Album Review / Great Peacock / Gran Pavo Real

by Matthew Martin

When I first heard Great Peacock's EP a few years ago, it felt like it was the beginning of something special - an inside peek at the beginning of the rise of an obscure band.  5 years later, and it still feels that way when I hear a new Great Peacock offering.  The band's sophomore album is no different as the band takes a slight turn away from the gentle, melodic Americana and more towards the psychedelic, Americana-tinged rock. 

The last output, their great Making Ghosts album, was everything we had been promised from their self-titled EP.  It was a melodic outpouring of yearning tunes with Blount Floyd and Andrew Nelson's voices working perfectly together.  The band toured restlessly off that album, coming to DC at least 4 times, I believe, during that time.  Around the last couple of times the guys came through, you could hear something shift in their music.  There were 2 acoustic guitars on stage, then there was one acoustic and one electric, then there were only electric guitars.  The songs began to shift sonically and jam a little more.

On Gran Pavo Real, those new sounds are apparent with the opening organ-heavy jam of "Hideaway."  The harmonies of Floyd and Nelson are still there and the heartbreak-driven tunes are still there, but there is a shift in the tone towards a Pneumonia-era Whiskeytown.  But, never to fear, there are still hints of the old Great Peacock there - "Begging to Stay" and "Miss You Honey" being the two most akin to their previous album.  

There's always a bit of concern with a new album from an artist you really like - are they going to hit the mark they were aiming for and if they do, is it the mark we're wanting to hear?  Will they grow in a way that stays close to their sound but sees them exploring new themes and sounds?  On all accounts, I think Great Peacock hits every note right on this Gran Pavo Real.  They take a chance moving away from their first album and coming up with an even better version of themselves.  They're bluesier ("Heartbreak Comin' Down").  They're subtler at times ("All I Really Want is You").  And, they're just all around better.

This is the kind of album that's just right for the upcoming Summer.  It's going to be on my stereo all year long, for sure.  There's a song for every occasion, high to low.  And the music is rollicking and a damn good time.  You should go buy this album, and then buy another for a friend.  Then, go to every show these guys put on near you.  Let's make the world know Great Peacock.

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Gran Pavo Real will be released next Friday, March 30th and you can pre-order it at iTunes, Bandcamp, and other music outlets.

Chris Porter & The Bluebonnet Rattlesnakes - Don't Go Baby It's Gonna Get Weird Without You

Art by Pearl Rachinsky Moreland

by Matthew Martin

This one was honestly kind of tough. It's such a gut-wrenching album.  And, I feel I don't have the words to properly articulate the feelings Don't Go Baby It's Gonna Get Weird Without You gave me. 

For those of you who don't know, Chris Porter, longtime musician and by all accounts good dude, along with his bass player Mitchell Vanderburg passed away after a traffic incident on the way to a show in Baltimore, MD.  Their drummer survived the crash. This happened exactly one year ago from Thursday (October 19, 2016).  

Porter and his bandmates, the Bluebonnet Rattlesnakes, were working with Will Johnson (of Centro-matic fame) on recording Porter's follow-up to his stellar 2015 release, This Red Mountain. Unfortunately, Chris and Mitchell would not see the release of this album, but - a credit to the likability of Porter - many got together to ensure this album was finished and would see the light of day.  That day is Friday, October 20, 2017.

One of my favorite Porter projects is the Porter and The Pollies EP from a few years ago.  It was rollicking, fun-loving, and just a loose affair.  It really showed off Porter's skills as a songwriter and a bandleader.  This Red Mountain focused more on the songwriting than the rocking and rolling, documenting a tumultuous time in Porter's life when he moved to Austin, TX.  

In 2016, talk began circulating of a new album Porter was working on with a crackerjack band and producer.  I got incredibly excited, hoping that the album would continue to grow the talented Porter's popularity.  Tragically, as I mentioned, Porter would never see that album released.  However, I was right in my hopes.  This is the album that would have hopefully, at least in a just world, sent Porter on a trajectory of playing larger venues, at the very least, and it is an absolute masterpiece of an album; the final puzzle piece of Porter's career.  

Every song leaves a mark, with a gut-punch lyric that seems foreboding in retrospect.  There are moments that careen almost off the rails, but are held together by a thin thread, and it's truly magical to hear.  "Your Hometown" is a perfect example of this careening.  It's a rocker that happens to be one of my favorite Porter songs.  To me, a great song is one that seems it was written either specifically for, or about you/your life.  And this song hits every note for me.  Small, rural, Southern town living...I'm a long way from that now, but damn this song takes me back there with every listen.

This is an album full of heart-breaking songs about, presumably, Porter, his relationships, and the past.  There are songs dealing with tragedy, and those are some of the hardest to listen to.  When you hear "Shit Got Dark", it's hard to get through...  But, it's also a song played and sung with sheer defiance.  Yeah, shit got dark, but maybe there's enough stubborn attitude in us to not let that be the end of the story. 

As far as final albums go, this one is crushing to me because it's absolutely Chris Porter's best and most fully realized album.  The promise the album shows was taken from us last year, and that deserved recognition Porter was always riding towards, always just out of reach, will sadly never be reached.

Credit the musicians on this album as well - an Americana who's who featuring John Calvin Abney, Shonna Tucker, Will Johnson, and The Mastersons. Everyone involved in this project worked incredibly hard to get this album out and I have to believe Porter would be incredibly happy and satisfied with the final product.

