Showing posts with label Lucero. Show all posts
Showing posts with label Lucero. Show all posts

Oct 9, 2017

Dream Covers Volume I: Songs We Wanna Hear Get Covered ASAP

by Robert Dean

I think about cover tunes a lot. When a band decides to do a cover on a compilation record or add it to their live show, there’s a lot at stake. Is the band going to do the song straight up? Are they going to take some artistic liberties? Is the song the right choice for the band? There’s a lot to consider when playing someone else’s tune.

What got me thinking about this list was imagining if some of my favorite artists covered songs that in my head worked in concert with their existing sound and style. Cuz, let’s face it; there’s many times when a band picks a cover tune, and it’s complete trash. I’m constantly wondering what a band would sound like if they just tried this song, this one jam. 

Maybe I’m nuts, but here are my top songs I think artists should be covering right now:

Don’t Mess Around With Jim – Jim Croce, as covered by JD McPherson
There’s a familiar cadence of the groove between this tune and what JD continually pumps out. The breezy verses seem almost too perfect for McPherson’s solid rock and roll swagger. With the head bobbing tempo and slick feel, there’s so much soul and pure filth underneath this song, that JD McPherson could pull it out in spades. Plus, there’s a third verse riff where it’s just vocals and a super in the pocket drum beat that JD would be all over with that big, bright voice.

Remedy – The Black Crowes, as covered by Every Time I Die
Remedy is one of The Black Crowes sleaziest, blues-soaked tunes. There’s a sense of inherent vice and slick danger to this song. It’s full, breathy and is so slinky and over the top. Every Time I Die have recently been more of a metal band with a few mutated classic rock riffs thrown in, but should they ever wanna flex those muscles they were in the Hot Damn! Era, Remedy would be a great vocal fit, but also be a solid sing-along tune in respect to the chaos of their live shows. Because Every Time I Die have the musical chops to pull off a song like this, I feel like their ownership would be astounding.

Breathe – Pink Floyd, as covered by Jason Isbell & The 400 Unit
Now, this one might sound weird, but hear me out. Jason Isbell’s guitar playing is silky smooth. The backbone to Pink Floyd’s signature era was David Gilmour’s Stratocaster taking humans to new planets. Isbell is a songwriter, but he’s got some chops, too. Plus, The 400 Unit are quite the band, musically speaking. Coupled with Isbell’s ability to pour himself out and bring out those inner demons, he could harness something akin to the sounds of Dark Side Pink Floyd. When you think about it, it doesn’t seem so far-fetched. If you need further proof, listen to Isbell’s biggest bummer ever, When We Were Vampires – if you don’t hear lament and slow, steady blues, something is off with your ears.

Refugee – Tom Petty & The Heartbreakers, as covered by Lucero
Lucero has a back catalog of a million songs. Most of which, Ben Nichols can draw up from the well in an instant mentally. But, one in a while, Lucero will break out their cover of Jawbreaker’s Kiss The Bottle. But, as the band gets older and establishes a much more weighted in purist rock and roll sound, Refugee is a tune that fits Nichols swagger, but also works with how the band works as a cohesive unit. That wide open riff matched with the song’s signature call and response works well considering Lucero’s On My Way Downtown isn’t too far off style-wise.

They did cover "American Girl" already: ~Trailer

Magic Man – Heart, as covered by Nikki Lane
There’s something low-key magical about Nikki Lane. She is sultry without putting it on front street. She could deliver on Ann Wilson’s vocal runs. Songs like Highway Queen aren’t too thematically different than the Heart catalog. This one feels like a natural fit.

Mannish Boy – Muddy Waters, as covered by Chris Stapleton
Another odd choice, but it works when you think about it. Chris Stapleton has a gigantic, powerful voice. What’s the most memorable thing about Mannish Boy? It’s the riff and Muddy’s ownership of the room, challenging all comers to step to his vocal prowess. Stapleton could master that song as long as he kept it true to it’s roots and go country.

