Showing posts with label Lee Ann Womack. Show all posts
Showing posts with label Lee Ann Womack. Show all posts
May 5, 2021
Apr 22, 2020
Oct 11, 2019
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.
Jul 16, 2019
Chris Knight Performs "Send It On Down"
This song, written by Knight and David Leone, was previously recorded by Lee Ann Womack. Chris’ recording (featuring Womack) appears on his forthcoming album Almost Daylight (Oct. 11).
May 13, 2019
Aug 9, 2018
Dec 21, 2017
Farce the Music's Top 20 Albums of 2017
Our Top 20 Albums of 2017 were voted on by all contributors again this year:
Kelcy Salisbury, Robert Dean, Kevin Broughton, Jeremy Harris, Trailer (me), and Matthew Martin
(with friend Chad as a tiebreaker).
-------------------------------------------------------------------------------------------------------------------------
1. Tyler Childers - Purgatory
Appalachia has passed the torch to its
newest great storyteller; welcome to the big time, Tyler Childers. If
anyone has doubts, ask yourself if Sturgill Simpson would produce
this guy if he were anything but the genuine article. Childers has
set himself an incredibly high bar here; but with a couple listens no
one will doubt he’ll raise it higher on the next one. Here is the
real deal, and he’ll be around for a long, long time. - Kevin Broughton
Childers' voice along with the great production on this album were home-runs. Add in the killer lyrics that have just enough humor to break the darkness in the issues plaguing rural America and you have this incredible album. I had not listened to Tyler Childers prior to this year and now I can't get enough of him. - Matthew Martin
2. Turnpike Troubadours - A Long Way From Your Heart
The best country band in the world delivers yet another classic. The sparkling instrumentation, the master-class songwriting, the mythos, everything is here and it's a joy to behold. - Trailer
As I wrote on its debut, this
album is wonderfully more of the same we’ve come to expect from
these champions of the Red Dirt universe. Nobody writes a bittersweet
broken-heart song better than Evan Felker, as evidenced in “The
House Fire.” - Kevin
3. Jason Isbell & The 400 Unit - The Nashville Sound
Jason Isbell is the best there is in music right now. I don't think it's even close. The voice, the music, and the songs are all perfect. After Isbell's last couple of quieter, more introspective albums, I was really looking forward to hearing Isbell cut loose a little more. This album was not a disappointment on that front and even threw in a couple of tear-jerkers for good measure. This year I got engaged, and hearing 'When We Were Vampires' is a song that crushes me every time. For the rockers, 'Cumberland Gap' and 'White Man's World' are going to go at the top of the Isbell cannon. After listening to these songs and this album all year, I can't even imagine Isbell's shows without these songs. They are some of Isbell's best. I know Southeastern may be Isbell's high water mark, but this album shows that he's not resting on his laurels. He's going to continue to make incredible, hard-hitting music for years to come. - Matthew
If ‘Vampires’ doesn’t make you cry you may be a zombie. - Jeremy Harris
4. Colter Wall - s/t
Granted, producer Dave Cobb has an
inexhaustible Midas touch. But you’d assume in situations
like this
one – producing the debut album from a star in the making from
Canada – he’d largely
just stand back. Listen to Wall’s deep,
dark baritone and tell me he’s 22 years old; great golly,
he is.
Here’s the gold standard for folk albums in the twenty-teens,
featuring the year’s best
murder ballad, “Kate McCannon.” Tyler
Childers’ singing harmony vocals on the traditional
ballad
“Fraulein” is the cherry on top. - Kevin
5. Chris Stapleton - From A Room, Volume 2
This album was everything I want from Stapleton- it's bluesy, it's rowdy, and it's beautiful.
The man can sing a damn song. He makes you feel what he's singing, the way the best of the
soul-singers of yesteryear could do. This is one of the big-hitters of country music and it's completely, unequivocally deserved. - Matthew
This is the best pure country album for
the last two or three years, from the man with hands-down
the best
voice in the genre. I had this playing in the background at work and
a colleague asked,
“Is this Waylon?” Well, yeah, pretty much.
