Showing posts with label Travis Erwin. Show all posts
Showing posts with label Travis Erwin. Show all posts

Feb 6, 2020

Album Review / John Moreland / LP5


By Travis Erwin
John Moreland's latest offering, LP5, delivers the same acoustic sensibilities we have come to expect, while showcasing his notable evolution as an artist and as a human. The end product for the listener is honest, thought-provoking songwriting, delivered with authentic emotion.
The album opens with tender guitar notes pulling you into the single “Harder Dreams,” though Moreland’s poignant lyrics soon take over. And while it is hard not to get lost in the calm tones of his voice, the songwriting is what truly elevates both this track, and the entire album. The lines …   Are you lonely in your convictions, staring through the glass tonight? Is the truth a work of fiction, better ask the blood-stained skies … stuck out for me, but the emotional imagery within this opening song is gripping. This opening track foretells what’s to come, in terms of quality of sound, songwriting prowess, and in the teasing the overriding theme.
With a bit more of a bluesy funk, “A Thought is Just a Passing Train” offers a different vocal style than the rest of the album. At nearly five and half minutes long, this second track has a jam groove that sort of relaxes your senses and allows you to close your eyes and settle in for the long haul. But don’t dismiss the power of the lyrics, because we’ve all been hit hard by an emotion, fear, or doubt, and this song is all about recognizing the brevity of such gut punches.
“East October” is the kind of track that subtly reveals itself. Painted with broad strokes in places and refined thoughts in others, the track repeatedly asks the question, … How Am I ever going to get by, all my myself? The song left me thinking about a divorced man reflecting on the memorabilia of a marriage gone bad. Though the fact it was written with a nod to Chris Porter’s song, “East December,” makes it clear Moreland wrote it from more of a grieving friend’s viewpoint. Porter passed away in 2016. That such a song can be parlayed into broader emotion is more proof of Moreland’s talent for bringing forth our humanity.
My personal favorite track on the album is “Learning How to Tell Myself the Truth." The song delivers unrelenting truth. Coming via a stream-of-consciousness style, the track brings out the nuances of Moreland’s emotional vocals. This track is the musical equivalent of staring into the mirror and talking to the person looking back. 
“Two Stars” is a soft guitar instrumental that bridges the gap over to “Terrestrial,” another track about overcoming the self-doubt and uncertainty that washes over all of us at times. Discovering what is real both within our own heads and the outside world around us is the prevailing thought behind much of this well-written album. 
Moreland again pays homage to his friend, Chris Porter, with the track “In Between Times.” Written a mere two weeks after Porter’s untimely passing, Moreland puts words to the kind of grief that often leaves others speechless. The pain is palpable, and his voice is raw, over a stripped-down melody. 
Not known for love songs, Moreland proves he can take on the most vulnerable of emotions with “When My Fever Breaks,” a track he began writing, while first dating his wife. The song took him more than three years to finish, but the result is a song that stays with you. It feels genuine without resorting to being overly sentimental, simply for the sake of the poetry.
“I Always Let You Burn Me to the Ground,” feels like a goodbye, not in the literal sense, but in the admission of our own weaknesses, so that we can finally let the ashes of our past blow away in the wind. “For Ichiro” is another instrumental track that serves as an emotional reset. This track has a digital vibe laid over keys and a guitar, making it feel slightly out of place with the album, though it is tranquil and entertaining enough to certainly have merit.
The album finishes with “Let Me Be Understood,” which is fitting, because I imagine this is the internal plea of every songwriter, when they release new material out into the world. But here, this track is about growth and wisdom that comes to us on down the road, giving us a new outlook over hindsight. Bluesy and folksy, the track brings forth many of Moreland’s best sounds, both musically and vocally, and as always, the songwriting is relatable and makes you ponder your place in this world.
Or perhaps more importantly, the song and the album are meant to reinforce the fact we all have these complex thoughts and emotion running through our heads.  And the lasting message is that it's okay to let them in, because we will emerge on the other side all the better for having them. As a writer and fan of his work, I hope that is what Moreland wanted understood, but no matter the intent, his new album, LP5 is definitely worth your listen. 

LP5 is available Friday everywhere you buy or stream music.
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A native Texan, Travis Erwin is an author and music reviewer now living in Southern California. Find his novels and memoir, anywhere books are sold, or visit him in the Twitterverse, via @traviserwin.