Doo Doo Doo Doo Doo (Heartbreaker) – The Rolling Stones, as covered by Jack White
If there’s anyone who can handle the instrumentation concerning the original sound and spirit, it’s Jack White. He’s already jammed Loving Cup with The Stones, so seeing him tackle one of their lesser known, but die-hard fan hit songs would be a perfect match. He’s got the gear, the ability to play all of Keith Richards riffs and he’s a complete purist who’d relish trying to offer that same fierce spirit that the original Goats Head Soup warrants.

I Never Loved a Man That Way That I Loved You – Aretha Franklin, as covered by Lady Gaga
Look, Lady Gaga is one of the three best singers in pop music. That’s not even up for debate.  It’s her, Beyonce and Adele. Yes, I’m aware there are other badass singers with a serious set of pipes. But, I’d like to see anyone else take the Pepsi Challenge on nailing such a soulful icon track. (If there’s someone you think could wreck shop on this one, shout it out: @Robert_Dean, I wanna know.)
Anyhow, one of the best songs of all time. I’d love to see a killer vocalist take the track on and show off their skills.

I’m Your Captain/Closer to Home – Grand Funk Railroad, as covered by Margo Price
Here’s the wild card. Margo Price is a beast. She’s so talented it’s unreal. If there was anyone who could destroy the all-time jam, it’s Margo Price. Her band is insane and just so tight. When she did those Prairie Home Companion with Jack White we saw a layered, classic Margo Price that could straight murder harmonies and let’s face it. She would wreck shop on this tune. Someone send her people an email. This one would be dope.


Agree or disagree, tweet us or leave a comment. What are your dream covers? We want to know. 

Aug 26, 2016

Andy Griffith Show Country Reaction Gifs

When your neighbor won't stop playing 
Cole Swindell at a high volume


Hey Barney, can you do your hair like Chase Bryant's?


Waking up the morning after a Lucero concert like...


Dan + Shay is your guilty pleasure? 
I wouldn't have told that.


Overhearing your girl say she just pretends 
to like Cody Jinks because you do


When some old fart says they don't 
make good country music anymore

When you shouldn't have tried 
the 'shrooms at the bluegrass festival

May 4, 2016

Donald Trump Knows Country Music 2

Here are some great quotes* from future Republican nominee for President, Donald Trump.







*that aren't real, but pretend they are

Apr 26, 2016

Lucero & St. Paul & The Broken Bones Rock Memphis

Just some random thoughts and sights from the Lucero Block Party 2016.
by Trailer 

Minglewood Hall (outside), Midtown Memphis TN, April 23, 2016

Young Valley
Mississippi boys, Young Valley opened the show as we were coming into the venue. They're cool. Country music with ample rock energy and weird fun thrown in. They started the "better live than on album" theme of the day… but I guess that's how 90% of 'our' acts are. Young Valley was exuberant to be there and it showed. They played their short stint with energy and joy. I've heard them do a better set, but it was damn good stuff. They're a band to watch in coming years.

• Ben Nichols of Lucero stood directly in front of the stage watching Young Valley for a while, until he was unable to do so because of folks asking for pictures and autographs. I'm a huge fan, but I've met him before and he was enjoying the show, so I didn't bother him.

• Paul Janeway of St. Paul and the Broken Bones was also in the  crowd, but he was more hanging out than watching. He looked completely different in street clothes, to the point that my friend and I were debating whether it was him or not. It was.

Mark Edgar Stuart was next on the lineup. I haven't heard him nearly as much as I've heard the rest of the acts, but he was damn good, funny, and engaging. He seems to me something of a mix of folk music + Willie Nelson (vocally) + Randy Newman. Mark sang his new single "Don't Blame Jesus," which was timely and HILARIOUS, and got the crowd into high spirits.

• Pabst was the beer sponsor of the event. You could go inside and get whatever drinks and craft beers you wanted, but once you get settled in for some good music, you just want what's nearby, so it was PBR and Old Tankard (their uh, craftier beer) the rest of the evening.

