about how things
rust away in a junkyard, but it can still be beautiful; a really rural song,
you know? So this one guy – and man this is one of the top dudes, and again I’m
not gonna say any names. He says, “Well, does that pass the Bubba test?” I
asked him what the “Bubba test” was. “As in Bubba back home; is he gonna get
it?”
It bothered me so much. And I was a young buck, just a low man on the [Nashville]
totem pole. I told the guy, “Well, I don’t think we’re gonna be able to write anything
together. Ever.” And I just got up and walked out. Who knows; maybe if I hadn’t
walked out I could’ve had a bunch of bro hits. [Laughs] But it just bothers me,
man. It’s an epidemic, and what I don’t understand is, those guys are from there (the rural South.) They know
that things are deeper. I don’t know whose fault it is, whether it’s the fans
of that music; I don’t know if it’s the record labels, or the radio, or if it’s
just people getting there and selling where they’re from short. I don’t know
whose problem it is. But it’s unfortunate, because it’s much richer, where
we’re all from.
Yeah. As a lifelong Southerner, it chaps me when in the movies, for
example, every Southerner is gonna be a dumb yokel…
Always…
…and these guys, they’re reinforcing that stereotype and lining
their pockets. And now they’ve added an element of soft-core porn to it,
singing about trying to get in some skank’s pants…
yeah…
…and it’s not healthy.
You know, I hate to name-drop because I
know these guys and they’re all heroes of mine. But my wife and I were talking
about this the other day. Guys like Kristofferson and Willie, when they talked
about a woman, it was so romantic. They did it in a way that was just
beautiful, man. You can still do that, dammit. It’s the same way with movies,
too. I love the movie Dazed and Confused;
it’s funny because it’s real-life, not over the top. What’s happening in all
genres of music, not just country, is that it’s over the top and exploitative
of whatever the truth is.
Lastly, are you doing any new writing, or is that something that’s
perpetual for you? And have you thought about what you might do for your next
album?
I have thought about it and I’m really excited about doing
the next album. It won’t stray too far from where I am already, though.
Cobb will play
a few dates late this month in the U.K., then come home for an extensive tour
with Nikki Lane in February.
Catch him when you can.
* Seriously, go listen. He’s right, and it’s a great song.
When sung by Brent Cobb, of course.
** Oh, man, does it ever work. Since the interview, your
humble correspondent received a copy from the artist on the condition of not
circulating it. It is brilliant.
Dec 27, 2016
Kevin's Top 10 Albums of 2016
Broughton’s Top Albums, 2016
1.
Austin Lucas, Between the Moon and the Midwest.
One of
two or three genuine country music masterpieces in a year of hearty
competition, I wrote in May that “somebody better pack a lunch if he wants to
displace this as the best country album of 2016.” Several worthy folks did, yet
here’s your champ. Lucas didn’t write and arrange; he composed. The
heartache is real, the vocals brilliant. Oh, and as a bonus it packs the finest duet of the year, with Lydia Loveless.
2.
Brent Cobb, Shine on Rainy Day.
A
terrific breakout album from a kind and humble Georgian, this record’s beauty lies in its simplicity. Yes, Nashville,
it’s possible to sing about the joys of rural living without sounding forced,
contrived, and stupid. Country music needs more Brent Cobbs. Maybe a dozen.
3.
Sturgill Simpson, A Sailor’s Guide to Earth.
I’m
probably in the minority, thinking this record is better than the blockbuster Meta
Modern Sounds in Country Music. Then again, the Grammy folks grew a brain
and made it an “album of the year” nominee in addition to best country album.
Sturgill does it his way again, while telling the Nashville suits to pound
sand. He’s the baddest ass in music, and we should all thank him.
4. Jack
Ingram, Midnight Motel.
It’s the
Texan’s best work yet, by a wide margin. And man, it’s sad. Wistful in some
spots, forlorn and outright hopeless in others, the one upbeat number is “I’m
Drinking Through It.” (“Sometimes you’re thirsty, sometimes you just need a
drink.”) Not an album you’ll listen to on a regular basis, but its
authenticity shines through in Ingram’s soulful vocals and sparse arrangements.