Take note, Nashville: Stapleton’s topping the charts,
no thanks to
you. - Kevin
6. Gregg Allman - Southern Blood
I don’t think he ever made a better
solo album, and it’s so just bittersweet that we get this
one from
beyond the grave. His covers of the Grateful Dead’s “Black Muddy
River” and
Little Feat’s “Willin’” add a sweet touch. Given
all Gregg’s givens, let’s be thankful he was
here for 69 years.
Rest easy, man. - Kevin
7. Jason Eady - s/t
Eady does it again. Another great album. - Jeremy
The album gently grabs your attention
with the song “Barabbas” and holds it throughout with
some of the
best songwriting of the year from a genuine craftsman. This Texan – by way of
Mississippi –
hits full stride with a fine album produced by the legendary Lloyd
Maines and
featuring the backing vocals of Vince Gill. - Kevin
8. John Moreland - Big Bad Luv
From the album cover and title you’d think rap.
From the sound of his voice you’d think awesome. - Jeremy
He writes compelling songs about feelings and situations we are all familiar with.
He's heartbreakingly good and this album is proof that Moreland deserves even more
accolades than he's receiving now. With an incredible voice and lyrics; it's hard to not
feel gut-punched at least 2-3 times per song. - Matthew
9. Shinyribs - I Got Your Medicine
Just a fun album, start to finish.
Adult-size portions of soul, real (as to what is today called)
rhythm & blues, and gospel should keep this record in heavy
rotation. - Kevin
Even a non-dancing, non-fun-having dude like me feels the desire to tap a foot every time I hear this album. It's soulful, funny, real, and my favorite thing Kevin Russell has done since the Gourds.
- Trailer
10. Travis Meadows - First Cigarette
There’s some real sad stuff on this one. If Isbell makes you feel weird and emotional,
Travis Meadows will bring you down even more. - Jeremy
11. The Steel Woods - Straw in the Wind
A perfect balance of country and rock, and with some fine storytelling. Check your mirror,
Blackberry Smoke; these guys are on your heels. - Kevin
I was already impressed by Straw in the Wind. Seeing them live took my appreciation for
this band to a new level. They deserve any and all accolades headed their way. - Trailer
12. JD McPherson - Undivided Heart and Soul
What this country needs is more rockabilly, and this Okie delivers in spades. This is just lots of fun. It’s got a dash of British pub rock, just enough to remind us of Elvis Costello & Nick Lowe. Shake your hips, Daddy-o. - Kevin
13. Chris Stapleton - From A Room, Volume 1
A perfect balance of country and rock, and with some fine storytelling. Check your mirror,
Blackberry Smoke; these guys are on your heels. - Kevin
I was already impressed by Straw in the Wind. Seeing them live took my appreciation for
this band to a new level. They deserve any and all accolades headed their way. - Trailer
What this country needs is more rockabilly, and this Okie delivers in spades. This is just lots of fun. It’s got a dash of British pub rock, just enough to remind us of Elvis Costello & Nick Lowe. Shake your hips, Daddy-o. - Kevin
Chris Stapleton continues his career with another solid album of covers and originals. Not quite as good as Volume 2 in my opinion, but worth every bit of accolades it's received. - Matthew
There’s a magic formula that combines the best of 1 and 2 that makes it a much better album.
With this formula 1 tops 2 by a lot. - Jeremy
14. Zephaniah OHora - This Highway
This album is an authentic, organic tribute to the golden years of country music, recalling Hank Snow, Marty Robbins and Ray Price. Another hit for the so-called “neo-traditionalists.” - Kevin
15. Steve Earle - So You Wanna Be An Outlaw
On a scale of 1 to Steve Earle, how do you feel about Trump?