• The edgy shirt vendors and the BMX team riding at the back of the event brought in some of the vibe of Lucero's more punk-esque early days, but generally this was a regular Joe kinda crowd. Lots of families and lots of diversity. Hardly any hipsters though.


Cory Branan played the next slot. It was just him and his guitar, but he was magnetic.
He played mostly his more well known up-tempo tunes. He's a born entertainer, but not in the way of showmanship. He just knows how to get the crowd in the palm of his hand by being real and open. Guy should be a lot bigger than he is.

• There were food trucks to keep us fed. The famous Central BBQ, which I've never actually had the pleasure of eating, had a truck, but I figure I'm gonna have the real deal in the original location when I finally take the dive. I went with a Cuban sandwich from the Food Geek truck and it was divine.

The crowd loaded in for St. Paul and the Broken Bones. Not to say I wasn't there for Lucero, but I was a little more excited to finally see these guys. They did not disappoint, to understate things a bit. The band was just (insert fire emoji). They're tight as hell but loose in the groove - and not in a robotic 'white dudes approximating the swing of soul music' kind of way - naw, they're the real damn deal. Paul sang his ass off - I've never seen a video of him half-assing it. It's a wonder he manages to still be a …um, larger gentleman. He probably won't be for long, because he just lays it all out there, sweating like a roofer and hollering like a Pentecostal preacher.

They played a bunch of songs from Half the City, a vein-popping cover of "I Want You (She's So Heavy)," and…and…. they announced that the new album is DONE, and played 3 songs from it. One of them had the crowd swooning and shouting and raising hands skyward. Nobody knew a word of it, I couldn't even discern a title, but it was indescribably bad ass. What a show.

This band, when it finally gets a Grammy nod and some air time in front of a few million eyes and ears, will be huge. Not if, just when. It's going to happen. They may not be bringing much new to the table genre-wise, but they just live inside of soul music. Their songs are killer and well-written, but the experience is the thing. It's church.

•The weather was perfect. Late April is when all festivals in the south should be scheduled, even though that's not possible. It was sunny, 80, and breezy, then cooling down and breezy. Wonderful.

The main event was up next. Lucero took the stage with no horn section. I haven't seen them play without horns since 2012 or thereabout. It was a rock show.

Ben and the boys played all the hits and the crowd sang along with hands in the air. Memphis being the band's home base, this makes sense, but I've never seen so many Lucero tattoos. One was on a guy's head. That's the kind of dedication this band inspires.

We got all the favorites like "Tears Don't Matter Much," "Tonight Ain't Gonna Be Good," and "My Best Girl." We also got a good mix of Lucero's newer tunes like "Texas and Tennessee" and "Woke Up in New Orleans." On the albums, these more polished songs sound a lot different from the band's earlier punk-edged persona, but live, they fit right into the flow, the ragged vocals and gritty musicianship blending everything into a pure rock n' roll feast.


• People kept passing Ben Nichols drinks. Not water, not beer, not even mixed drinks. Nothing so refreshing for the dude singing his heart out in the warm air. Nope - pure Jack, full cups. He was fine with it.

If you've never seen Lucero live and they come within driving distance, go. I don't care if you're not particularly a fan. The show is where they make the thing work. They'll never be the best songwriters, the best singers, or the best players (aside from Rick Steff), but there's something about the mix of these southern boys, a warm night, and some cold beverages that can turn a passing interest into a lifetime love affair.


Ben played this oldie, "Outsiders," from his previous (previous as in 19 years ago) band Red 40.

Mar 9, 2016

TWO New Lucero Videos: "Can't You Hear Them Howl" and "The Man I Was"

These two new videos complete the trilogy begun with "Baby Don't You Want Me." From the album All a Man Should Do (only $6.99 on Amazon right now).



Dec 28, 2015

FTM's Top Songs of 2015: 21-40

I'll post my Top 20 songs of 2015 tomorrow, but here are 20 more songs that moved me in 2015. The depth of talent (mostly, but not entirely outside the mainstream) is staggering in recent years, so it's always difficult to narrow songs and albums down to a ranking at the end of the year, but I felt like these all needed some recognition.