To close this out, remember that we love these artists for the release they give us.  The way they make us forget our problems, or let us wallow in them knowing we aren't alone.  We forget that they are real people at times.  People with darkness and light, ebbs and flows.  People with flaws and imperfections.  They work hard for us- to show us that we aren't alone.  So, please, when a band comes through, go see them.  Support them.  Buy all of their albums.  Keep them going.  

To Chris Porter, who I never met, I will quote one song I have a hard time making it through still ("Go On And Leave Me"):

"Hope you find a spot where the lights are hot and draw a crowd..."

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Don't Go Baby It's Gonna Get Weird Without You is available tomorrow on Amazon, Cornelius Chapel, etc. 

Album Review: Lee Bains III & The Glory Fires - Youth Detention

by Matthew Martin
We're in an age of unfettered voicing of opinions.  Maybe it's always been this way bubbling just beneath the surface, but with social media and 24-hour news, that squall is reaching a fever pitch.  Each side is pissed and each side fears the other.  It's in this vein that a lot of great music is made.

In the times of slavery, the spiritual was a song or a chant decrying the atrocities happening to those slaves.  During the Civil Rights movement, countless artists and songs decried the tragedies happening to the weakest among us.  In the 90s and 2000s, hardcore and punk bands railed against the state of the world- from consumerism to seemingly constant war.  I say all this to simply state that music is release.  It's an artist's take on their world view.  Sometimes that view may not be our view, but it's an important view and one we shouldn't scoff at or denounce, but take that view and check it against our own world view.

In 2014, Lee Bains III & The Glory Fires released the incredible, loud, in-your-face Southern punk rock album Dereconstructed.  I said when I first heard that album, and still believe, that there hadn't been an album that important to the South since Drive-By Truckers' Southern Rock Opera.  It was an album that took the quick-paced Southern rock on their first album and ratcheted up the guitar and turned a mirror on the South's transgressions while still maintaining that love most of us Southerners have for our region.  Bains and crew have once again taken a look at the South as a microcosm of the nation on Youth Detention and tackle it the only way we Southerners know how to- loud, abrasive, and mad as hell.

In the first five songs, Bains tackles injustices that happen to those that aren't powerful ("Good Old Boy" is a minute and a half of pure adrenaline-fueled punk) and then hits the nail on the head with "Whitewash."  While the song is slower than the first four, it's the one that hit me the hardest.  With lyrics battling what it means to lose a sense of self and place over time, including our Southern accents (this hit close for me because after moving out of the deep South, I've mostly lost my Southern accent), "Birthmarks to be scrubbed away," Bains sings.

"Underneath the Sheets of White Noise" is a song that LB3 & The Glory Fires were meant to play.  It's a damn good song full of the social commentary we've come to expect from Bains played again, fast and loud.  The surprise song on the album to me is "Crooked Letters."  This song is a typical Bains song with a trudging guitar riff and bass line with lyrics damning and self-reflective at once.  However, it has a loop played mostly throughout of children chanting the chant most of us in the South used to learn to spell Mississippi.  Upon first listen, I was a little turned off by this addition, but to be honest, I can't imagine this song without that loop now.  It's going to be odd to hear the song live without the chant!

The next four songs- "I Can Change!" to "Nail My Feet Down to the Southside of Town"- are the best batch of songs on the album with "I Can Change!" coming in at one of my favorite LB3 songs ever.  The driving guitar with squelching feedback are perfect backdrops for a song that grapples with guilt, ultimately delivering "Guilt is not a feeling, it's a natural fact."



The album ends with two damn good songs- the first being "Commencement Address for the Deindustrialized Dispersion" which again deals with the dispersion of Southern people to other areas, but ends with the chorus "May we all grow old and free, And wander home again."  Amen, Lee, amen.  And "Save My Life!" takes us home with a pure Southern rock and roll song about the life-saving and life-changing nature of rock and roll.  That's what it's all about, man.  Rock and roll is good for the soul.  It releases something in us all.

Clocking in at around an hour and 17 songs, Youth Detention is a break-neck speed of an album touching on everything a good punk album should.  If you don't like your music loud and your artists' opinions worn on their sleeves like a badge of honor, then Lee Bains III & The Glory Fires likely isn't for you.  But, if you're willing to challenge yourself and your beliefs and like your music loud, brash, and full of life, then this is for you. Bains' voice is as good as ever and the band is as tight as you'd expect a band that's been together this long to be.  This is album will be one of my favorites of the year.  If you've never seen the band live, go see 'em.  But, dear Lord, wear ear plugs...

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Youth Detention is available on Amazon, iTunes, etc.

Album Review: John Moreland - Big Bad Luv

by Matthew Martin

The first thing I noticed about the latest album from John Moreland was the generally positive and upbeat tint to the album.  Where other Moreland albums burn and singe their ways into your soul, this album boogies its way in.  That isn't to say that this particular outing from John Moreland doesn't have those same gut-punch moments.  It does.  The man writes songs that are written, it seems, in the dead of night with not a lot going on- just your thoughts either haunting or taunting you.

The next thing I noticed was just how damn soulful and bluesy Big Bad Luv is.  I know that's always been there with Moreland, but on this album it's much more pronounced.  The album is such a throwback Americana album to me.  It's something that Steve Earle would have put out.  There's a hint of Full Moon Fever-era Tom Petty.  It's an album that will certainly grow as the Summer heat begins to intensify.  The laid-back bluesy songs such as "Love Is Not An Answer" or "Salisaw Blue" are perfect soundtracks to Summer.