5.
Flatland Cavalry, Humble Folks.
“Easy on
the ears, heavy on the heart,” according to the band’s website. Yep. Bossman
Trailer nailed it in his review. This one’s a real keeper.
6.
Robbie Fulks, Upland Stories.
Let’s get
this out of the way: Robbie Fulks is a bona fide musical genius and a
real man of letters. It’s fitting that this album was inspired by James Agee’s nonfictional literary
triumph, Let Us All Praise Famous Men. The record’s first
track, “Alabama at Night,” snagged a Grammy nomination for best folk song.
Fulks, an elder statesman at the iconic Bloodshot Records, is the true triple
threat: Guitar virtuosity, brilliant lyrics, and a pure high tenor. If he has a
peer in the craft, I’ve yet to hear him.
7.
Cody Jinks, I’m Not The Devil.
Another
genuinely great country album in a year when the “neo-traditionalists” are
gaining traction. Packed with spiritual themes, this record should be an
exemplar to any bros out there who’d like to try something real for a change.
8.
Blackberry Smoke, Like an Arrow.
Their
best record yet, and it straddles the country and rock worlds with perfect
balance.
9.
The Handsome Family, Unseen.
It’s weird and wonderfully addictive. I dare you to
find a comparison. Go ahead. Try.
10.
The Flat Five, It’s a World of Love and Hope.
It’s five of Chicago’s best doing the happiest album of the
year. Everybody needs to listen to this album once a week.
Dec 22, 2016
Farce the Music's Top 20 Albums of 2016
Our "Best Albums of 2016" was voted on again this year by all Farce the Music contributors: Jeremy Harris, me (Trailer), Matthew Martin, Kelcy Salisbury, Kevin Broughton, Robert Dean (and friend Chad Barnette as a tiebreaker).
1. Sturgill Simpson - A Sailor's Guide to Earth
I’m probably in the minority, thinking this record is better than the blockbuster MetaModern Sounds in Country Music. Then again, the Grammy folks grew a brain and made it an “album of the year” nominee in addition to best country album. Sturgill does it his way again, while telling the Nashville suits to pound sand. He’s the baddest ass in music, and we should all thank him. -Kevin Broughton
If you were turned off by this album's not completely inherent country-ness, I highly suggest you revisit this one with an open mind. This may not be Sturgill's best album, but it's damn close. Every song from start to finish is a homerun, making the album as a whole quite the emotional powerhouse. And, of course knowing the context of the album- written as a love note to his son- only helps the listening experience. "Call To Arms" is probably now my favorite Sturgill song and by the time I got to this song on the album, I couldn't sit down. Such a barn-burner, such a wonderful way to end a wonderful album. -Matthew Martin
I’m probably in the minority, thinking this record is better than the blockbuster MetaModern Sounds in Country Music. Then again, the Grammy folks grew a brain and made it an “album of the year” nominee in addition to best country album. Sturgill does it his way again, while telling the Nashville suits to pound sand. He’s the baddest ass in music, and we should all thank him. -Kevin Broughton
If you were turned off by this album's not completely inherent country-ness, I highly suggest you revisit this one with an open mind. This may not be Sturgill's best album, but it's damn close. Every song from start to finish is a homerun, making the album as a whole quite the emotional powerhouse. And, of course knowing the context of the album- written as a love note to his son- only helps the listening experience. "Call To Arms" is probably now my favorite Sturgill song and by the time I got to this song on the album, I couldn't sit down. Such a barn-burner, such a wonderful way to end a wonderful album. -Matthew Martin
Behold world, Sturgill has done it again. Buy A Sailor’s Guide To Earth
right now and help us throw gasoline on the establishment while
Sturgill Simpson is the preaching madman we’ve all been waiting for. Let
his church welcome all those who are lost and share his message: get
weird, or die tryin’. -Robert Dean
2. Cody Jinks - I'm Not the Devil
Another genuinely great country album in a year when the “neo-traditionalists” are gaining traction. Packed with spiritual themes, this record should be an exemplar to any bros out there who’d like to try something real for a change. -Kevin