In no particular order, though my favorites are generally towards the top of the list.

Jason Isbell - 24 Frames

American Aquarium - End Over End

Courtney Patton - So This Is Life

The Lone Bellow - Diners

Faith No More - Matador

Clutch - X-Ray Visions

Sam Outlaw - Ghost Town

Houndmouth - Sedona

Kacey Musgraves - Late to the Party

Lucero - Went Looking for Warren Zevon's Los Angeles


Kurt Vile - Pretty Pimpin'

Red Shahan - Black Veins Pt. 1

Adele - Hello

High on Fire - The Cave

The Yawpers - 3 A.M.

Gretchen Peters - The Cure for the Pain

Vince Staples - Norf Norf

Eric Church - Knives of New Orleans

Dawes - All Your Favorite Bands

Jan 5, 2015

Matthew Martin's Top 10 Albums of 2014


10. St. Paul & The Broken Bones - Half The City
This AL band generated quite the buzz before this album ever hit shelves - and with good reason.  This album is full of near-perfect throwback soul/funk gems that Alabama is getting good at reviving.

 

9. Gary Clark Jr. - Live
The first time I ever actually heard Gary Clark Jr was when I saw him live in Baltimore at a small venue called the 8x10. When I heard his debut album, I wasn't in love because of the slick production and added, unnecessary instruments.  That's why I think this album is so essential.  This is GCJr at his best.  Live, blistering, and unrelenting.

 

8. Natural Child - Dancin' With Wolves
I don't want to say Natural Child hit their stride on this album, but rather, they hit their comfort zone. Adding pedal steel and keys to the band, they have created, essentially, a modern day Harvest.

 

7. Mastodon - Once More Round The Sun
This happens to be my favorite Mastodon record to date. While that may not be a popular opinion among some Mastodon faithful,  I believe this is Mastodon doing what they do best.  Each song hits at break-neck speed and by the time you reach the last quarter of the album,  you equally beg for the onslaught to cease and to continue.

 

6. Lucero - Live From Atlanta
Another live album on this list because of how significant I think this one is.  Lucero is a great band.  They have transitioned from a cowpunk band to this band we have today at little-to-no detriment to their core sound.  This album is document of that complete transformation and more proof that if you have not seen Lucero live, you have to do so immediately.

 

5. Drive-by Truckers - English Oceans
Cooley. Really, the review could end there, but what fun would that be? With Cooley and Hood splitting the duties here, this album finds the Drive-By Truckers yet again reworking the band and creating something even stronger and tighter.  While I, unabashedly, really have enjoyed most of what DBT have put out, this album will arguably stand out as one of their greatest.

 

4. The Hold Steady - Teeth Dreams
I don't even know what to say about this album. It's great. There isn't a bad song on here. When I first listened, I'll admit, I was a little taken aback by the production quality (maybe too slick?), but as time has gone on and I've listened to the album numerous times, I have realized that there is not one thing wrong with this album.

 

3. Against Me! - Transgender Dysphoria Blues
On importance alone, this album deserves to be in the #1 spot.  But, this album happened to be released in a year that 2 other great albums were also released.  Musically and lyrically, this is a near perfect album.  Laura Jane Grace sings her heart out about a hell few of us know much about.  Give this album a listen, then listen again, then listen one more time.  It's absolutely stellar.

 

2. Sturgill Simpson - Metamodern Sounds in Country Music
Another important album- albeit for different reasons- Simpson's Metamodern Sounds in Country Music attempts to take everything we know about traditional country music and turn it on its head.  Simpson sings about LSD, reptile aliens, and love- all on the first track of the album.  As the album progresses, it's clear you're listening to something familiar and incredibly unique all at once.  Country music fans have been waiting for something like this, and I hope this album clears the path for other artists more inclined to sing about interesting topics- rather than trucks, beer, and backroads.