So, the album is a damn good album.  It's a growth even if it, in reality, is a step backward for Moreland.  Sure, his last two albums were more somber in tone, but those weren't his first albums.  He's always had bands and this album is more or less a return to those earlier days.  I think that this is an artist who is happy, who is comfortable with the artist he is, and has found a group of musicians that has helped him realize his vision.

Let me get back to the positivity for a moment.  Yeah, there are some crushing lines on the album ("If we don't bleed, it don't feel like a song"), but those feelings of despair are mostly in the past and nearly every song has a moment of clarity for Moreland, acknowledging his love has more than made him happy- she's made him better.  He's a married man now, and that new truth colors his new music.

Yeah, there's a lot to think about in our pasts, but sometimes we get lucky and we have someone come along who makes those past experiences seem worth it.  Those experiences led us to this point.  And, it's not so much dwelling on those past experiences.  It's more acknowledging them.  That's always been Moreland's strength; turning a sharp, unblinking eye on those pasts and the feelings they conjure late at night.  He makes us confront what we may have been disregarding.  That's what makes us love him and his songs.

Every John Moreland album always ends up being one of my favorite albums of the year, and I don't see a way this album won't also be in my favorite albums list.  If not at the top, then damn near it.  If you've never seen the man live, he's going on an extensive tour this Summer and you should do all in your power to get out and see and support him.  The show is unreal.  It's stunning.  While you're there, or before, pick up Big Bad Luv and all the previous albums if you don't already have them.


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Big Bad Luv is available everywhere you consume music, except like, Walmart probably.

Album Review: Japandroids - Near to the Wild Heart of Life

by Matthew Martin

Japandroids released a new album on Friday, January 27th 2017.  Let me repeat that- Japandroids released a new album!!!!  The thrill of this release to me was probably only rivaled by Sturgill's A Sailor's Guide in recent years.  The last album Japandroids released was 2012's Celebration Rock, which a buddy of mine turned me onto way too late in that year.  Not sure how I had missed out/dismissed these guys, but I was hooked by the time the ending fireworks were exploding on that album.

On Japandroids' first two albums, the themes were clear- life lived with abandon, with all of your best buddies around you to enjoy every last drop.  On Near to the Wild Heart of Life, the enjoyment and positivity is still there, but there seems to be a lens on home and/or the road.  In short, this is Japandroids' road album.  Most of the songs on this album revolve around leaving home, missing home, or coming back home.  But, it's not necessarily a depressed longing for home.  It's more of an excitement of what leaving (and going back) home can promise.  As someone who left my rural upbringing behind over ten years ago, both of those things hit very close to home for me.

I don't know if it's just me and my excitement for this album, but every single drum beat on this album hits harder than anything the Japandroids have done up until this point.  Every guitar note is perfect.  It seems that on all Japandroids releases, they've perfected the art of opening/closing songs and Near to the Wild Heart of Life is no different.  In my mind, these two songs (opener- "Near To The Wild Heart Of Life" and closer- "In A Body Like A Grave") are two of the three best songs on this album with "North East South West" coming in at a close third.




If you're a fan of rock and roll, of reckless abandon, and of anything Japandroids has ever put out, you need to grab Near to the Wild Heart of Life.  If you have been on the fence about listening to Japandroids for whatever reason, I strongly urge you to give in and listen to this album.  I saw these guys live around 2013 and had one of the best show experiences I'd ever had- everyone smiling from ear to ear and shouting along to every "oh oh oh oh!" If you get a chance to check them out live, I would definitely suggest that as well.  Go support music, y'all!

Near to the Wild Heart of Life is available everywhere and way you normally consume music.

Live Review: Craig Finn of The Hold Steady

Craig Finn- Pittsburgh Living Room Show 01/20

 by Matthew Martin

On January 20th, 2017, the day our new President was inaugurated and spouted nationalist rhetoric to the thousands who were in town, my buddy and I drove to Pittsburgh to get outta DC and see Craig Finn play an intimate show in an office space.

Seeing Craig in this particular setting playing songs from his new album appropriately named "We All Want The Same Things" was extremely cathartic for me.  We sat on the floor and listened to songs about people who've seen better days, but are so damn positive that those better days are still reachable and right over that horizon.  

This blue collar optimism in the face of defeat is the signature of any Finn-penned song.  The new songs on the upcoming record are no different, if maybe a little darker at times.  Those characters are still there fucking up, but getting back up and fighting back.  If this isn't a metaphor for the times we're in right now, man, I don't know what is.

I'd never seen a show in this setting, and I gotta say, it was wonderful.  It was something I'd highly recommend to anyone who is within driving distance to see one of their favorite musicians play an incredibly intimate show to fewer than 50 folks.  It gives a real sense where the artist was when that song was created.  It didn't hurt that Craig made time for some questions during the show, so it was a real insight into some of his songs.

I think most in the room, including Craig, felt a little weird about what had just happened earlier in the day.  I think everyone felt a little better about the world afterwards.  Maybe not for too long, but at least for a little bit.  And, dammit, that's what music is for.  Craig Finn is a national treasure and I can't wait to hear this album in full.  Go pre-order this album here and I can guarantee you you won't be disappointed.

Matthew's Top 11 Albums of 2016

  Matthew Martin's Top Albums of 2016

11- Young Thug- Jeffery:  I know what you're thinking; this is not an album that would typically get love from this website.  But, honestly, this album is wonderful.  Sure, Young Thug employs some of the same mumbling rap techniques that can get tiresome, but YT's mastery of that along with the superb production on this album make it one of my favorites of this year, and one of my favorite Hip Hop albums in the last few years not named Run The Jewels.  Also, YT is one of Hip Hop's most intriguing artists right now, pushing the envelope on so many things including gender identity- the dude wears a dress on the cover of the album. "Wyclef Jean" is a perfect example of musical perfection with YT's emotional sing-songy delivery.