Oct 11, 2019

Album Review / Chris Knight / Almost Daylight

By Travis Erwin
Somebody killed somebody songs. That’s the foundation of Chris Knight’s reputation as a songwriter and we’ve all seen the memes. They are funny and bring a smile, but those of us who call ourselves fans of Knight’s work can appreciate the truth of that reputation, as well our realization he routinely brings so much more than death and despair to his music. Under the layers of grit and Kentucky sweat, there is an authenticity that makes Knight’s words relatable. In that vein, his songs often offer the idea of hope, springing  from places of desperation. 
That said, Chris truly is “The Dark Knight of Country Music” and no contemporary delivers such heavy brooding emotion with such captivating integrity. His new album, Almost Daylight delivers a whole bunch of what we expect out of Knight, and a few surprises as well. 
Vocally there is that signature gruffness that has only grown more pronounced in the seven years since his last release, but given that Knight was never exactly a crooner in the first place, the influences of time upon his voice only intensifies the hardscrabble emotion of his work. Do I think this is his best work? No, for me the album was good, but never quite delivered the emotional hook of Knight’s best works. That is not to say, Almost Daylight is not a quality album, though for me, the songs often fell just short of their potential. 
The album opens with “I’m William Callahan” and this is the type of song that Knight has made a career of -- A hard luck character digging for purchase in life. This track does not stray far from that though it does feel a bit more dependent on guitar melodies and arrangement to deliver the mood rather than the emotional imagery Knight has done so well cultivating in the past. 
Like weeds sprouting from a windblown crack of earth, “Crooked Mile” is song is about a couple of so-called bad seeds who will grow just fine, if only the world will leave them alone. The imagery is great and the song memorable, though in the end, I found myself wishing for more to their story. 
The third track is called “I Won’t Look Back,” and leaving the pain of the past is the theme. Just as the title states, the character plans to leave without looking back. The writing is sharp and feels like vintage Knight, which stands in contrast to the following track. “Go On” is as close to a motivational tale as you’re likely to find from Knight, and though it toes the line the track stays just shy of sappiness in the chorus.  
These are indeed divided times we live but even with that fact at hand, the fifth track on the album seemed oddly out of character. Knight has used his talent as a songwriter to often uncover commonalities among us. Dark and light, these collective truths of humanity are delivered from his brand of storytelling as delivered by the downtrodden and fallen. There is no denying the world we live is full of lies these days, and yes, that is the “The Damn Truth,” just as Knight sings. However, it is impossible see truth when viewing the world with only our right, or left eye. This track didn’t offer any real truths, only more divisive political pandering in a society already ripe with too much of that.
The album gets back on track with “Send It On Down” featuring Lee Ann Womack. This is the tale of a man lost in his hometown. A place he doesn’t quite fit in anymore. If in fact, he ever did. 
Anyone that has ever had a long hard night of too much thinking and wondering has sought the solace of daybreak, hoping for the sun to chase away the demons of the night. The title track plays with that idea as well as life on the road and the importance of having someone waiting back home. While it did take me a few listens to get the full effect of these lyrics, ”Almost Daylight” is easily the best song among the eleven. Nuanced and complex, this is a set of lyrics that will mean many things to many different people. It is this kind of writing and nod to universal emotion that has made Knight one of the best songwriters going for over two decades. 
“Trouble Up Ahead” is classic Chris Knight tale of doom, despair, and desperation. You can feel the Kentucky sweat on the back of your neck, and the grit on your teeth after listening to this track. The harmonica on “Everybody’s Lonely Now” adds to the melody which for Knight is almost upbeat. 
Chris Knight is not a man who does many covers, but his take of Johnny Cash’s “Flesh and Blood,” feels fresh and authentic. Knight does a great job of making the track feel as if it is one of his own creations. For me, this is the second best cut on the album.
Closing with another cover, Knight joins yet again with John Prine on a version of the latter’s 1973 classic, “Mexican Home.” Together, Knight and Prine, make the strong imagery come alive as they transport the listener to a different time and place.
My takeaway is this … Almost Daylight is a solid album that will speak to longstanding Chris Knight fans, and deliver what they have come to expect while also presenting a few new variables to his writing. I am not sure the album will do much more than that, as it falls short of the high standards Knight has set in the past. Outside of the title track, I am not sure any of these cuts will be regarded among his best.
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Travis Erwin is a fiction writer, lyricist, and music critic. A native Texan, Travis now calls the West Coast home. His fiction can be found anywhere books are sold, and you can reach him on twitter @traviserwin or via comment on this post.