 

1. Lee Bains III & the Glory Fires - Dereconstructed
Speaking of important albums, I'm not sure there has been a more important Southern album.  This one came out and completely shattered my expectations.  Taking shots at the Southern ideology that still permeates some of Southern culture, the album is important because it shows that you can love something so much that you can recognize the attributes that sicken you and try to attack those head-on.  The South is a great place, but there are lots of things, past and present, that are nauseating.  LB3 attacks every angle with pinpoint accuracy.  And, let's not forget the incredible music on this album.  LB3 and band sound perfect on this album with, in my opinion, perfect production styles suited to the band's sound and style.  Oh, and if you haven't read Bitter Southerner's write-up on this band and album, please do so now!


____________
By Matthew Martin

May 13, 2014

Album Review: Matt Woods - With Love From Brushy Mountain


The first thing you'll notice is the voice. Matt Woods has a robust, vibrato-heavy baritone that is unmistakably country. His drawl is neither muted nor faked, and it's twangy as hell. He sounds good singing smooth and steady or letting it rip, his timbre becoming ragged and strained. His is an unforgettable set of pipes.

The next thing that sticks out is the songwriting. Or maybe that's the first thing. They are both more than notable, so you're right either way.

Matt's writing is truth. Period. Exclamation point. "It ain't no living, it's my life" he sings on With Love from Brushy Mountain's opener, a treatise on the road life of a singer. "I'll trade you a song for a beer" and there's no doubt some nights that's all he got paid and in the grand scheme of things, he didn't mind too much.

"Tiny Anchors" is a showcase of Woods' songwriting abilities. It's a subtle, insightful look into what are possibly last days of a relationship. But there's still some hope. "Hang on with me" he pleads.

Then there's "Deadman's Blues," which was FTM's 2013 song of the year. It's still as striking and raw as ever and it's the apologetic heart of this record.


"Lucero Song" speaks to all of us fans of the little band from Tennessee. Woods gets meta, describing his own drunken loneliness inside the frame of this being  something Ben Nichols and the boys might sing to some rowdy crowd. Now, if Lucero ever covers this song, the universe might implode. 

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. For me it falls into the realm of what mainstream country should have evolved into, rather than the Fords and fornication free-for-all that it is. Highly recommended for fans of Lucero, Fifth on the Floor, Shooter Jennings, John Moreland, etc.


-------
With Love From Brushy Mountain is available at Matt's site and Bandcamp.

Apr 10, 2013

Live Review: Lucero and Shovels & Rope, D.C.

Lucero and Shovels & Rope - 9:30 Club - 3/20/2013

By Matthew Martin

(Written before Matthew's Ronnie Fauss show review)
It's been a while since I've written about a show, but the pickins have been pretty slim up here in the nation's capitol.  Luckily, that drought ended on March 20th when Lucero came to 9:30 Club bringing Shovels & Rope in tow.


First, Shovels & Rope was up to get the crowd revved up for Lucero.  The past few months have been great for Shovels & Rope.  I have seen Shovels & Rope a few times in the past year and each time the amount of people that are showing up to hear them is larger and larger.  This time was no exception.

I read not too long ago (on NPR maybe?) that you should always try and make it to the opener because in a lot of cases the headliner has hand picked them.  Assuming this is, in fact, the case, Lucero picked a great opener and the crowd definitely showed up.

Playing their particular brand of folk/country music, Shovels & Rope got the crowd moving early on and really never let up.  They played a few songs I hadn't heard them play before such as "Who's Gonna Raise These Babies?"  They also played the standards that have made people fall in love with them so easily- i.e., my personal favorite "Birmingham."  The energy exhibited by Shovels & Rope is transferred to the crowd with ease.

By the end of their set, the crowd was buzzing about how incredible they thought Shovels & Rope were.  There were lots of looks of pure astonishment going around.  It was great seeing so many people appreciate what it is Shovels & Rope are doing.

Next up was the incomparable Lucero.  Seeing a Lucero show is always very interesting- you never know what the crowd is going to be like.  The crowd for this particular show was an excited, but not too rowdy, bunch.  