There's really not a best song on Jinks' 2016 album. It's a steady and moving collection without a single droop in quality, much less a weak moment. Jinks is blessed with a wonderful voice and possibly even better songwriting talents. He'll be a star in this realm of music for years to come. -Trailer
Another genuinely great country album in a year when the “neo-traditionalists” are gaining traction. Packed with spiritual themes, this record should be an exemplar to any bros out there who’d like to try something real for a change. -Kevin
There's really not a best song on Jinks' 2016 album. It's a steady and moving collection without a single droop in quality, much less a weak moment. Jinks is blessed with a wonderful voice and possibly even better songwriting talents. He'll be a star in this realm of music for years to come. -Trailer
3. Lori McKenna - The Bird & The Rifle
We had a casual poll about 2016 music a month or so back. Lori McKenna led the way on the "Best Songwriter of 2016" voting, and it's no surprise. With observant, incisive songs like "OMYM" and the others on her brilliant The Bird and the Rifle, McKenna stays at the forefront of American songwriting. She has the ability to put the listener into a situation they may have never even dealt with and make them think "Yes, this is exactly how that feels!" The Bird and the Rifle is a master-class and for me, "Old Men Young Women" is its centerpiece. -Trailer
We had a casual poll about 2016 music a month or so back. Lori McKenna led the way on the "Best Songwriter of 2016" voting, and it's no surprise. With observant, incisive songs like "OMYM" and the others on her brilliant The Bird and the Rifle, McKenna stays at the forefront of American songwriting. She has the ability to put the listener into a situation they may have never even dealt with and make them think "Yes, this is exactly how that feels!" The Bird and the Rifle is a master-class and for me, "Old Men Young Women" is its centerpiece. -Trailer
4. Brent Cobb - Shine On Rainy Day
Brent’s pleasing voice and well crafted songs combine for a true knockout punch. From top to bottom this is a very strong album and would top many lists in any year. - Jeremy Harris
A terrific breakout album from a kind and humble Georgian, this record’s beauty lies in its simplicity. Yes, Nashville, it’s possible to sing about the joys of rural living without sounding forced, contrived, and stupid. Country music needs more Brent Cobbs. Maybe a dozen. -Kevin
Brent’s pleasing voice and well crafted songs combine for a true knockout punch. From top to bottom this is a very strong album and would top many lists in any year. - Jeremy Harris
A terrific breakout album from a kind and humble Georgian, this record’s beauty lies in its simplicity. Yes, Nashville, it’s possible to sing about the joys of rural living without sounding forced, contrived, and stupid. Country music needs more Brent Cobbs. Maybe a dozen. -Kevin
5. Austin Lucas - Between the Moon and the Midwest
One of two or three genuine country music masterpieces in a year of hearty competition, I wrote in May that “somebody better pack a lunch if he wants to displace this as the best country album of 2016.” Several worthy folks did, yet here’s your champ. Lucas didn’t write and arrange; he composed. The heartache is real, the vocals brilliant. Oh, and as a bonus it packs the finest duet of the year, with Lydia Loveless. -Kevin
One of two or three genuine country music masterpieces in a year of hearty competition, I wrote in May that “somebody better pack a lunch if he wants to displace this as the best country album of 2016.” Several worthy folks did, yet here’s your champ. Lucas didn’t write and arrange; he composed. The heartache is real, the vocals brilliant. Oh, and as a bonus it packs the finest duet of the year, with Lydia Loveless. -Kevin
6. Justin Wells - Dawn in the Distance
The former frontman of Fifth on the Floor lets his songwriting and strong voice shine through in his debut. I would’ve thought Justin’s voice was more suited for the rock style he was accustomed to but with this release he proved me wrong and really showed his full potential. -Jeremy Harris
The former frontman of Fifth on the Floor lets his songwriting and strong voice shine through in his debut. I would’ve thought Justin’s voice was more suited for the rock style he was accustomed to but with this release he proved me wrong and really showed his full potential. -Jeremy Harris
7. Flatland Cavalry - Humble Folks