Jul 26, 2019

Straight From the Bottle: A Review of Gethen Jenkins’ Western Gold

By Travis Erwin

A throaty, whisky burnt growls kicks off Gethen Jenkins new album, Western Gold, (out today) and straight off you know what to expect, as the opening track is drenched in Honkytonk nostalgia. Call it a throwback or call it traditional, this album is pure old, drinking-your-heartache-away country, with a dose of pissed- off I don’t give a shit served as a chaser.

Born in West Virginia and raised on steady pour of Outlaw and Honkytonk tunes, Gethen is also influenced by his time as a Marine as well as his two decades of life in California, and every last one of these influences shows up at one time or another on this album.

Slide guitar goodbyes and dancehall defiance define the first track, “Bottle In My Hand.” A barroom anthem to drinking her away that gives way to the more melancholy, “Heartache Time.” This second track captures the emotion after that first round of I don’t need her bravado. The booze infused emotion continues with “Whiskey Bound,” which continues the up and down ride through the emotional train wreck of life.

The album finds a new energy with “Maintenance Man,” a tune that is the musical equivalent to a Penthouse Forum letter. The rebellious tone continues even on the slower tempoed “Restless Ways,” and “Waiting” which come back-to-back in the middle of the of these eleven tracks. A pair of songs those are both reflective and reaching in nature.

 “Western Gold,” kicks off the back half of the album, and as the title track, it carries the banner for a collection of songs that speaks of the fleeting nature of humanity. This particular tune does so with an unflinching honesty that says, “Yeah I’m leaving, but hey we are both here now so let’s make the most of it.”

Lord knows it ain’t easy loving the restless kind, and “Strength Of A Woman,” takes the emotion of that and distills it down for those who dare try to tame the wild wind of a rambling man.

Imagine David Allan Coe penning a song specifically for Jerry Lee Lewis and you will have a solid idea of how “Basket Case” sounds long before you hear the ninth track of the album.


“While I’m Away,” returns to that fleeting nature of relationships, with an ode to uncertainty and insecurity. Easily the most vulnerable of any song on the album, it is also perhaps the most well-written. The last track, “Me My Bottle And Nothing But Time” recaptures the IDGAF spirit of the beginning of the album, with yet another alcohol soaked set of lyrics that scream barroom jukebox.

Like a lone shot of whiskey, the collection of songs that is, Gethen Jenkin’s Western Gold feels rowdy and raw when consumed singularly, but taken as a group, that burning edge is not nearly as prevalent, leaving you to notice the complex subtleties in both flavor and emotion. 

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Travis Erwin is a fiction writer, lyricists, and music critic. A native Texan Travis now calls the West Coast home. His work can be found anywhere books are sold, and you can reach him on twitter @traviserwin or via comment on this post.

Jun 14, 2019

Hot Takes on the Hot Country Top 25


by Travis Erwin
Those of us who enjoy the humor, scorn, and reviews here at Farce The Music can often be found up on our soapbox railing against the insipidness of mainstream country. But how bad is it?
I decided to take a look with a dive into the current Billboard Hot Country Chart. 
One by one I listened to the tunes and here is my no-holds barred assessment starting at the bottom and working my way up per their rankings. They list 50, but I limited my exposure to only the top 25 because a man can only wade through so much shit before he too starts to stink.
25) The Bones — Maren Morris ---  I will give Morris credit for infusing some emotion that feels genuine … which makes this an above average pop song
24) What Happens In A Small Town — Brantley Gilbert with Lindsay Ell --- I actually enjoyed Lindsay Ell’s voice here, but per usual, Gilbert confuses vocal strain with emotion. If you enjoy predictable lyrics, sang with constipation, then Gilbert is routinely your man. 
23) What If I Never Get Over You – Lady Antebellum ---  If you have a damn good pair of binoculars, you can see the country from here on the island of Adult Contemporary Radio.
22) I Don’t Know About You — Chris Lane --- Basically a Bro Country Tinder conversation. Do yourself a favor and swipe left.