Lucero has continued to grow into their own on each passing album.  Starting off as  a bit of a rough edged country rock/punk band, they have added horns to their sound to build a sound that is distinctly their own.  A brand of Memphis country-soul-rock they wear with outright pride.

They started off with a strong set of old and new songs all backed by the very talented horn section.  It was worth noting that Todd Beene did not make the show here in Washington, D.C. because his other band, Glossary, had a string of dates they were playing.  So, while his very talented steel pedal playing was missed, everyone else picked up the slack.

Halfway through the set, the band decided to play a set of new songs that will be coming out on an EP soon (maybe Record Store Day- 4/20/2013?).  One of the strongest songs to come out of these songs was "Texas and Tennessee."  Another great lost love song that we have all come to know and love from Lucero.

As is typical for a Lucero show, the pace got a bit more rowdy as the night went on.  More whiskey was consumed than was probably necessary.  Even more beer was passed around.  Songs like "All Sewn Up" and "Tears Don't Matter Much" sent everyone into a whirlwind of elation and energy.

By the end of the show, all of the crowd's energy was spent, but seemed like we could have continued on for a few more songs.  Unfortunately, every thing must come to an end and this show was no exception.  Either way, Thursday was not a pleasant day for me, but any opportunity to see Shovels & Rope and Lucero in one evening is worth every bit of the pain endured!

I say it all the time, but go see either of these bands.  If you're coming to this site, you already know them.  So, go out and see them live to get the full experience.  Until then, pick up every album they own here and here.

Jan 10, 2013

FTM Top Albums of '12: Matthew's Top 10


-By Matthew Martin


1- Lee Bains III & the Glory Fires, "There is a Bomb in Gilead"- My God!  No band surprised me more this year than Birmingham's own Lee Bains III.  I witnessed them open up for Alabama Shakes in Baltimore and was just floored by these guys.  Evoking that Southern, soulful voice akin to fellow Alabama native Jason Isbell, Bains and his incredibly gifted band-mates have created an album that continues to grow stronger and stronger with each listen. 

2- American Aquarium, "Burn. Flicker. Die"- We've all heard it before, right?  Band hits road.  Band tries to make it.  Band gets weary.  Band breaks up.  This is where we meet BJ Barham and his band American Aquarium on their latest release: between weary and callin it quits.  What makes an album great is taking a subject we've heard and making it sound new and fresh.  Barham has done this to perfection with his road weary songs.  American Aquarium has had some really good albums, but this album achieves far beyond good- it is truly great.

3- The Pollies, "Where the Lies Begin"- Another great band from Alabama- there must be something in the water down there.  Listening to this album for the first time was such an awesome experience that I wish I could listen for the first time again.  I'm not sure you can get much better for a debut album.  Everything on this album works perfectly- from the interplay of instruments to the Jim James-esque echo vocal effects.  Just try to listen to this album and not be taken aback.  

4- Titus Andronicus, "Local Business"- Everyone's favorite Nihilistic band came back from their massively heavy and successful 2010 album "The Monitor" to record a more basic rock and roll record.  Recorded with the same 4 folks who had been touring for the last few months as Titus Andronicus, this album hits the ground running and really never lets up.  This album has less of the bombast than the previous 2 albums (i.e., no spoken intros, no droning noise, etc.), but Patrick Sickles and crew still run through 7+ minute songs at break-neck speed.  

5- Lucero, "Women & Work"- I don't know how Lucero continue to get better, but they do.  Taking the Memphis soul sound they incorporated on "1372 Overton Park," they honed their sound in to make this incredible album.  The songs on this album are your typical Lucero songs, but then you add in songs such as "Sometimes" and "Go Easy" and you have possibly their best album since "That Much Further West."  Some folks don't like the horn section Lucero have taken up, but I couldn't be more on board.  It works incredibly well for their sound and Nichols' gruff voice.  (Also, anyone else notice "Like Lightning" being played during some college and pro football games this year?)