"Easy on the ears, heavy on the heart" reads the description on Flatland Cavalry's website, and that couldn't be more accurate. Their sound is an easygoing mix of red dirt country, pop melodies, laid back swing, and heartworn folk. And there's so much fiddle. Lord, but I love me some fiddle and I love Laura Jane's fiddling. It's all a perfectly accessible approach but one that doesn't scrimp on the craftsmanship and songwriting. Humble Folks is a great album, well worth your listen. It's a familiar sound, but one that with repeated listens will reveal deeper layers and twists of melody you haven't heard before. These songs are sure to make you think, smile, hurt, and tap your foot. Sometimes all at once. That's what good music does. -Trailer
"Easy on the ears, heavy on the heart" reads the description on Flatland Cavalry's website, and that couldn't be more accurate. Their sound is an easygoing mix of red dirt country, pop melodies, laid back swing, and heartworn folk. And there's so much fiddle. Lord, but I love me some fiddle and I love Laura Jane's fiddling. It's all a perfectly accessible approach but one that doesn't scrimp on the craftsmanship and songwriting. Humble Folks is a great album, well worth your listen. It's a familiar sound, but one that with repeated listens will reveal deeper layers and twists of melody you haven't heard before. These songs are sure to make you think, smile, hurt, and tap your foot. Sometimes all at once. That's what good music does. -Trailer
8. Drive-by Truckers - American Band
There is not a more important album in Drive-By Truckers' repertoire. This is an album written by deep-red-state Southern men about issues that many in this region turn away from. This is DBT taking their implicitly political music and making it as explicit as possible. And, in the process, they made a few fans turn away from them. But, the band didn't back down and, to my way of thinking, we're much better for it. This is the album we needed in 2016, and will continue to need as we move forward. It's ok for us to have differing opinions and as Cooley says, "if the victims and oppressors, just remain each other's others," then where will we be over the next few years. So, this album is an impressive call to arms for everyone to look ourselves and those who differ from us in the eye and figure out how to find some common ground, while also calling bullshit on those who wish to divide us. "What It Means" is already in my top 5 favorite DBT songs and to me, this is the best song of the year. The best song of the year on the best album of the year by one of the most important Southern bands of our time. - Matthew
There is not a more important album in Drive-By Truckers' repertoire. This is an album written by deep-red-state Southern men about issues that many in this region turn away from. This is DBT taking their implicitly political music and making it as explicit as possible. And, in the process, they made a few fans turn away from them. But, the band didn't back down and, to my way of thinking, we're much better for it. This is the album we needed in 2016, and will continue to need as we move forward. It's ok for us to have differing opinions and as Cooley says, "if the victims and oppressors, just remain each other's others," then where will we be over the next few years. So, this album is an impressive call to arms for everyone to look ourselves and those who differ from us in the eye and figure out how to find some common ground, while also calling bullshit on those who wish to divide us. "What It Means" is already in my top 5 favorite DBT songs and to me, this is the best song of the year. The best song of the year on the best album of the year by one of the most important Southern bands of our time. - Matthew
9. Blackberry Smoke - Like an Arrow
Their best record yet, and it straddles the country and rock worlds with perfect balance. -Kevin
Their best record yet, and it straddles the country and rock worlds with perfect balance. -Kevin
10. Caleb Caudle - Carolina Ghost
This is the closest thing to a mainstream country album I've heard and loved in a long time. Best listened to as a whole, but be sure to check out White Doves Wing along with Steel & Stone. This is what modern country sounds like done right. -Kelcy Salisbury
This is the closest thing to a mainstream country album I've heard and loved in a long time. Best listened to as a whole, but be sure to check out White Doves Wing along with Steel & Stone. This is what modern country sounds like done right. -Kelcy Salisbury