Just kidding, Steve steers clear. - Jeremy
18. Hellbound Glory - Pinball
This may be the best Leroy Virgil or whatever his name is now’s best album yet. - Jeremy
Dec 11, 2017
Album Review: Drew Womack - Here’s Some Stuff I Wrote
by Jamie Berryhill
There’s no two ways about it. Drew Womack possesses one of the most amazing voices in the history of well...history! Pair that with world class songwriting and you get Here’s Some Stuff I Wrote, the latest effort from the Brownwood, Texas born troubadour.
If Drew’s voice sounds familiar and you just can’t place it, let me help you.
He fronted Sons of The Desert in the 90’s, churning out hits like "Whatever Comes First" and "Leaving October Behind." He can also be heard prominently on Leann Womack’s cut of "I Hope You Dance."
Equally impressive is that Drew played all of the instruments on this album. There are several co-writes on the record as well, from the likes of legends like Radney Foster and Rodney Crowell.
Overall, Here’s Some Stuff I Wrote is a forty three minute showcase of genius. Excellent vocals, writing, instrumentation, and production. The hard copy will make a great stocking stuffer for the music lover in your life this Christmas, or you can download it on iTunes here:
Oct 28, 2017
Jun 7, 2016
Dec 30, 2014
Farce the Music's Top 20 Albums of 2014
You were expecting something else, maybe? Metamodern Sounds in Country Music is epic. Despite there only being 9 songs on the official release (plus a bonus track), this is a big big record. Simpson takes the hard country brilliance we all loved on High Top Mountain and expands on the textures and topics. He gets weird in a few places, trippy and edgy even, but it never feels like a put on. This is where Sturgill wanted to go and he hopes we'll come along, but whatever. I'm in.
Mark Kozelek may not agree, but Lost in the Dream is an immersing record, long in listen and longer in ear-pleasing sounds. Though popular in indie rock circles, there's little about Lost in the Dream that fits that usually intentionally prickly sub-genre. It's an easy-to-listen-to, hard to quickly digest collection of atmospheric classic rock, steeped in the sounds of Dylan, Springsteen, Dire Straits and the like. Mark Koz (Sun Kil Moon) said it's "beer commercial guitar rock," but he doesn't like anything not frocked with stream of consciousness lyrics and picked on a nylon string guitar. Other detractors have called it boring, and I would have agreed after a couple of listens. Once it clicked though, Lost in the Dream burrowed its way in and stuck with me throughout the year. It's a beautiful album whose strength lies in its commitment to to a cohesive sound and an unapologetic earnestness.
A deep and beautiful record, as easy to enjoy on first listen as it is difficult to fully grasp on the 30th. Faucett's voice would be the clear calling card if the writing weren't so damn good as well. It's an album that sticks with you long after the final notes have faded. It sounds like nothing else released in 2014.
I lack the proper words to tell you why I love this album or why you should too. It's damn good or it wouldn't be at #4. Check the context. That's enough of a review. RIYL: Deer Tick, Bob Dylan, The Band, Jimbo Mathus.
The band goes back to their roots with fantastic results on this raucous and hedonistic trip of an album. It's billed as a look back at their career, but Most Messed Up feels far more lived-in than a simple recollection. The attitude is cocky and contagious, the partying over-the-top, the drinks frequent, and the music is rocking. They've been doing this "longer than you've been alive" and it sounds like they're still way better at it than anybody else. There's a little regret and some soul-searching but all-in-all, this is no nostalgia project - it's a reclaiming of what makes Old 97s a vital and legendary alternative country act.
Lydia blends pop sensibilities into her rockabilly side on Somewhere Else and crafts a versatile and fulfilling piece of roots-rock-pop-abilly or whatever you wanna call it. It's a well-written, liberated and enchanting performance with memorable songs that sound like hits from a world with better taste.
