Showing posts with label Jonny Brick. Show all posts
Showing posts with label Jonny Brick. Show all posts

Aug 3, 2017

Single Review: Joe Nichols "Never Gets Old"

by Jonny Brick

In a marketplace where there’s a country chappie for everyone, and a new one is introduced every other week, sometimes vintage works too.

This is the title track of Joe’s first album in four years. Elsewhere on the album are covers of "Diamonds Make Babies," written by Chris Stapleton and an album cut by Dierks Bentley, and "Baby Got Back," which answers the question: What happens if Brad Paisley had gone full hip-hop on "Accidental Racist?" It’s surprising there hasn’t been more coverage of the album’s final track, which is a nice bonus after eleven tracks of homegrown ole-fashioned country like this tune.

In the rich key of D-flat with a whisper of accordion, "Never Gets Old" is a gentle love song about a girl’s touch being ‘like sunshine or Amazing Grace.’ Time goes on like a ‘broken record’ but with her around doing some kissing and holding hands, everything’s a-ok.

The lyric isn’t shouted but crooned, and the arrangement pushes the tenderness of the message into the foreground. It’s an adult love song, pitched at people who have been pushing ‘a rock up that big ole hill’ and find comfort in their life partner.


Aug 1, 2017

Single Review: Chris Stapleton "Broken Halos"

by Jonny Brick

What do you say about the man about whom everything has already been said? Chris is, along with Morgane adding gentle harmonic colors, an act who is outstanding in his field; one look at him and you’d think his profession was standing out in a field.
This is the correct choice of song to send to radio. The song can work with any arrangement: more organ, thrashier electric guitar, unaccompanied as if in a church solo. Instead, the drum thwacks on the 2 and the 4, the acoustic is strummed as succinctly as possible and the five bars which introduce a new chord offer brief respite.

The image of ‘wings that used to fly’ will stand out on the radio for sure, where it’s all things carnal and earthy. Jesus gets a namecheck too. More importantly he listener believes Chris has seen his share of people cut down or who have moved on, belonging ‘to the by and by’. He is philosophical in the way Dylan is or Johnny Cash used to be: ‘We’re not meant to know the answers,’ he sings before the final chorus.

Kentucky should be so proud to have given birth to a man who has taken the song of the South – grit and gravel, soul and saviours – into many homes. The figures don’t lie, nor does Trigger, who reckons more of a song and dance should be made about two platinum albums from a man who seems like country’s version of Dave Grohl: niceness with an electric guitar.


Jul 17, 2017

Single Review: Dierks Bentley "What The Hell Did I Say"

by Jonny Brick

What do these songs have in common: “Every Time I Hear That Song”; “Do I Make You Wanna”; “They Don’t Know”; “What the Hell Did I Say?”
They are all the fourth single released from a major star’s album which this year is getting vast radio play. The fifth single from Ripcord, “The Fighter,” will be number one soon for Keith Urban. Luke Bryan had six number ones from Kill the Lights. This seems too many, but these voices sell cars and whatever other commercials you guys have over there. (I remain English, and thus get my country digitally without adverts.)
Thanks to their relatively quick climbs up the charts, bigger acts like Blake, Billy, Jason and Dierks can cram in more singles per album cycle that they send to radio. After a song which could be called “Drunk on a Boat,” a duet with Elle King, and a ballad about his wife, not to mention a duet with Cole Swindell, Dierks has sent a ploddy song to radio.
Written by Ross Copperman, Josh Kear, and Chris Tompkins before they wrote a better one later in the session, this is typical Dierks. The plot of the song is that poor rich. He drunk-dialled his lady and attracted her greatly with an answerphone message. Did he ‘say we’d go shoppin’ or ‘go to Vegas and get married by Elvis’? The idea is funny, the execution is good but there are problems here.
Dierks wonders whether he (grammatically-incorrectly) sought to ‘Louis Vuitton her’ or ‘Rodeo Drive her, slide a Tiffany diamond on her’? Singing nouns in place of verbs is an irritating trope of contemporary country. It almost makes me Second Amendment someone. As for the product placement, I’ll bank account the writers. It’s almost as if words don’t matter on the radio…
The singalong bit comes when Dierks can’t remember what the hell did he, hell did he, hell did he say. Even Bobby Bones recoils at the blasphemy, asking his audio producer to bleep out the offensive word in a mock-serious segment.
The song continues the current Nashville trend of namechecking a non-country song or act when Dierks mentioned that the folk in the bar are singing along to Free Bird. He could even sing some of it onstage when he plays this one on tour; it must be getting a single release because out on the road it gets a big response. There are worse songs on the radio after all, and some aren’t even by Dylan Scott.
The production is very muddy and overloaded on the track, which can be a pro as well as a con, and in particular the solo in the middle of the track is good. Fun fact: credited on one of the three acoustic guitars in the song is one Charlie Worsham, whose recent album contained songs much better than this. Yet radio will go with this until it hits number one some time around Halloween. 