Caleb Caudle has given you a gift: it's ok to want to pop on a record
and drink a beer in the yard. You don't have to be at the juke joint, or
pine for the days of the Armadillo in Austin. Nope. This is about as
fucking Americana as it gets: good tunes, simple music and honesty worn
like a badge of courage. The exact thing folks try to do but seemingly
end up sounding like shitty copies of Bruce Springsteen. Carolina Ghost inspires those moments where it’s ok to slow dance to the radio, or just shut up and let the music do the talking. -Robert
11. A Tribe Called Quest - We Got It From Here…
Thank You 4 Your Service
It's a shame that this is Tribes' farewell album. It's as strong as anything they've ever done. I'm going to miss their existence. ATCQ is kind of like the Big 10 of hip hop. I may not like everything they do, but the genre as a whole is better when they're at the top of their game. -Kelcy
It's a shame that this is Tribes' farewell album. It's as strong as anything they've ever done. I'm going to miss their existence. ATCQ is kind of like the Big 10 of hip hop. I may not like everything they do, but the genre as a whole is better when they're at the top of their game. -Kelcy
12. (tie) Jeff Shepherd and The Jailhouse Poets - s/t
Every song Jeff has ever written has came straight from his heart. Knowing this makes you wonder how so much heartache can be packaged in one young man. Jeff finally gets the chance to lay his heartache on the masses with a super strong debut that shows a bright future for the sad song writer. -Jeremy
Every song Jeff has ever written has came straight from his heart. Knowing this makes you wonder how so much heartache can be packaged in one young man. Jeff finally gets the chance to lay his heartache on the masses with a super strong debut that shows a bright future for the sad song writer. -Jeremy
12. (tie) The Sword - Low Country
Stoner metal kings take a slight detour with more prominent 70s & electronic (and acoustic) influences. The results are epic. -Kelcy
Stoner metal kings take a slight detour with more prominent 70s & electronic (and acoustic) influences. The results are epic. -Kelcy
When is the last time you heard an acoustic record
that rips that wasn’t straight country or some guy with a beard in a
flannel? This is a throw back to the 70’s and makes drinking beer super
easy. -Robert
14. Luke Bell - s/t
This was the best debut of year and one of my most listened-to albums of the year. Every song on this album is perfect cowboy Country. Luke Bell is the natural progression through the years from Buck Owens to Dwight Yoakam, and now to Luke. If Paul Cauthen and Luke Bell are the future of Country, then we are going to be A-OK, y'all! "Bullfighter" is a perfect example of Luke Bell's mastery of capturing every day moments in his songs. - Matthew
This was the best debut of year and one of my most listened-to albums of the year. Every song on this album is perfect cowboy Country. Luke Bell is the natural progression through the years from Buck Owens to Dwight Yoakam, and now to Luke. If Paul Cauthen and Luke Bell are the future of Country, then we are going to be A-OK, y'all! "Bullfighter" is a perfect example of Luke Bell's mastery of capturing every day moments in his songs. - Matthew
15. Car Seat Headrest - Teens of Denial
I've tried to review the album this song is from about ten times this year, but I just don't know what to say about it that would make any sense or sound like I vaguely know what I'm talking about. Just know that it's badass and it was my favorite album of 2016. -Trailer
I've tried to review the album this song is from about ten times this year, but I just don't know what to say about it that would make any sense or sound like I vaguely know what I'm talking about. Just know that it's badass and it was my favorite album of 2016. -Trailer
16. Brandy Clark - Big Day in a Small Town
I'll admit I was a little concerned when Brandy led off this album era with "Girl Next Door," a pop-country tune with a disco flavor. That song eventually grew on me - and the album itself blew me away. Brandy takes the most banal moments of everyday life and makes them sound like plot points in an epic soap opera (in a good way). She finds the unique in the commonplace, dripping a heavy dose of verbal poison in with the sweetness. -Trailer
