Showing posts with label Merle Haggard. Show all posts
Showing posts with label Merle Haggard. Show all posts
Jun 10, 2021
Apr 11, 2021
Apr 10, 2021
Apr 8, 2021
Mar 29, 2021
Mar 27, 2021
Mar 26, 2021
Mar 16, 2021
Mar 13, 2021
Mar 8, 2021
Feb 15, 2021
Feb 4, 2021
Frasier Country Reaction Gifs
Morgan Wallen's PR rep opening up Twitter Wednesday
Parmalee has another top ten hit
♫♪♪ smoke a little smoke, drink a little drink ♫♪♪
Do you want to hear the new Kidd G song?
"Don't you ever talk like that about Merle again, and...
When your kid says he digs that new Morgan Wa.... de song
Why is pop now hip-hop, country now pop, and Americana now country?
Florida-Georgia Line songwriting session
Jan 11, 2021
Stolen Memes: Dolly Parton, Willie Nelson, Merle Haggard
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| From @cfree94 |
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| From Vinyl Ranch |
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| From Think I'll Just Stay Here and Meme |
Nov 26, 2020
Sep 22, 2020
Sep 10, 2020
Famous Protest Songs Updated for 2020
Fear not, this picks on everybody.
Watch the NFL My Ass (I Won't Watch the NFL)
A Can of Soup’s Gonna Fall
American Twittiot
All She Wants to Do is Tik Tok
The Cancellation Will Not Be Televised
Agent Orange Man Bad
Influencer Blues (Make Me Wanna Holler)
The Lonesome Death of Mr. Peanut
If You Tolerate Masks, Your Children Will Be Next
Walking on the Offended Side of Me
Defund Tha Police
Not Ready to Make Rice (Uncle Ben’s)
Meme is Murder
Working Class MAGA
Free Joe Exotic
Get Up Stand Up (is Ableist)
Mercy Mercy Me (The Quarantine)
Another Pylon in the Wall
We Shall Be Socialist
Trump Boat Parade (Bulls on Parade)
Biden in the Wind
Murder Hornet Most Foul
The Night They Drove Hobby Lobby Down
Aug 28, 2020
Album Review / Zephaniah OHora / Listening to the Music
By Megan Bledsoe
Music Row is rife with country artists either obsessed with proving their Southern street cred or lamenting the restrictive boundaries of country music and forsaking their musical roots in the name of evolution. Across town in east Nashville, the Americana world has been flooded in recent years with musicians and songwriters who are more concerned with making records that sound old rather than records that sound timeless. And all across the country, more and more artists are taking political stances which are alienating their audiences rather than seeking to speak to us all and change hearts through artistic expression. Somehow, Zephaniah OHora manages to be the antithesis of all of this at once, the cure for every issue plaguing country music in 2020. This record comes out of New York City, and yet it’s more country and more authentic than the majority of the music coming from Nashville. And OHora is not looking to divide, but rather is proud of being "an all American singer,” as he announces on the track of the same name. For so many reasons, this is the album we desperately need in this moment.
Music Row is rife with country artists either obsessed with proving their Southern street cred or lamenting the restrictive boundaries of country music and forsaking their musical roots in the name of evolution. Across town in east Nashville, the Americana world has been flooded in recent years with musicians and songwriters who are more concerned with making records that sound old rather than records that sound timeless. And all across the country, more and more artists are taking political stances which are alienating their audiences rather than seeking to speak to us all and change hearts through artistic expression. Somehow, Zephaniah OHora manages to be the antithesis of all of this at once, the cure for every issue plaguing country music in 2020. This record comes out of New York City, and yet it’s more country and more authentic than the majority of the music coming from Nashville. And OHora is not looking to divide, but rather is proud of being "an all American singer,” as he announces on the track of the same name. For so many reasons, this is the album we desperately need in this moment.
It’s hard to believe this really came out in 2020. Whereas OHora’s first album felt like it came straight out of the 1960’s countrypolitan era, this one feels a bit more reminiscent of a few years later, mixing the best of both the Bakersfield and Nashville sounds. The writing and in some cases the vocal delivery recall vintage Merle Haggard, and a song like “Black & Blue” could have been a long-lost Merle album cut. Yet the production is clean and polished, and although the songs could have been written fifty years ago, the recordings are stellar, thoroughly denouncing the idea that purposely producing a record poorly somehow adds authenticity or quality to the project.
The obvious concern when writing and recording within these boundaries and when trying to perfect the classic country style is that the songs may feel more like an interpretation of the style rather than a true representation of the artist and revitalization of the sound within a modern context. But Zephaniah OHora does a nice job keeping these songs relevant to the modern ear. The best example of this and indeed the album’s greatest strength lies in a trio of tracks in the heart of the record. “All American Singer,” as mentioned above, takes the radical position of taking no political position, but rather seeking to unite all people through the music. Some may say this is OHora choosing to "shut up and sing,” as many people on social media have unfairly asked artists to do, and OHora himself says that he’ll get "back behind the guitar” rather than on a soapbox. But this song is more about Zephaniah OHora making the choice to reach out to all people and recognizing music’s power to do so. This is further evidenced in the next song, the albums title track, as he declares that in a time of "evil that plagues the earth, it’s hard to find anything of worth” and that music is his escape from all the pain of this world. We can all certainly relate to these sentiments, as well as those expressed in the next track, “Living Too Long,” wherein OHora reflects on the times changing and local bars shutting down. Regardless of our backgrounds or political stripes, we can all understand this uncertainty, particularly this year. Life is hard, and we all have days where we feel like we’ve been living too long. Music, and especially country music, is unique in its ability to speak to us and sustain us through these times of trouble, and as the album’s title suggests, this is what OHora is seeking to accomplish with this record, and in so doing, he makes these songs and these ideas as relevant and important in 2020 as they would have been in 1970.
The one thing missing from OHora’s excellent debut album was a bit more variety in tempo, and this record provides that. This album embraces a little more of the Bakersfield flavor, and that is certainly an asset. “Black & Blue” and “Living Too Long” are instantly replayable, lively numbers that add an intangible dose of color to the album, as well as another dimension for listeners who may prefer this style over the smoother countrypolitan sound. It will be interesting to see if Zephaniah explores this sound further in the future.
Listening to the Music is a refreshing record on several levels. For one, its incredible to hear something this country being released in 2020. This is not country rock or country pop or Americana or Red Dirt; it’s just stone cold traditional country—and credit to a guy from New York to be the one to show us all what it means to stay true to your roots and not abandon the traditional sound on subsequent projects. This album knows exactly what it is and pretends to be nothing else, and this is a beautiful thing. But beyond all that, it’s just simply a fine album. The production is flawless, and the songwriting is strong. In a world of turmoil, Zephaniah OHora quietly reminds us that we still have music, and though everything around us may seem uncertain, music remains unchanging in its ability to bring us escape, unity, and healing.
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Listening to the Music is available today on Bandcamp and everywhere else.
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