Jun 28, 2017

Single Review: Jon Pardi "Heartache on the Dancefloor"

by Jonny Brick

There’s a movement in country called, to me, ‘Boy Deserving Success Gets Success’. Aaron Watson, country’s ‘underdog’, has hit the sales top 50 and the airplay top 40 with "Outta Style;" William Michael Morgan has gone "Missing" with a sound that uncorks the bottle of wine labelled ‘1994;’ Jason Isbell has the number one record in country with zero airplay on non-satellite stations; and Jon Pardi is going to score his third number one with his smart new single, "Heartache on the Dancefloor."

It’s about a girl who attracts the protagonist with her moves on the dancefloor but who disappears before she can be found. There are about eight great rhythmic earworms in this song, including the chant-along ‘moving through my mind’ and the post-chorus ‘yes she is, yes she is’, which becomes ‘where you at, where you at’ in the final iteration.

The setting is a bar in a ‘west coast town’, which is smart as Jon is a Western act rather than a country one (the record is California Sunrise). The use of the word ‘wandering/ wondering’ in the chorus is smart: Jon is both walking to find her, and thinking about the girl constantly. ‘That girl is killing me so I put on this song!’ he says of his attempts to catch her in that same bar night after night. So what Jon is doing is describing imaginary heartache, which comes from not even talking to a girl; it’s sort of a psychic (or psychotic) passion for a girl. Maybe he dreamed her…

The image is instantly identifiable to anyone who ever visited a bar and saw a purty lady on the dancefloor. This time, Jon doesn’t even need to mention boots to get a hit.


Jun 19, 2017

Single Review: Luke Combs "When It Rains It Pours"

by Jonny Brick

Great, the title’s a cliché. Here’s what else is country-by-numbers, rather than clichés, about this song, about whose music Trigger at Saving Country Music wrote…well, what he usually writes.

1 There’s a gruffness in his voice that is very Stapleton. This isn’t cliché yet but soon we’ll be complaining it’s as common as the words ‘hey girl, get in my truck’ on the radio.
2 The key is F-sharp, not cliché in itself but a very resonant major key that opposes the message of the lyric..
3 …Which is about hanging out with the guys, drinking beer, going out on the road, playing golf, going fishing and forgetting he’s now single. There are three types of country song: need the girl, got the girl and (as here) lost the girl…
4 …But Luke has a new take on heartbreak, with the guy delighted to be rid of the girl, heading straight to ‘I-65’ down a long freeway.
5 The guitars chug away in a Southern rock style in 4/4 time, and this will sound great cruising down the highway at 65mph.
6 He mentions the radio, ‘the FM dial’, but only because he’s ‘caller number five’ and wins a trip to Panama.
7 Antonyms: birds do it, bees do it, even educated country writers do it! Here, Luke sings ‘What I thought was gonna be the death of me was my saving grace’. It’s a good line.
8 The second chorus has a fun lyric about going out with a Hooters waitress. I wonder how much sponsorship money he’ll get from that…
9 The bridge before the last chorus, delivered appealingly, perhaps says that every cloud has a silver lining: ‘I been on one hell of a redneck road…It all started on the day that she walked out.’
10 The line that may inspire a t-shirt is ‘I ain’t never got to see my ex-future-mother-in-law any more’. Class, like so many other great lyrics in country. A comedy staple is the mother-in-law joke (at least in the UK it is!) so this line is delivered as a punchline to the chorus.

Ol’ Trigger may want more, but this one points to another big hit for Luke Combs.


Jun 15, 2017

Single Review: Lee Brice "Boy"

By Jonny Brick

Two of the finest songs of the last decade are I Don’t Dance and I Drive Your Truck. The former has been played on Spotify alone 67m times, the latter a mere 24m times. The voice of Lee Brice, sort of like Tim McGraw’s (in fact a lot like the voice of Tim McGraw), carries both of those songs.

Much like "My Old Man," the new Zac Brown song which does this without programmed drums and synths, this song is another to be found in the sub-genre of Dad/Son-country. It could also be a message to young writers seduced by the headlights of modern country; head to the trunk, where’s there is gold to be found in mining the human condition.

We have a while to wait for the album, self-titled (like Tim McGraw’s first album) and out in November. Tim is on tour this year, still plugging Damn Country Music, which contains "Humble & Kind," a song written by a mum to her kids but sung by Tim, a dad of three.

Musically there are two magical moments in Boy: Lee’s little chuckle in the second verse after the word ‘stubborn,’ and the slide guitar sound before the sombre final chorus which ends on the line ‘run like he’s bulletproof and total a car, too.’ Country must realise that, above other genres, it puts family first, rather than the act of making babies.