10- Two Cow Garage- Brand New Flag:  Man, TCG had no idea (I think) that this album would hold the weight that it does when they recorded it.  I am sure they assumed it would be a footnote in the year of 2016 when things were getting weird.  But, things got even weirder and this album got so much more important.  TCG are no strangers to heavy, important tunes and on this album prove that they've honed those skills terrifically.  "Let The Boys Be Girls" is absolutely one of the best songs of the year.

9- Cody Jinks- I'm Not The Devil:  As far as Cody Jinks goes, I'd never really listened to him much, but had heard lots of good things about this album and everyone was absolutely right.  This album is an emotional heavyweight with every song containing some heartbreaking moment dealing with either personal or relationship failures.  I don't think, in my mind, there's been such a gut-punching true Country album since Dwight Yoakam's Buenas Noches From a Lonely Room.  Honestly, if you're looking for a Country album full of hard-driving, honky-tonk, good-timin' tunes, maybe this isn't for you.  But, if you're looking for a hell of a Country album that is perfect in just about every way that gets better with every listen and maybe that much better when you're a little down and out, get this right now.  "I'm Not The Devil" is the song that got me hooked on this album.  Killer song, killer chorus.

8- Paul Cauthen- My Gospel:  WHEW!  Now, this guy caught me by surprise this year and damn he killed it.  This album, unbelievably, is the 2nd best debut album of the year.  Every song on this album is perfectly catchy.  If there was a just world, THIS would be Pop Country.  This is what Roy Orbison would have sounded like if he made an album in 2016.  I hope Paul Cauthen continues making music for years to come.  He's created a perfect throwback album that is already completely timeless.  I dare you to try and listen to "I'll Be The One" without dancing.

7- Natural Child- Okey Dokey:  On this throwback album, I think Natural Child has finally figured out how to turn their Punk, Blues, and Country hippie sound into a force to be reckoned with.  While they released a similar style album in 2014, they hadn't quite gotten the formula down.  Okey Dokey sees all the pieces fall into place and Natural Child create their best album.  "Now And Then" is probably the theme song of Natural Child and easily one of their best songs.

6- BJ Barham- Rockingham:  For a dude that has been fronting the fairly prolific, constantly touring American Aquarium, I was surprised that BJ Barham had enough extra songs to create a solo album.  But, after being overseas when the Paris attacks occurred, Barham felt the need to write a set of songs to deal with the emotions of this ever-changing world and those needless attacks.  The result of those songwriting sessions are some of Barham's most affecting songs and an album that is as good as it is heart-wrenching.  Try to listen to "The Unfortunate Kind" without tearing up, I dare you.

5- Diarrhea Planet- Turn to Gold:  Alright, I won't lie, I'm a DP fanboy.  They can do no wrong.  BUT, that doesn't mean that I'm wrong!  Starting out as a full-on sub-2 minute Punk band, DP began writing more serious, personal songs on their previous album, I'm Rich Beyond Your Wildest Dreams.  On Turn To Gold, DP have mastered the sonic nature of their tunes and created a master album.  How any band can have 4 guitars and know how to play quietly at times is beyond me.  How DP can do that and then turn the guitars up to 11 and not sound overbearing is a Herculean feat.  But, they do it and do it well.  This is the mature album that the band with fecal matter in their name probably never thought they'd make.  "Bob Dylan's Grandma" is a perfect example of the soft/loud dynamics that DP have mastered.

4- 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.  Dwight Yoakam is one of my favorite artists of all time and the influence of Buck Owens on him is not lost on many, if any, people.  Luke Bell is the natural progression through the years from Buck to Dwight, 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.

3- Sturgill Simpson- A Sailor's Guide to Earth: I was prepared to go into this album with an open mind after hearing that we shouldn't expect a full-on country album.  And, thank god.  Because, it's not a typical Country album, no, but it's still a wonderful album.  It's an album that is so good from start to beginning that I can't imagine any other way of listening to it.  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.

2- Arliss Nancy- Greater Divides: I wrote about this album on this site earlier this year, and my feelings on this album have done nothing but gotten stronger.  This is without a doubt Arliss Nancy's best album.  There is not one weak song, not one weak moment.  The songs on this album are the kinds you need to hear- songs to make you feel happy for being alive and resilient through those times that are less than perfect.  Again, in a world that makes sense, this band and this album would be popular.  The band and songs have never sounded better or tighter.  The growth over their last 3 albums is incredible.  I can't wait to hear where they go next.  "Finches" is a great example of Arliss Nancy's ability to take a normal moment and feel all the weight in that moment through past failures/triumphs.

1-  Drive-By Truckers- American Band: There is not a more important album in Drive-By Truckers' repertoire.  I say that fully aware of the importance of Southern Rock Opera and even The Dirty South.  However, this is important in a very different manner.  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.

Live Review: BJ Barham at Jammin' Java

Live Review: BJ Barham, Jammin' Java, 12/3/2016
By Matthew Martin

If you don't know who BJ Barham is, I'll go ahead and get that out of the way.  He's the frontman of longtime, hard-working band, American Aquarium out of Raleigh, NC.  His debut solo album, Rockingham, is something else and I highly recommend it.  If there's one thing that I don't like about the album it's that it is a short album at only 8 songs.  But, that's unfair.  Many great albums contain 8 songs- both Japandroids albums, Led Zeppelin's IV, Metallica's Master of Puppets, etc.  The album doesn't contain a blemish.  It's the work of a determined man with stories to get out.  For those that don't know the story- Barham and band were overseas when the Paris attacks occurred and the band was put up in a hotel for three days where Barham felt isolated and anxious, and wrote songs to deal with his situation.