I'll admit I was a little concerned when Brandy led off this album era with "Girl Next Door," a pop-country tune with a disco flavor. That song eventually grew on me - and the album itself blew me away. Brandy takes the most banal moments of everyday life and makes them sound like plot points in an epic soap opera (in a good way). She finds the unique in the commonplace, dripping a heavy dose of verbal poison in with the sweetness. -Trailer
17. Elizabeth Cook - Exodus of Venus
The most diverse and mature release from Elizabeth to date. Great songwriting and several songs that have a gritty rock sound make this a must listen to album for fans or anyone for that matter. -Jeremy
The most diverse and mature release from Elizabeth to date. Great songwriting and several songs that have a gritty rock sound make this a must listen to album for fans or anyone for that matter. -Jeremy
18. Rodney Parker and 50 Peso Reward - Bomber Heights
Lyricism won the day for me. With Bomber Heights Parker and his band, 50 Peso Reward, have created a masterful, literary, cinematic statement. The album begins with "Steppin' Into Sunshine." The song offers a series of visuals such as "...there is a priceless work and a box knife" that contrast images of beauty and destruction, light and darkness, before the quietly triumphant line "I'm steppin' into sunshine". It sets up the album perfectly. -Kelcy
Lyricism won the day for me. With Bomber Heights Parker and his band, 50 Peso Reward, have created a masterful, literary, cinematic statement. The album begins with "Steppin' Into Sunshine." The song offers a series of visuals such as "...there is a priceless work and a box knife" that contrast images of beauty and destruction, light and darkness, before the quietly triumphant line "I'm steppin' into sunshine". It sets up the album perfectly. -Kelcy
19. Arliss Nancy - Greater Divides
This is the only kind of album I ever want Arliss Nancy to make. I hope they continue to do this exact sort of thing for years to come. The band is tight, the music is wonderful, the songs are as good as any the boys have ever written, and this album is one of their best. - Matthew
This is the only kind of album I ever want Arliss Nancy to make. I hope they continue to do this exact sort of thing for years to come. The band is tight, the music is wonderful, the songs are as good as any the boys have ever written, and this album is one of their best. - Matthew
20. Quaker City Night Hawks - El Astronauta
Quaker City Night Hawks made the driving album of the year with this slice of
Quaker City Night Hawks made the driving album of the year with this slice of
greasy, Texas-fried retro rock goodness. -Kelcy
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Other popular selections:
Paul Cauthen - My Gospel; Margo Price - Midwest Farmer's Daughter; Mark Chesnutt - Tradition Lives; Chris Stalcup and the Grange - Downhearted Fools; Metallica - Hardwired… to Self Destruct; The Handsome Family - Unseen; Jack Ingram - Midnight Motel; Erik Dylan - Heart of a Flatland Boy; Leonard Cohen - You Want It Darker; Courtney Granger - Beneath Still Waters.
Dec 14, 2016
Best Songs of 2016: Beyond the Top 10
2016 was a bad year for music. So many legends lost. And it was a slightly down year for albums (to be fair, the past 2-3 years were so stellar, it's hard to compete and unnecessary to complain). However, it was a really good year for songs. Here are the tunes just beyond my top 10 that I feel need recognition - Look closely, some don't have videos. There are, of course, many others I enjoyed through the year, but for me this is the cream of the crop. Farce the Music's top 10 songs of 2016 will be posted tomorrow. ~Trailer
No particular order.
Blackberry Smoke (ft. Gregg Allman) - Free on the Wing
Margo Price - Hands of Time
Erik Dylan - Fishing Alone
Jack Ingram - Blaine's Ferris Wheel
Brent Cobb - Country Bound
Charles Bradley - Changes
Rob Baird - Horses
Western Centuries - Off the Shelf
Larry Hooper - Cry Me a River
Lydia Loveless - More Than Ever
Caleb Caudle - White Dove's Wing
Sturgill Simpson - Call to Arms
BJ Barham - Water in the Well
Amanda Shires - Pale Fire
Chance the Rapper - No Problem (feat. Lil Wayne & 2 Chainz)
Randy Rogers Band - Things I Need to Quit
Kelsey Waldon - All By Myself
Beyonce w/Jack White - Don't Hurt Yourself
Gojira - Stranded
Tedeschi Trucks Band - Let Me Get By
Quaker City Night Hawks - Mockingbird
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