"Boy" is thus one of those ‘advice’ songs country music offers (some star or other has just put one out called "Speak to a Girl"). It’s a song from a dad to his son, who will ‘always be my boy’ even if he is genetically programmed to repeat the mistakes of his dad. The middle eight is tender, as the dad feels sorry that his son is off – on his gap year? To NYU? To fight for his country?

Lee is a father-of-two, soon to be a father-of-three, and he must have seized on this song when it was sent to him for consideration. "Boy" was written by Nicolle Galyon (Automatic, It Ain’t Pretty) and Jon Nite (Strip It Down, We Were Us, Think a Little Less). It’s a winner, and an example of what contemporary songwriters in Nashville can do when they step off the tailgate.

After five years of drinking beer, cruising and eating a catfish dinner, country music is hopefully waking up to what Chris Young would call a Sober Saturday Night. If it lasts a few years, so much the better for top quality songs about real things coming out of Music Row and given the confidence to make headway into the charts and people’s playlists.


Jun 13, 2017

Single Review: Dustin Lynch "Small Town Boy"

by Jonny Brick

Bear in mind that I think Dustin is great. His smile is wide, he does lots of work for charity and he has a clothing range called Stay Country [Editor's note: Oh the irony]. He has a very serviceable voice which is better than, say, Michael Ray or Tyler Hubbard or Chase Rice or Brantley Gilbert. He’s the least rotten of the rotten apples this site loves to chuck on the freeway.

Here’s the problem. I hate "Small Town Boy" so much last week that I submitted a thousand-word rant to Farce the Music. It was deemed too bilious to post!

With some perspective, I hate the song less this week. But holding it up against other songs on the radio – "Missing," "My Old Man," "The Way I Talk," "Somethin’ I’m Good At," "Heartache on the Dance Floor," "Makin’ Me Look Good Again," "It Ain’t My Fault" (my point is made…), it’s dreck.

"Small Town Boy," which will be a number one song on country radio like DL’s other songs, is formulaic, committee-driven, and, if you listen closely to the off-beat, you can practically hear the cash register go KA-CHING.

The song is about how Dustin’s lady is attracted a ‘small town boy like me.’ I have no idea what the words ‘I can stick it up, I guess that’s why she can’t get enough’ are doing in the second verse. Maybe she’s so lonely she’ll even take Dustin Lynch.

Dustin boasts how ‘she ma cool, she ma crazy, my lay back in the front seat.’ He’s just using images as nouns, which isn’t how English works. I hope people stop using adjectives as nouns. Dustin is my execrable, my torturous, my inane.

The music video was released during CMA Fest weekend where Dustin tore it up, entertaining drunken folks who had nowhere better to be. Anyhow, the video has got Dustin canoodling on the sand, sometimes with his hat on, other times with his hat off. Even though it’s a very hot day, the girl is wearing clothes suitable for about ten degrees cooler (maybe she’s dressed for the beach breeze when the sun goes down).

I ain’t saying she a golddigger, but gosh darn, Lynchie, maybe it’s because your record company realises you have a commodifiable voice, a stubble-strewn face that looks good in a hat and big pearly teeth. Maybe it’s because you can sell undeveloped ideas like "Seein’ Red" and this one, which are a real regression from "Hell of a Night," "Where It’s At" and "Mind Reader," all massive hits. Shame on Rhett Akins and Ben Hayslip, who did so well with "Mind Reader," but who have turned up a dud with Kyle Fishman here but who will nonetheless earn some corn.

It’s not sexist, thank goodness, to boast about being with a girl. In the video, the lady looks like she’s having fun, even if she’s asleep (post-coitally?) at one point. She gets into her beachwear for some frolicking, nicks Dustin’s hat and looks into the eye of the camera like she’s being paid to do. But it seems like a fantasy…unless that’s the point of the song, in which case the Peach Pickers have been too smart.

Grady Smith, the writer who currently has a Youtube channel where he gives hot takes on the hottest piles of takes coming out of Music Row, would call this bewilderingly unspecific. Why is he a fistfight, if he’s got such a charming smile? What’s written on DL’s t-shirt that makes her love it so, and what kind of boots is he wearing?

If it’s Lucchese, it can rhyme with ‘you wasted an opportunity to put out a great single.’ Must do better, or people will turn off before the commercials hit.


May 22, 2017

Single Review: Brad Paisley " Last Time for Everything"

by Jonny Brick

He’s just the best at his job. Brad’s album Love and War is full of reliable tunes, at least four of which are potential Songs of the Year. This isn’t one of them, but it is his current single at radio. After Today (which is one of them), he takes the theme ‘what can’t we do anymore?’ and wraps a lovely melody around it. Notable in the arrangement is the sound of the snare drum, which thwacks away on beats 2 and 4, and the way the fellow male voices wrap around Brad’s.