With that said, BJ is a showman and live is the best way to experience these songs.  I've seen American Aquarium play somewhere around 10 times, I believe.  Hell, my dad has had the guys play in our front yard out in my hometown of Pulaski, TN.  But I'd never seen a BJ solo show.  Seeing him sing and play these songs live with only his guitar as accompaniment is a treat.  I'll also go ahead and get it out of the way that it was a hell of an evening with about an hour and a half of music and stories in between.

BJ played all the songs off the solo album plus a few American Aquarium songs that really benefited from the solo setting.  One such song was "Man I'm Supposed to Be."  The song is already pretty minimal on the album Wolves but seeing it with just BJ and his guitar was really more of a punch to the gut than I had been ready for.  Maybe it was the coupling with touching songs off the solo album, but it was quite a song to hear in that setting.

The solo songs were the real winners here, though, and the song "Unfortunate Kind" was the most effective.  With the lines, "Do you remember that first week?/When you burnt that pecan pie/And I ate the whole damn thing/I couldn't stand to see you cry," you could hear the crowd nearly gasp.  It's a simple statement filled with so many different emotions.  It's a case-in-point of what makes BJ such an affecting and clever songwriter.  The ability to take a mundane situation and make it into a moment with much more gravity – it's not something just any songwriter can do.

There isn't much more I can say about BJ or the show.  If you get a chance to go see American Aquarium, go do so.  But, if you get a chance to see BJ play a solo show, drop what you're doing and do it.  He doesn't play as many solo shows as he does with the band and you need to see these songs played this way.  So, go see him as soon as you can, and until then go buy Rockingham wherever it is you buy music.  Support these artists so they'll continue doing these things that bring us so much joy.

Album Review: Drive-by Truckers - American Band

A review by Matthew Martin

As I was listening to this album it hit me hard that this is the album I've been missing.  The logical next step in recent Southern albums that are more or less overtly political- from Southern Rock Opera to Lee Bains III & The Glory Fires' Dereconstructed to now, American Band.  It never resonated with me to listen to some person from the North (or Midwest or West) to talk about these issues, because they weren't/aren't from here- they don't grasp the subtleties.  To hear it from Southern voices, that talk the way I grew up talking, that use the same cadence and same odd slang I use, that's something entirely different.  And, to be clear, I don't think you HAVE to be a Democrat or Republican, conservative or liberal, to fully appreciate the political air of this album and what it means for Southerners (and the country) right now.

Drive-By Truckers have always been somewhat political.  Whether or not they were overt was dependent upon the song, but you can't get more political than past songs "The Righteous Path," "Uncle Frank," "Puttin People On The Moon," or "Wallace."  They may not be set in the current time period, but they are political powerhouses nonetheless.  Interestingly, it's always seemed that Patterson Hood was the one who was willing to delve a bit more into the political side of songwriting, until American Band.  (Which, can I just say as a side note is a perfect name for this album.  A political album by a band from the South called American Band.  No other regional distinction necessary.)  Now we have Mike Cooley really diving deep into the same waters and we are much, much better for it.

I've always been more of a Patterson Hood fan when it comes to songwriting- I like his storytelling and fierceness.   Don't get me wrong, I've always loved Cooley as well, but Hood has always hit a little closer to home for me.  However, on American Band, Cooley has the knock-out punches to me with "Ramon Casiano," "Once They Banned Imagine," "Surrender Under Protest," and "Filthy and Fried."  I mean, when Cooley sings "to half-cocked excuses for bullet abuses regarding anything browner than tan," on "Once They Banned Imagine," it's heavy.  That line got me like a punch in the gut.  The other Cooley songs on the album are wonderful takedowns of the good ol' boy South.  Whatever, or whoever, got us thinking we are too macho, or stubborn, to accept any sort of change has been detrimental to ourselves- and more importantly, those who chose to leave- in so many ways.  The South has been dealing with "brain-drain" for years and I can tell you firsthand, some of us want to go back to a better South, not the same old South.

Back to the album though!  For Hood, his two songs "Guns of Umpqua" and "What It Means" stand to be two of my favorite Hood songs of all time.  "Guns of Umpqua" paints an incredibly eerie and horrible picture of someone on the verge of getting gunned down in the community college shooting.  "What It Means" questions the recent violence on young black men in America and what that means for us as a nation.  These are supremely touching songs and I can't imagine the DBT catalog without them already.

At the albums core, American Band is all about dealing with the current state of the American way of life.  Where do we go from here?  How do we process the last couple of years of utter outrage and fear?  At what point do we start the healing process?  I think it can begin at any moment we want it to, but we have to start asking ourselves the tough questions, and that can begin with those of us in, or from, the South.  Southerners are strong people, mentally and physically.  I miss the South I grew up in where hatred sure didn't seem so prevalent (although I'm sure it was there).  American Band is a good starting point, so go listen and listen with friends and family.  Ask yourselves what it means.  Now, let's see where we can go from here and let's be better.



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American Band is available today on all modes of ingesting music.

Album Review: Arliss Nancy - Greater Divides

A Review by Matthew Martin

One of my favorite albums of the last 10 years is The Gaslight Anthem's The '59 Sound.  There is something so immediate and so basic in the words and the music.  It made me long for something that I couldn't quite grasp, or even comprehend.  Like, maybe the band, and maybe even I, had been meant for a different time or era.  Or, maybe it just made me want to drive for hours - sitting still didn't seem like an option. It was a pretty strong mix of feelings immediately after hearing that album.  It still makes me feel that way.  

