Showing posts with label Two Cow Garage. Show all posts
Showing posts with label Two Cow Garage. Show all posts

Dec 29, 2016

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.

Oct 7, 2016

Matt Woods: The Farce the Music Interview


An Interview With Kevin Broughton

I had never heard, heard of, or seen Matt Woods until a late July gig at The Earl in Atlanta, when he was touring with Austin Lucas.  Just how out of it was I? I texted the Boss Man a picture of their cool tour poster, and he replied, “Oh, cool. Matt had FTM’s favorite song in 2013.” Uh, derp. 

But it was Woods’ across-the-board authenticity – on stage and off – that impressed me. The dude is real. July saw him fine-tuning a bunch of heavy country songs that make up the album How to Survive, released today on his own label, Lonely Ones Records. Did I mention that these are heavy songs? Just to make sure, I compared notes with the Boss Man. “If you'd rather be lied to or be sold a rosy view of life and love, you'd best steer clear of Matt Woods,” said Trailer. “His confessional lyrical style pulls back the curtain on the heartaches and struggles of real life.”

And, Bingo. While his previous two albums, The Matt Woods Manifesto and With Love From Brushy Mountain, were sprinkled with a hearty mix of story songs, murder ballads and love songs, today’s release is all about relationships. There are some aspirational love songs, but it’s weighted down with heartbreak – and reality. When you hear “To Tell the Truth,” or “Born to Lose,” there’s no question that these songs are both autobiographical and from a dark place. And it’s not insignificant that the song Woods says is truest to him – “A Good Man” – is a soul-crushing confessional; so much so that it took some coaxing for that to be divulged.

We caught up with Woods out in the west Texas town of El Paso, and talked songs for the downtrodden, dark thoughts of bodily harm to percussionists, and how being covered by Dean Ween is a dream.

One of your earlier albums is called The Matt Woods Manifesto. That strikes me as both an awesome and ballsy concept. For our readers unfamiliar with your work, what flag were you planting, and were you satisfied by the reception?

Yeah, I was definitely happy with the reception. I had spent a good many years bouncing around in rock ‘n’ roll bands. That record came out in 2011, and I guess it was sometime around ’09 that I realized I was gonna move away from the bands and start working on things under my own name. And what partly informed that was my writing, which was taking itself in a different direction. That led me to getting back to my roots, and back to my love of country music.

That’s why I did the Manifesto; it was a departure point.  

Having listened to some of your work, I think I have a good idea, but who are some of the songwriters who’ve influenced you?

I’ve been influenced by a great number of people in one way or another.  The easiest  to name, over the life of my writing, have been Kris Kristofferson and John Fogerty. I’d also have to give a nod to Steve Earle, Townes Van Zandt and Guy Clark. 

You’re like the eleventy-billionth artist about whom I’ve said, “WTH isn’t this person on radio?” Without going too deeply down that rabbit hole, when did murder ballads and cheatin’ songs go the way of the dinosaur, in the minds of Nashville suits and program directors?

As far as mainstream country is concerned, I think that all started happening in the late 1980s and early 1990s. At that point you could still find some music that still used what would be considered traditional country themes. But it was also sort of the birth of…party country. You know, “everything’s alright and let’s just have a good time.” That’s when things started leaning that direction.

You’ve done some really good murder ballads. How To Survive is made up – except for “The American Way” -- almost exclusively of relationship songs.  Did you go at this album thematically, or did it just organically evolve that way?

It did happen organically, but there’s a certain theme. We were going for a more intimate deal, and it’s a more introspective album as it turned out. Any time I go into the studio to record an album, there are always more songs than can fit on it. So you’re trying to take the best ones and make them fit together into one thing, instead of just a collection of songs on a piece of wax.  And I try to keep that in mind and pair songs together that complement one another.

Some noteworthy artists have addressed the disenchanted/disenfranchised, hard to re-adjust veteran. Isbell did it a couple times, McMurtry hit a chord with “Can’t Make it Here” a dozen years ago. Steve Earle did it with “Johnny Come Lately” in 1988. Describe your approach to “The American Way,” because that song hasn’t been secret, and the video’s been out there a while. Obviously there was some deep meaning for you.