21) Notice — Thomas Rhett ---  Watch out Jonas Brothers and Shawn Mendes you have competition for your sing-song style of pop. 
20) Every Little Honky Tonk Bar — George Strait --- First decent country song and while not many share this opinion, I have long thought Strait to be overrated as an artist. Cool dude for sure, but given he rarely writes his own material and is far from a creative musical genius, I view him more as the world’s best karaoke singer than King of anything. [editor’s note: I’m docking your pay!]
19) The Ones That Didn’t Make It Back Home — Justin Moore ---  I applaud the intent, but this is one of those singles that feels more like pandering to an audience than it does a meaningful tribute.
18) Raised On Country — Chris Young --- First few lines contain the words … Southern Drawl, pick-up, and boots. Yes sir, we have a song written using the Country Music Mad Libs method. I confess I didn’t keep listening because I heard enough three lines in.
17)  Shut Up About Politics — John Rich --- Rich is from my hometown, but we have both left Amarillo. That comment has no meaning to this list and frankly this song has no lasting meaning either. File this one under disposable, just like the proverbial red cup mentioned in this pandering set of lyrics.
16) Rearview Town — Jason Aldean --- I have never been an Aldean fan and this song does not change that but all-in-all this isn’t a horrible single. Written by Nashville stalwarts Kelley Lovelace, Bobby Pinson, and Neil Thrasher this is about as good as big label/corporate-driven songwriting gets.
15) Talk You Out of It — Florida Georgia Line --- I have heard way worse FGL songs so if your girl has poor musical taste go ahead put this one and try to seduce her. But if it works, she ain’t the one. 
14) Some Of It — Eric Church --- I actually like this single. Written by Jeff Hyde, Clint Daniels and Bobby Pinson who makes a second appearance on the list, Church sounds a little bit like Robert Ellis on this one, and that is a good thing. IT is the best I’ve heard from Church.

13) On My Way To You — Cody Johnson --- Johnson is one of many Strait-influenced artists out of Texas and while I am usually left wanting for more grit and emotions out of his chosen material, he does have talent.
12) All To Myself — Dan + Shay --- This duo is to country music what  Bath & Body Works is to the mall. Too clean. Too fragrant. And no place a man goes without being dragged there by his significant other. 
11) Knockin’ Boots — Luke Bryan --- Hard to say what is worse, Bryan’s Gomer Pyle laced voice, or this pandering set of horrendous lyrics. 
10) Girl — Maren Morris --- Again, I respect Morris’s vocal talent, but I struggle to call this country. I don’t hate this song, but it is mislabeled.
9) Love Someone — Brett Eldridge --- I just wish someone on this list had more heartache, more pain, more grit than they do product in their well-coiffed hair. 
8) Speechless — Dan + Shay --- Verne Gosdin has been gone for a decade now but if the man known as “The Voice” was handed this single and told this is a Top Ten Country hit in 2019, he would be the one rendered speechless.  
7) Miss Me More — Kelsea Ballerini --- Sounds a little Faith Hill-esque. I will give this one credit for having some rebel spirit. Let’s call it the Taco Bell of country because it has the ingredients of good Mexican food, but the taste isn’t quite there.

6)  Good As You — Kane Brown --- Yet another single full of smooth rhythms and touchy-feely sentiments of love. I am not against love but come on guys this shit flows like a string of Hallmark cards and that ain’t true to life. 
5) Beer Never Broke My Heart — Luke Combs --- Be careful what you ask for. Finally a broken hearted song and while it is better than most of the songs on this list it isn’t a song a can take all that serious. Combs has a good sound but lyrically this song is a far cry from Whitley or Haggard. 
4) Rumor — Lee Brice --- There is much worse on this list but at this point all I am thinking is when can I go back to me regular playlist of Houston Marchman, Dan Johnson, and Tom Russell? 
3) Look What God Gave Her — Thomas Rhett --- Musicians used to get laid by being aloof, cool bad ass. Now it seems they are trying to get laid by using Dr. Phil’s Textbook of Emotional Pandering. 
2) Whiskey Glasses — Morgan Wallen --- I like Wallen’s vocal tone but the cadence of this song is awful about thirty seconds in. Come on Son, just song the pain don’t try to purty it all up and for all that is hole get rid of all that repetitive line ‘em bullshit on the back end. 
1) God’s Country — Blake Shelton --- Over the years, Shelton has put out a handful of songs I actually enjoyed, but this one is nothing more than okay. And with that designation, he joins about that many on this list that aren’t horrible.