While I have continued to dig most of the Gaslight Anthem's releases after that album, it's been a while since they have made me feel that longing.   

And, that's where Arliss Nancy comes in.  

Beginning with Simple Machines, I have had the distinct gut-punch feeling with every Arliss Nancy release. Greater Divides is no exception.  There is something within each song that tugs at the listener to reach deep, to think about those times that maybe were less than great and reflect upon them.  Maybe we could have changed those outcomes.  Hell, maybe we could have avoided them altogether.  But, really, this is life and mistakes are part of it and that's what makes it so fun, or at least, interesting.  

"Try to remember a time when everything was different and everything felt alive," sings Kyle Oppold on "Before You Go."  Or, take Cory Call's opening on "Finches" where he laments a lost love while watching his dog chase birds.  It's simple, but it's affecting.  We've all been there- doing something so mundane that dizzily brings back some sickening memory.  

Relationship failures and successes are where Arliss Nancy shine.  These failures and successes alternate between themselves, friends, and exes from song to song.  "Much of Anything" and "Brother, I Tried" are Kyle and Cory's takes on a call to arms against all the obstacles and problems that can be frustrating for a smaller, independent band and dammit do they work.  I can almost see the massive hugs after each song.  

When I first listened to this album, I was a little put off (very slightly, mind you) by Cory's new singing style- it's a bit more high pitched.  However, that was barely an afterthought after the 2nd and 3rd listen.  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. 

One of the things I've never been able to do for whatever reason has been see Arliss Nancy in concert.  I hope that changes very soon, so guys if you're reading this by some coincidence, come to D.C. and let's have a beer.  And everyone else, if you are on the fence about this album, just take the plunge and buy Greater Divides right now. 

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Greater Divides is available on Amazon, iTunes, the band's site, etc. 

Live Review: William Clark Green - Hill Country BBQ - Washington D.C.

William Clark Green

By Matthew Martin

The first thing you notice when you go to a show at Hill Country BBQ here in DC is usually the smell of delicious Texas-style BBQ cooking on the main level.  Once you get downstairs, the second thing you notice is how un-DC it is.  The small venue which holds about 300 brings lots of smaller (at least in this region) country and roots acts from across the country to a small, intimate stage.  Usually you can be right up close and personal with artists who are on their way to never playing to as little as 300 people on a bad night in a different country.  I saw Sturgill Simpson play here 2 years ago and I believe there were around 50 people.  That singular experience has shaped my love for this little venue in the heart of DC.

So, with that in mind, after the recommendation of this great site's end of year list and word from my girlfriend's sister and her boyfriend, I ended up at Hill Country on Saturday night to watch William Clark Green.  

To be honest, I had listened to his latest album a time or two, but I just didn't put in much time with it for whatever reason.  Life, other albums, and work can sometimes get in my way, but that's neither here nor there.  As the show got closer to start time, the bar filled up with ex-Texans (you don't have to ask Texans if they are from Texas, they'll proudly tell you without provocation). 

The show kicked off with "Next Big Thing" off of Green's recent album Ringling Road.  By the end of the song, I knew it was going to be a hell of a show.  While the song on the album is a damn good song, the song live hit another level.  I mean, it had more bite than what is already a biting song- the sarcasm soaked chorus was a stellar singalong among the nearly 300 people there.  It did leave me wondering how many people in the crowd had labeled WCG as the next big thing themselves.  I mean, it's so easy to do these days where we WANT an artist as honest and as talented as WCG to be the next big thing.  We try to will them to be the next big thing.  But, as WCG asks, "what's that mean?"  But, that's a conversation for another day and beer...

As I mentioned earlier, I hadn't really heard much of WCG until the last few months, so I had no real idea what to expect out of the show.  And, let me tell you, that may have been the best way to see the show.  I mean, WCG and his backing band played with a cohesion many bands I've seen wish they played with.  On songs like "She Likes The Beatles" and "Ringling Road," the band truly shined.  WCG commands his bandmates to keep up with his never-ending energy, and they are more than capable of responding to the task.

By the end of the show, it's safe to say that WCG had gained a few new fans.  A few years ago I really couldn't get into the whole Red Dirt/Texas Country scene.  For some reason, it seemed somewhat bland.  It wasn't long after that that it hit me (I think it was when I saw Reckless Kelly and Randy Rogers Band).  Since first becoming truly enamored with the whole scene, I don't think any band has been more invigorating or more fun to watch live.  I saw Drive-By Truckers a couple of weeks ago at the esteemed 9:30 Club here in DC.  It was amazing.  I don't know how William Clark Green's career will go.  I know how it should go.  He SHOULD be the next big thing.  He SHOULD be selling out the 9:30 Club along with the likes of Drive-By Truckers.  It starts with us, the fans.  This guy is the real deal, y'all.  Go see him when he comes around.  Go buy his whole catalog. 

FTM's Best Albums of 2015: Individual Top 10 Lists

The votes were varied this year, but coagulated well enough to form a consensus. 

Here are our individual voters' ballots featuring such far flung choices as High on Fire, Courtney Barnett, and Titus Andronicus, so hopefully you can find even more cool music to spend your holiday gift cards on. I'm just including top tens since everyone sent in at least ten. Some voters had more than 10 selections and some of those votes outside the top ten were used for tiebreakers 

(ties were only broken inside the overall top 10).