6- Shovels & Rope, "O Be Joyful"- To truly appreciate Shovels & Rope, you should see them live, immediately.  Until then, this album serves as a great snapshot of their energy, harmony, and chemistry.  There have been a ton of "husband/wife" duos lately, it seems, but Shovels & Rope are doing everything right.  Some songs may initially seem sappy, but they play them with such sincerity and gusto that any sap is quickly overshadowed by their keen emotion.  There is no better song from 2012 than "Bimingham," which alone makes the album worth purchasing.

7- Arliss Nancy, "Simple Machines"- "I don't believe that we've been properly introduced.." So begins the newest album from Arliss Nancy.  I'd say that is a fair statement from the Denver rock band.  Their first album ("Dance to Forget") was a good album but this album shines much brighter due to upped production values, added instruments here and there, and a damn near perfect set of songs.  I'd say if you were just now hearing of Arliss Nancy this album would no doubt be the place to start and if you've been hesitating on listening, stop.  It's a great, catchy rock and roll album.

8- Natural Child, "For the Love of the Game"/"Hard in Heaven"- After seeing Natural Child open up for The Hold Steady this year, I went crazy for these guys.  The 3-man band from Nashville, TN were busy in 2012 releasing both "For the Love of the Game" and "Hard in Heaven."  I know it's probably cheating to include both albums here at #8, but when I was thinking about this list I couldn't pick a clear favorite.  Sounding like a combination of the Stones and the Ramones, Natural Child rock and roll through sleazy guitar licks and songs about women, partying, and drugs.  Just try to listen to these guys without moving.  I think it's impossible.

9- Alabama Shakes, "Boys and Girls"- I fell for this album and band hook, line, and sinker.  Talk about a powerful voice!  I think this is a fun, well-played, and well-written record.  While Alabama Shakes aren't really breaking new ground lyrically, they are laying down really great music and the songs are perfect vehicles for Brittany Howard to showcase her incredible vocals.  Also, it's really amazing how fast Alabama Shakes rose to stardom.  I'm sure it happens all the time, but it had never happened to a band I was on board with when they were just Alabama's best kept secret. 

10- Justin Townes Earle, "Nothing's Gonna Change the Way You Feel About Me Now"- Lots of folks aren't crazy about JTE's new album due to its subdued nature.  I, on the other hand, think it is the perfect Sunday morning album.  Once again, an artist added a horns section to an album and it worked perfectly.  The contemplative mood of the album works for Earle and the band he gathered to record with. This is a fine album that I believe will get much stronger with time.

Other albums just missing the top 10 include: The Bohanons- "Unaka Rising," The Gaslight Anthem- "Handwritten," Cory Branan- "Mutt," Shooter Jennings- "Family Man," and Patterson Hood- "Heat Lightning Rumbles in the Distance."

Jan 4, 2013

FTM Top 75 Albums of 2012: 1-20


A first-half-of-the-year release unfairly hurts some albums on these year-end lists. That wasn't the case for this year's #1 album, There is a Bomb in Gilead. From my May review:
"The forthright Lee Bains III and The Glory Fires emerges onto the scene already
a full-fledged force to be reckoned with on this fantastic debut.
Mixing garage rock, country soul and southern swagger into an effortlessly authentic blend, Lee and the boys give a spirited go at every style across 11 spotless tracks. From the driving exploration of faith on album opener "Ain't No Stranger," through the sin, searching and nostalgia of the middle to the hymn-inspired closing title track, there isn't a weak point on the album."

Standout tracks: Sundown in Nashville, Picture From Life's Other Side (with Hank III)

See review here.