There you have it. 
My opinion on the current Top 25 Country Songs according to Billboard. A few halfway decent country songs, a few more decent pop songs misnamed, and a bunch of pandering pablum.
I am sure we have a few disagreements, but the beauty of music is such that it hits every set of ears differently. Still I stand by assessment that mainstream country is suffering from a lack of grit and realness. 
Tell me what you think, I love a good argument.  
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TRAVIS ERWIN is an author and music blogger best known for his love of dark beer, red meat, and of course, his comedic memoir, THE FEEDSTORE CHRONICLES. Other published works include the short story collection HEMINGWAY and a pair of novels TWISTED ROADS and WAITING ON THE RIVER. Travis also blogs about music at THE FEELS and with LA on Lock.  



May 30, 2019

Album Review / Ian Noe / Between the Country

A Name to Noe: Ian Noe’s Debut Album, Between The Country Is More Than Worth Your Time
Review by Travis Erwin

Hailing from Western Kentucky, Ian Noe’s voice sounds strikingly similar to that of John Prine - to the point a casual listener might initially confuse the two. Musically, Noe’s upcoming album, Between The Country utilizes a variety of melodies and sounds, but my prevailing take away is that young Mr. Noe was heavily influenced by The Flying Burrito Brothers, and the lineage of country rock bands that followed. 
This fusion of undeniably Kentuckian vocals, and the guitar heavy country rock that sprang from California back in the late 60s, works quite well and it is this combo that does the majority of the lifting. No band capitalized on that sound more than the Eagles, and on more than one track I was left thinking this reminds me of the Eagles, but with a ton more emotion and grit.
The blend of vocals and melody left me wishing Prine and Linda Ronstadt had given the world a love child. Actually, Ian Noe might very well be that love child. Okay, not biologically of course, but certainly by way of his music.
Noe flexes his timeless songwriting craft throughout the album, with a collection of stories about the downtrodden, the desperate, and the degenerate. The characters in his songs feel honest and real, and through them, the listener has little choice but to empathize as we share in their pains, their hopes, and their inevitable falls.
The album opens with the prodigal daughter, “Irene (Ravin’ Bomb),” arriving drunk and on her momma’s front porch. A ballad of addiction, it sets the tone for the rest of the tracks. 


“Barbara’s Song” offers a montage of characters headed for their doom aboard a train, bound for nowhere. The calm before the end brings home the unfolding tragedy. I struggled a bit to wrap my head around “Junk Town” a song full of sorrowful harmonies and a rusty metaphor for the coming end that never fully materialized for me, though the pair of songs contrast in that one is a look at sudden death while the second sheds light on the emotion of a long, slow passing.
Love is served up in the next few tracks. “Letter To Madeline” as an outlaw writes to his beloved for what no doubt will be the last time. “Loving You” pulls in elements of the blues and the strong tradition of old, sad country songs to bring out the heartache most of us have been hit with at one time or another.  
 “That Kind of Life” rides the easy vibes of the dog days of summer to showcase a laidback lifestyle that often goes unappreciated. This smooth song of people living and getting along gives way to the slow roll of dark and murky storytelling in “Dead On The River.”
We’ve all been told of the thin line between love and hate, but the eighth track on Between The Country walk a different line. Proving the gap between hope and despair is indeed narrow, “If Today Doesn’t Do Me In” is perhaps my favorite track among the ten offerings.  


The next to last track drags us even deeper into the dark side of society. “Meth Head” is a term bantered about in communities across the country and at this point no further explanation is needed to conjure a mental idea and image but on this track Noe gives us the intimate look at those who have fallen prey to this bathtub and back room concoction.  
The namesake single is the final track of Between The Country. Laying out a bleak look at the urban side of Western Kentucky complete with a line to go with the imagery of the cover the songwriting is full of powerful lines that go with what is a powerful and dark debut for Noe. His musical influences merge and blend to give us a talented new voice and writer on the scene.
Overall, the album takes a hard truthful look at a place that has seen plenty of hard difficult times. Sure there are glimpses of hope and happiness, but the album gives us a look at what happened to Western Kentucky after Mr. Peabody hauled paradise away.
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Travis Erwin is Texas boy now living the life of a free-spirited writer in sunny Southern California. A long time music blogger and sports writer, Travis is the author of a comedic memoir titled, THE FEEDSTORE CHRONICLES, and a pair of novels, TWISTED ROADS and WAITING ON THE RIVER. His latest release is a joint, short story/EP collective with singer/songwriter Dan Johnson, titled HEMINGWAY. 

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Between the Country is available tomorrow everywhere.