Trailer

1. Father John Misty - I Love You, Honeybear

2. Chris Stapleton - Traveller

3. Whitey Morgan - Sonic Ranch

4. Turnpike Troubadours - s/t

5. Jason Isbell - Something More Than Free

6. The Honeycutters - Me Oh My

7. Randy Rogers & Wade Bowen - Hold My Beer, Vol. 1

8. Jonathan Tyler - Holy Smoke

9. James McMurtry - Complicated Game

10. Ray Wylie Hubbard - The Ruffian's Misfortune

Matthew Martin

1. James McMurtry - Complicated Game

2. John Moreland - High On Tulsa Heat

3. Turnpike Troubadours - Turnpike Troubadours

4. Lucero - All A Man Should Do

5. Great Peacock - Making Ghosts

6. American Aquarium - Wolves

7. Titus Andronicus - The Most Lamentable Tragedy

8. Thunderbitch - Thunderbitch

9. Craig Finn - Faith In The Future

10. Chris Stapleton - Traveller

Jeremy Harris

1. William Clark Green - Ringling Road

2. Whitey Morgan - Sonic Ranch

3. Chris Stapleton - Traveller

4. Benton Leachman - Bury the Hatchet

5. Whiskeydick - The Bastard Sons of Texas

6. Stoney Larue - Us Time

7. American Aquarium - Wolves

8. Eric Church - Mr. Misunderstood

9. Jason Isbell - Something More Than Free

10. Dallas Moore - Dark Horse Rider

Kevin Broughton

1. James McMurtry - Complicated Game

2. Jason Isbell - Something More Than Free

3. Jonathan Tyler - Holy Smoke

4. Turnpike Troubadours - s/t

5. The Yawpers - American Man

6. The Pollies - Not Here

7. Son Volt - Trace (20th Anniversary Reissue)

8. John Moreland - High on Tulsa Heat

9. Ray Wylie Hubbard - The Ruffian's Misfortune

10. Rhett Miller - The Traveler

Kelcy Salisbury

1. Jason Boland and the Straggers - Squelch

2. Ray Wylie Hubbard - The Ruffian's Misfortune

3. American Aquarium - Wolves

4. Turnpike Troubadours - s/t

5. The Yawpers - American Man

6. Lindi Ortega - Faded Gloryville

7. JEFF the Brotherhood - Wasted on the Dream

8. Courtney Patton - So This is Life

9. High on Fire - Luminiferous

10. The Deslondes - s/t

Chad Barnette (Tiebreaker votes)

1. Allison Moorer - Down to Believing

2. Jason Isbell - Something More Than Free

3. Turnpike Troubadours - s/t

4. Alan Jackson - Angels and Alcohol

5. Ashley Monroe - The Blade

6. The Yawpers - American Man

7. Chris Stapleton - Traveller

8. Cody Jinks - Adobe Sessions

9. Courtney Barnett - Sometimes I Sit and Think, And Sometimes I Just Sit

10. Dirty Streets - White Horse

Live Review: John Moreland with Caroline Spence - 7-29-15 - Vienna, VA

John Moreland with Caroline Spence

7-29-15 - Jammin' Java - Vienna, VA

by Matthew Martin 

There are shows that are raucous.  There are shows that are full of bros.  There are quiet shows full of very respectful and amazing music lovers.

Then, there are those at a John Moreland show.  I could say that those people going to a John Moreland show are just more respectful than most concertgoers, but that would be wrong.  By the time the first chord is struck and the first word is sung, the crowd is already in complete awe.  This is just a fact at a John Moreland show.  You shut up because there is honestly nothing more you can do.  You are transfixed on this amazing talent on stage.

But, let's not get ahead of ourselves.  Openers are very important and this particular night was no exception.

Caroline Spence

Opening for Moreland was Caroline Spence.  If you haven't heard of Caroline Spence, you should really give her a shot.  She had a wonderful voice and is really one hell of a song-writer.  Two songs that really stuck out to me were "Whiskey Watered Down" and "Bless Your Heart."  If you're on this site, reading this review, chances are you are going to like her.  You should buy her new album, Somehow, and go see her if she is around.  I had never heard of Caroline Spence and so as I was doing a little research on her after the show, I came across this Rolling Stone article listing her as one of the 10 New Country Artists You Need To Know: Spring 2015.  Don't pass her up, folks!

Maybe 15 minutes after Ms. Spence finished her set, John Moreland took the stage to a loud round of applause.  As he settled onto his stool, the crowd began quieting down, then, as mentioned above, Moreland begins and the crowd is stunningly quiet.  I can't recall who it was now, but someone on Twitter (I believe it was Todd Farrell, Jr.) had said before that their favorite thing to witness was a crowd realizing they were in the midst of something special when John Moreland began playing.  I agree.  100%.  It is unbelievable.  I put it up there with watching Tim Barry.

For an hour and a half, Moreland played songs from his first solo album, Earthbound Blues, through the excellent new album, High On Tulsa Heat.  There were a couple of songs in there that I believe were new as well.  During the show, Moreland doesn't speak much, but when he does, he is clever, wry, and self-deprecating.  Before breaking in to "You Don't Care For Me Enough To Cry," he states, "This is a song I recently discovered was too sad for Dallas-Ft. Worth morning television."

This was my second time seeing Moreland, and I was glad to see that the crowd for this show was at least triple the size it was last time.  I hope he continues trending upwards, and with the recent success of this little circle of music we listen to (whatever you want to call it), I believe he will.