Yeah, we released that video on the Fourth of July. I started working on that song in the summer of 2015. For me, it’s just the state of the union. It reflects parts of my childhood in rural East Tennessee in the 80s and 90s, and how things just sorta stay the same, you know? I wanted it to be a snapshot of how things are for blue collar people; folks who are just trying to live.  

The album hits all the bases: love songs of the aspirational, affirming or cheatin’ type, and even a heart-stomping I don’t love you song, “To Tell the Truth.” They’re all pretty sad & heavily laden with minor chords. I assume this was purposeful?

Yeah, I uh, I feel pretty comfortable working in a minor key, and I’d say I definitely do that more often than not. I think there’s something about the minor keys that definitely ring a little truer…well, maybe “truer” isn’t the right word. Maybe “profound.” I think songs in minor keys strike people more profoundly.  And as such, maybe, I think they can give folks something a little more concrete to hold onto.

There are plenty of good traditional songs with the 1-4-5 progression, but I think it’s the sad ones, the ones in minor keys, that people keep going back to.

And you definitely lean toward the sadder stuff here; granted I’m new to your body of work, but it seems like there’s even more of an emphasis on How to Survive.

I don’t know, I always tend to lean toward the more downtrodden, darker side. Even on a lot of my story songs…well, there are more story songs on my last two records, and some of them do come at you with an upbeat feel.  But these are definitely from the darker side of things.

Is this album serious empathy across the board, or autobiographical? Maybe a little of both?

It’s fair to say it’s a little bit of both. It’s certainly a little autobiographical. And it’s a good bit more introspective and personal than the last two were.

Is there one song that’s more autobiographical than any other on the album?
Oh, man. Ha. That’s a difficult question. (Lengthy pause.)

You’re free to take a pass, and that’s fine. But I mean, I can see several candidates. It ain’t like you just made all this stuff up…

(Laughing) Yeah. I know…there’s certainly some real shit in it. And some of it has to do with stuff I promised myself I wasn’t gonna talk about in the course of promoting this record, so…

Okay, that’s cool. And as we move away from this question I’d just observe that there are several songs…well, “Fireflies” is certainly inspirational and aspirational.  I’m guessing there were some songs that were hard to write. Looking at “To Tell The Truth,” I don’t think that song was written in a vacuum. Is that fair?

Yeah. That’s fair. That one’s got pieces of me in it, but they’ve all got pieces of me in them…

Okay. We can move on…

…man, this is hard to talk about, hard to say. But I’d say the most telling one on the album is “A Good Man.”


Structurally, you place your bridges as points of emphasis, often in different spots. Do you have any kind of guiding philosophy in that regard?

My guiding philosophy, I guess, is just to be efficient. I don’t tie myself into any formulaic songwriting. You know a lot of folks are all about verse/chorus; verse/chorus; bridge/chorus; out. With me sometimes they fall that way, sometimes they don’t; I try not to be superfluous…I try not to fill the time if it doesn’t need to be filled, you know? If I’ve set up what I needed to with one verse and it’s time to get to that poignant/conflict part of the song maybe I’ll go ahead with the bridge right there. It just depends on what the song calls for.  But yeah, I look at the bridge as really being the heart of the song.

I’d like to switch gears for a minute and ask you about the inspiration for some of your songs. You made a couple references at the Atlanta gig in July; for instance, I believe “Bed Sheets” is something of a send-up of one Conway Twitty. Expand on that a little.

Sure. I think “Bed Sheets” is really the only sexy-time song on this album (laughs). And there was actually a point as I was finishing it up where I was like, “Man, can I say this? (Laughing) Am I going too far?”

But I’ve always been a fan of Conway’s, and that was what I thought: “Well, shit, here’s a man who had no qualms about taking a song into the bedroom.” And I was coming to terms with the fact that I’m probably the same age as he was when he was on Hee-Haw when I was watching as a kid, you know what I mean? I told this story in Atlanta. I remember watching Conway, sweatin’ under those stage lights with one of those skinny 1970s microphones, singin’ bedroom songs. (Laughing) And I was old enough to realize, “Well, shit. Maybe I need to do some of that,” you know?