See review here.
RIYL: Jason Isbell and the 400 Unit, Lucero, Two Cow Garage

Does this band have a signature sound, or what? Turnpike Troubadours are (is?) distinctive, vibrant and unique (so unique in fact, that I used two synonyms for that word in the same description). Disregard my haphazard writing and just know that they've come into their own on Goodbye Normal Street
Songwriting doesn't get much better in this day and age.
Standout tracks: Good Lord Lorrie, Empty as a Drum, Gin, Smoke, Lies

From Kelcy's November review (note - we'll also post Kelcy's favorite albums of '12 later on, 
so I should probably do my own write-up here, but I'm lazy)
"In summary, if you're a fan of anything that Cody Canada, Seth James, Jeremy Plato, Steve Littleton or have done in the past you will love this album.  If you're a fan of good bluesy rock n roll you will love this album.  Shoot, if you're just a fan of good music with some substance, you need to pick up a copy.  So get Adventus & celebrate the true Arrival of The Departed on the scene."
Standout tracks: Prayer for the Lonely, Set It Free, Sweet Lord
A true comeback album, 3 Pears finds the country legend mixing rock, soul, country and his undying swagger into a welcome set of memorable songs that will never get played on Clearchannel radio.
Standout tracks: It's Never Alright, A Heart Like Mine, Rock It All Away

Standout tracks: Pocket Full of Misery, Rosalia

(Condescending Wonka says) Oh you thought West Coast rap was dead? 
Have you heard Kendrick Lamar?
Standout tracks: B*tch Don't Kill My Vibe, Backseat Freestyle

Real country is alive and well. The Trishas are proof. The vocals and harmonies are beyond reproach. The songwriting is the thing for me though. High, Wide and Handsome shows Nashville how to write a hooky, lyrically clever song without leaning on cliches and marketing. The Trishas are no one-note act - they give us a portrait of strength on the album, but they also give us vulnerability. In other words, reality.
Standout tracks: Over Forgiving You, Mother of Invention, The Fool

Standout tracks: More Than I Can Handle, Harold Wilson, Desperate People

I want to personally thank Killer Mike for relighting my fire for hip-hop. Obviously, I focus mostly on alt-country and rock, but I've been a rap fan since the late 80's. I just thought intelligent, fiery, well-crafted hip-hop was a thing of the past. (Obviously there's a whole rap underground that I'm discounting with that statement, but there are only so many hours in the day for listening to music.) R.A.P. Music is a bold statement, both lyrically and sonically. Producer EL-P (whose own album is further down this list) provides a brutal, old-school-leaning bed for the rhymes. Mike flows like he actually cares about what he's saying. He's clearly a real person - in one verse he's cursing the political system; in the next he's praising his family. There's little talk of bling and booty on this record....because real people don't have to dwell on generalities and boasts when they discuss life. Killer Mike is as real as it gets.
Standout tracks: Big Beast, Reagan, Butane


The indie-country Svengali delivers his most consistent album to date with Family Man
It's a cohesive, passionate look at (mostly) the everyman side of country music royalty. 
On these very pages, I once dismissed Shooter's music, voice and image but no longer... 
so long as he continues to deliver music this engaging and tuneful. 
Standout tracks: The Long Road Ahead, Daddy's Hands

The indie world buzzed and bowed for this band from ...duh, Alabama, as soon as their EP hit the scene in 2011. That hype turned a lot of people off or built up their expectations far too high, but for me, Boys & Girls was a delivery on the promise of that Extended Play. Throw some Muscle Shoals soul, New York garage rock and folk sensibility into a blender and the Shakes are what results. It's more than that, though. Their songwriting is strong, their musical chops are exciting and Britanny Howard's voice is a thing of beauty.
I can't wait to see where they go from here.
Standout tracks: Hold On, Heartbreaker, I Ain't the Same




Like Shooter Jennings, Matt King was an artist I once didn't "get." Given time with his music however, I've changed my tune. Matt is a country singer with a very distinct vision. He also has a signature sound. That's rare in this day and age. Apples and Orphans is full of wit and anger in equal amounts. While politics and the environment are common themes, Matt explores these themes with an old-timey aesthetic and warm approach that never seems preachy, even when it is. His music is at times experimental, steampunk (whatever that means), ragtime or pure country. It's always passionate.
Standout tracks: Back to Baltimore, Jasmine and Gypsies

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