I don't think I need to tell you to go see John Moreland if he's in your area.  You know him, you love him- why wouldn't you go see him?  There are few musicians that I can't imagine missing when they come to town and Moreland is absolutely at the very top of that list.  Yeah, you'll feel all of your feelings, but hey, that's what songs are for, right?

Old 280 Boogie Review (American Aquarium, Caleb Caudle, etc.)

American Aquarium

by Matthew Martin
When my friends called me a few months ago to persuade me to go to the Old 280 Boogie in Waverly, AL, I had no idea I'd be so easily swayed.  However, I ended up down in Alabama last weekend in what was one of the best times I've had in a very long while. 

For those of you that don't know, the Old 280 Boogie is a shin-dig put on in Waverly, AL and has a few bands and a few hundred folks.  If you've never been to Waverly, AL (don't worry, I hadn't been there and I went to school less than an hour away), it is just like every other small, Southern town you know- which I say lovingly, not degradingly.  It is everything I miss about the South after living here in the nation's capitol for many years.

We got to the Boogie around 1 that day and the first band was already going- I believe it was Serious Sam Barrett at that time.  I knew by the time we set up that this was going to be a good day.  The crowd was perfect, friendly, and revved up.

Next up was Caleb Caudle, who was damn near perfect.  My only complaint is that Caleb didn't play

Caleb Caudle

a bit later in the day.  Caleb's songs are great and a great complement to the beautiful weather we had for the day.  If you haven't listen to Caleb's recent album, you should do so now.

Alanna Royale and her band came on next and they had the crowd in the palm of their hands.  Alanna was a great performer.  It's easy to start making comparisons, because everything's been done, right?  But, Alanna was reminiscent of Brittany Howard in her complete control of the stage.  I'm guessing if you like Alabama Shakes, there is a great chance you'll like Alanna Royale.

Now the local crowd was getting a bit more lively and the Pine Hill Haints from Auburn, AL came on and worked the crowd into a frenzy.  With the frenetic energy of a rockabilly band and their undeniable bluegrass style, the Pine Hill Haints proved to be one of many highlights of the day.  Local products were the theme of the day and the Pine Hill Haints proved that local music is alive and well everywhere.  Go to your local music hall.  Listen to your local band.  They have something to say.  And, they are likely damn good musicians.

Alvin Youngblood Hart's Muscle Theory was next and, I will admit, I did not listen to them as much as I should have.  The day was beginning to take it's toll and I needed a break from the festivities.  I'll say that missing most of this set was one of the only regrets I had of the day.  But, all was soon to be forgiven.

Johnny Sansone

Johnny Sansone.  Know him?  Yeah, neither did I.  Jesus am I glad I didn't!  This dude was unbelievable and I think going in not knowing helped the experience tenfold!  Coming onto stage dressed in full Dia de la Muertos garb was schticky at first... so I thought.  But, when Johnny began playing the harmonica and singing in a rasp that rivaled Dr. John, I knew this was going to be something unforgettable.  And, it was.  I haven't had the heart to listen to Johnny's studio albums after the show but only because I was so blown away by the live show.  I don't mean any knock towards Mr. Sansone.  He was incredible!  But, I'm not ready to let go of that performance.  Of the unbridled showmanship and musicianship that emanated from the stage.  Johnny Sansone.  Go to his website.  See if he's coming near you.  Drive an hour or more.  Do whatever you have to.  Go see this man.

Now, as the day was beginning to get a bit, shall we say, loose, the final act was about to come on.  I love American Aquarium.  For many reasons, I love these dudes.  They are good people, and they are a great band.  If you've made it this far through my ramblings, you probably already love American Aquarium.  But, if you don't know them, do yourself a favor- listen in this order Dances for the Lonely, Burn. Flicker. Die., and Wolves.  To me, this is the best way to enjoy this band- to see where they have been and where they are going.  Stories can be hard to tell- they can be heartbreaking, they can be joyous, and they can be hard to convey.  But, American Aquarium does so deftly, and with an ability to cut to the quick.  The boys were firing on all cylinders this evening and were having a great time themselves.  BJ made more than a few comments about the venue and the crowd being somewhat of a high-water mark of being on tour.  The guys of American Aquarium have been playing together for a helluva long time and you can tell.  This is a band that has been through a lot on the road- good and bad- and they wear that badge with honor.  They have honed that knowledge of each other into a finely tuned musical machine.  One of my favorite things I have seen over my years of watching American Aquarium is seeing the closing song turn from "I Hope He Breaks Your Heart" to "Burn. Flicker. Die."  This is a transition that is amazing.  And, I think it shows the growth of this band.  These are two incredible songs, but if I'm honest with myself, "Burn. Flicker. Die." is the better song.  It is the show-stopper.  And, recently, that has been the literal case.  I hope these guys stick together and stick around for a much longer time.  I don't think we've heard enough from these guys.

I've written so much.  I can be long-winded, but I feel the story has to be told.  The Old 280 Boogie.  Waverly, AL.  Johnny Sansone.  American Aquarium.  The story is only half-told.  The best way to be a part of this story if to go to this incredible place.  Go see these bands.  Go support the bands around you.  Music is what keeps us all going.  Most of us.  Some people can write the songs of our lives.  Some can write about those songs.  But, we can all go and enjoy and support the music.  I want to leave this by saying thank you to the folks of Waverly, AL.  The folks of Standard Deluxe.  The folks of This Is American Music (Corey, I'm sorry we didn't get a chance to formally meet).  Everyone involved in putting the Old 280 Boogie on.  You've got a lot to be proud of and I can't wait to be back in the years to come.

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!

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By Matthew Martin