May 15, 2019

Album Review / Hayes Carll / What It Is

by Travis Erwin
Hayes Carll has a newish album out, but before we dive deep to discover What It Is, actually is, let me address you potential rabble-rousers.
Yeah, I am a writing up a review for an album that dropped a few months back. That’s why I wrote “newish,” my friends. But here’s the deal, no artist has perfected the art of being a “Slacker Genius” better than Hayes Carll, and while I can’t lay claim to the genius half of that equation, I can say I’m a topnotch slacker. 
Besides, I wouldn’t exactly be embracing Carll’s lackadaisical vibe, if I just threw out a half-assed review after one or two listens. No, I had to wait and grow my hair out, don a flannel shirt and listen to What It Is three or four dozen times, because to write about Hayes Carll, you gotta be Hayes Carll.  
Bullshit you say? Yeah, Rolling Stone didn’t buy it when I pitched that angle to them either. 
All BS aside, I consider Hayes Carll a friend of mine. Not because we’ve ever sat down over beers, chased drunken Mona Lisa’s together, or so much as spoken a word, but rather because, for over a decade now, his writing and voice have kept me company through good times and bad. 
Carll writes songs that often as not feel like a casual conversation. Couple this songwriting tendency, with a voice that cracks, breaks, and is usually delivered with a calm chillness, and it’s easy to come away with the impression that Hayes somehow stumbled his way to brilliance. This assumption would be wrong. At this juncture in his career, it’s obvious his talent is no accident, and What It Is proves, Carll is far from slacking off.
“None’ya” kicks the album off with a sound any Carll fan will be familiar with. The give and take banter of a couple at a crossroads feels lighthearted, but for our beleaguered Romeo, that “None’ya” is anything but. At first listen this opening track seems like an outlier to the songs that follow, but as in music and life, things tend to circle back around.
The Shut-Up-and-Sing crowd might take offense to the lyrics of “Times Like These,” but they will do so while jitterbugging across the dance floor to a lively beat. Speaking of “Things You Don’t Wanna Know,” track three infuses some Motown rhythm to go along with Carll’s vocals while holding to a developing theme that carries through the first half of the album.


Riding a thumping rockabilly beat that harkens to Johnny Cash, “If I May Be So Bold” joins the two previous tracks to draw a line in the sand. The statements continue to come in “Jesus and Elvis,” as Carll lays out the emotional impact of political decisions. This is not to say the album is preachy in any way.  No, like the two influential men in the title of track five, Carll delivers his thoughts in a manner that suggest better ways, rather than demanding them.  
Music is most often digested in bite-sized chunks these days, so the art of album construction is rarely on full display. But the first half of this album closes with “American Dream,” which shines a light on the thoughts that went into overall song placement. This track is the perfect closure to a grouping of songs that makes it clear Carll has something to say about the state of the American Dream.
The back half of the album ushers in a section of three relationship songs. That is the extent of commonality within the trio. Slow, melodic chords accompany the anxious despair of knowing a relationship won’t last in “Be There,” while “Beautiful Thing” rides a piano-charged romp about the euphoria of newfound love and lust. The album’s namesake, “What It Is,” brings a bluegrass sound to the collection and leaves us with many things to ponder.
Unlike the political tones earlier in the album, the next couple of songs are more about universal human rights, than they are about political divide. Exploring the tendencies of human nature, Carll deploys a sharp taunting melody, and pointed lyrics within “Fragile Men,” to slice through chauvinistic ideals. Taken alone that track could come across as judgmental, but when followed by “Wild Pointy Finger” it seems like Carll is looking at himself as well. This next to last track sounds a suspicious lot like “I Got a Gig” from his 2008 release and when you listen to both tunes you can only assume this was intentional, as a way to highlight the change in his own ideas and ideals over the last decade. Both in society and in himself.
The album closes with “I Will Stay,” bringing the twelve songs full circle. The first track gives us a lover walking out the door, while this last track offers a beautiful ballad of perseverance. And no, that is no accident.  

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Travis Erwin is Texas boy now living the life of a free-spirited writer in sunny Southern California. A long time music blogger and sports writer, Travis is the author of a comedic memoir titled, THE FEEDSTORE CHRONICLES, a pair of novels, TWiSTED ROADS and WAITING ON THE RIVER, and his latest release is a joint, short story/EP collective with songwriter Dan Johnson, titled HEMINGWAY. 

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