Darker and more focused than last year's debut from the duo, Run the Jewels 2 kicks out windshields and smacks around f**kboys, all the while sounding infinitely more intelligent and purpose-driven than most of their contemporaries. This is anarchy with reason, chaos with a plan, savagery with a heart. The interplay of El-P's off-kilter lyricism and Killer Mike's straightforward bomb-dropping makes their message hit all the harder.
Kelsey Waldon sounds more vulnerable and confessional than say, Loretta Lynn, on these 11 tracks but she's every bit as sure of herself. Hers is a sweet voice that belies a depth of realism and a spirit that forgives but never forgets. It's a world-weary but optimistic outlook that keeps The Goldmine from ever sinking into despair. It's a moving and memorable album that should easily satisfy fans of classic country and modern Americana, and make Waldon an artist to watch for years to come.
The heavier realms of metal call out to me a few times a year, and while not qualified to write about such music adequately, I inevitably end up loving some of what I come across. Pallbearer is a doom metal band, but apparently Foundations of Burden isn't true doom metal or something something blah blah I read in reviews by true metal aficionados. All I know is that I do like doom and stoner metal, and that Foundations of Burden fits right in for me. It's dark, slow, anthemic, epic and driving. Some of it sounds a little prog-rock with its endless journeying, but there's always a destination here, it's not riffing on just for the hell of it. Maybe what sets Pallbearer apart the most for me is that lead singer Brett Campbell actually has a good voice. He can't wail with the classic metal gods like Bruce Dickinson and Rob Halford, but he's certainly from that school of vocalizing. The hypnotic 10 minute 17 second "Ghost I Used to Be" is even more epic in sound than length; it's one of my favorite songs of the year - and likely my favorite song ever from the doom metal genre. Non-metal fans probably shouldn't bother with this detour from FTM's usual fare. For the rest: throw some Iron Maiden, Rainbow, Black Sabbath and Queensryche into a blender on low-speed for reference. Amazing album - deserving of far better words written about it.
Womack sounds as assured and authentic as ever on this collection of memorable and well-chosen songs. She's a treasure and it's good to have her back, especially with such a worthy return.
Dereconstructed loudly takes on the "duality of the Southern thing" that Drive-by Truckers explored years ago on Southern Rock Opera. LBIII does it their own way: angry, political at times, and amped-up at nearly all times. The lyrics, which you may or may not be able to make out without reading the album booklet, are smart, poetic and often biting.
This is a downer of a Red Dirt country album that will leave you feeling surprisingly hopeful. LaRue tries out a variety of styles including folksy introspection, country rock, and even a little 70's-style Mellotron swoon - finding them all fitting in this deeply personal but highly relatable gem.
RIYL: Patsy Cline, Lydia Loveless.
Fire Mountain's All Dies Down harkens back to the 90s glory days of alt-country, bringing to mind the guitar pop of The Gin Blossoms, the addictive low-key melodies of Whiskeytown, and the edgy jangle of R.E.M.'s more country-leaning tunes. All Dies Down isn't stuck in that era by any means, but it certainly draws deeply from the well.
Don Williams sounds as good now as he did in his '80s heyday, maybe
better. The excellent "I'll Be Here in the Morning" reassures a lover
that "I'll be here for a while." God, I hope so.
Matt Woods has released his strongest album to date with With Love from Brushy Mountain. He's shaken off some of the "spot the influence" unsureness I heard in his earlier works and found his own voice and sound. This is country music filtered through rock, folk, punk, red-dirt and bar room soul and it doesn't sound like anybody else.
The early '90s might have been Stuart's commercial peak, but he's on the
long swell of an artistic wave like none other right now. SN/SM shows
off every facet of he and his expert band's absurd skill set of
virtuoustic talents across an expansive collection of songs that never
overstays its welcome.
Dark Night of the Soul presents all aspects of Jimbo Mathus: soul-singer, folksy storyteller, strutting rocker, country songwriter - there's little he can't do and sound masterful doing it. The most gripping thing about this record is just how little Mathus holds back. He's found his groove and is barreling headlong and breathlessly forward.
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