The chorus goes ‘Last call, last chance/ Last song, last dance’, which is pretty anthemic. Of the ‘everythings’ Brad laments the last time of doing is cutting off a mullet, hearing Little Jimmy Dickens at the Opry and Prince singing Purple Rai-iiiin, using a fake ID, introducing your ‘fiancee’ rather than your wife (or ex-fiancee if the wedding doesn’t take place…There’s a song in that, Brad) and eating ‘biscuits and gravy at your momma’s house’.

Like Brad’s best tunes it’s about time, moments and life. Brad and his mates in the writer’s room have a knack of melding the familiar and the abstract. There really has been nobody better (and I include the likes of Shane McAnally and Brandy Clark here) at boiling down the human condition in a country tune that you can hum and boogie to.

8 out of 10

May 19, 2017

Single Review: Carly Pearce "Every Little Thing"

by Jonny Brick

Off on the latest round of Bobby Bones's Funny and Alone tour, Carly is the latest new hot 'girl singer' or, as they are now called, Anyone But Carrie.

It is quite horrific that Carly has entered the charts with this song and, excluding boy-girl duets (Craving You, Speak to a Girl, The Fighter) sits alongside only THREE (tres) other women singing on their own: Kelsea, Maren, RaeLynn. Carly made this point on social media. It'll change, but maybe not in Willie Nelson's lifetime.

At least Carly, on Big Machine, has bucks and Borchetta (that’s a songtitle…) behind her. The big marketing push must centre on her experience singing at Dollywood, but there’s less Dolly in here and more Crystal Gayle, a pretty and pure voice that will certainly leap out on the radio among our friends [insert least favourite act].

There are so few great female voices from the post-Shania era: Taylor obviously but she’s a writer first and a singer second, Karen and Kimberly, Hilary, Maren, Miranda (more attitude than beauty, and that IS just the voice), Angaleena and Ashley, the other Pistol Annies...Then Carrie obviously, Kelsea who is fun [editor's note: NOPE], RaeLynn who has The Voice, and now Carly. Being uncharitable, I could say Cam is on the line and wants her burning house back.

I love, as I am sure you will, the twang of the dobro (I think it’s a dobro). The song opens with a sense impression: ‘the scent that you left on the pillow, the sound of your heartbeat’. In fact, Carly remembers everything, ‘the shine, the stain’, but she has now turned her back on the guy. Then, as often happens, the last verse flips the narrative: ‘I’d die to not remember every little thing’. What a super song.

Every Little Thing fits the template of Maren Country (can I coin that?): confident, tender, beautiful (the song AND the act), traditional with lots of contemporary edge. Sounds like a hit.

7.5 out of 10

May 18, 2017

Single Review: Eric Church - Round Here Buzz

by Jonny Brick

Eric Church is like Keith Urban with a 20-a-day habit and a stick of gum on the go all the time.

The Chief returns with another single from 2015’s Mr Misunderstood. I remember seeing him for the first time at the Greenwich Arena in London, where he had the flu. Eric with the flu is better than [Insert Least Favorite Act] without flu, and he tore through his greatest hits and latest jams.

Kill A Word, Record Year and the title track have all done very well, so if this is the final single it’s a good choice. Written with Jeff Hyde and Luke Dick, the team that brought you Kill a Word, it’s an Eric Church song where Eric is thinking and drinking ‘till my down goes up’.

Poor Eric, ‘a parking lot down-and-outer’, has lost his girl. Her mum taught him but ‘her dad was hellbent on saving me’. From what? Is she a no-goodnik? Anyhow, the girl is long gone and he’s still ‘never been east of Dallas’, stuck in his quotidian life at Scottie’s, where he can drink two beers for the price of one. I love the lyric ‘no gas in his neon light’, painting great pictures.

The arrangement of the song follows the tone heard on Record Year: a steady start in the verses with echo on the vocal, before an electric guitar comes in for the chorus, which sticks mainly on the D and G chords. The solo, full of treble, is a perfect soundtrack to others in bars like Scottie’s drinking till 2am. The harmonies in the final choruses are excellent.

Eric turned forty this month (belated greetings, Chief!), making him a contemporary of Luke Bryan, Jason Isbell and Brad Paisley. Time will tell which of those four will have made the most pivotal contribution to the genre, but Eric is well on his way to becoming one of the top Modern Outlaws along with Isbell, Sturgill and Stapleton, who between them are leading the fight for the 'East Nashville' sound.

7 out of 10

Editor's note: I don't do much editing because I'm lazy anyway, but like Robert Dean, I'm mostly gonna let ol' Jonny rip. He's got his own loopy way of saying things… and there's also the "language gap" since he's from across the pond. We'll all get used to him soon. 

Apr 19, 2017

Album Review: Charlie Worsham - Beginning of Things

Charlie Worsham – Beginning of Things

by Jonny Brick

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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