Back to the Manifesto, was writing “Port St. Lucie” a reasonable alternative to doing bodily harm to a former drummer? Am I remembering that correctly?

Yeah, man. One of those bands I was in, we were on the road and had van trouble in Port St. Lucie. You know…being in a band, it’s good and it’s frustrating all at the same time. You start bands with your buddies and…you see how far and how much you can damage that relationship (Laughing), how much you guys can just damned hate each other.

Out of boredom?

No, not out of boredom. You know, when you’re young, it takes you a while to figure out that everybody has their own set of priorities and interests and quirks…eating habits and drinking habits and everything else. And trying to get all that to work together is sometimes a struggle, especially if you’re in a band with a bunch of dudes.

And not to ruin the illusion, but rock ‘n’ roll ain’t that glamorous and there’s not much money in it. You go for a stretch of time of sleeping on couches covered in cat hair and not making any money, and something’s gotta give. We had that van stuck in Port St. Lucie with no shows to play, and it was about as hot as it could get in Florida in August. And I just realized, “Man I gotta get out of this situation before I kill this damn drummer. (Laughs) And I’m sure he had his own thoughts on the situation, you know.

I’m glad we got a nice song out of it, instead of tire-tool justice in Southwest Florida. You produced this album. Was that the first time producing your own work, or anybody else’s?

No, I’ve produced all of my albums. And recently I got to produce an album for my buddy Jeff Shepherd and his band the Jailhouse poets. We got them into the studio in Knoxville and it was really cool to be able to work with them. I really enjoy it, and just like being in the studio and want to be able to do some more of that in the future.

I see Jeff sang backup on “Bound to Lose.”

Yeah, he actually wrote that song with me. Jeff and I were on tour together in the Spring of 2015. We were on our way to Florida, and damned if it didn’t snow all over Mississippi. (Laughing)

You recently pulled up stakes from your native East Tennessee & moved to Nashville; I think you and Chelle Rose might have passed each other? Was that a move for convenience’s sake?

Yeah, Chelle and I apparently traded spots.  Not really convenience, man. I’m from East Tennessee, I love it there, and I’ve spent the last 22 years in Knoxville.  But for the last five, I’ve pretty much been on the road about ten months out of the year. Circumstances came about that enabled me to sell my house, and once I had done that I didn’t see the need to just start over in East Tennessee. So I just took advantage of that; Nashville’s a happening town and there’s a lot going on there.  And it’s at least as well positioned for touring as Knoxville is.

Word has it you’ll be touring with a full band this fall. How long has it been since you did one of those?

I’ve been doing some band touring about twice a year. I try to take a band out on the road during the spring and fall, and the last one was in May. I had some of the same dudes with me I’ll be taking out this fall, and this one will be fairly extensive; it’ll be about six weeks covering the eastern U.S.

Lightning Round:

Have you ever been in a joint and heard someone cover one of your songs?

I have. I did just get word from a friend of mine who was at Adam Lee’s and Josh Morningstar’s show in Detroit last night that Josh played one of my songs. And something that really tickled me, I don’t know if you’re a Ween fan, but I met Dean Ween in Pennsylvania and he let me know through social media that he had covered one of my shows at his standing gig. So I’ve been covered by Dean Ween!

The one person in the Outlaw Country/Alt.Country scene you’d love to work with one day?

(Pauses) Man. I’d love to sit down and write songs with Jamey Johnson. I think he writes really sharp songs.

An artist you’d recommend to all your fans?

I don’t know if you’re familiar with Sam Lewis; he’s pretty fantastic. He was living in Knoxville when I met him, and at that point he would have been in his really early 20s. He was writing really sharp songs and performing them really well. I guess he’s been in Nashville six or eight years and starting to get the recognition he deserves.


You said in an interview, with Riki Rachtman of all people, that you didn’t really like the term “outlaw country.” How would you describe your music?

Aw, man. I guess I’d call it Southern…American…songwriting? (Laughs) How about “Appalachian heartbreak music?” Let’s go with that.

I love this! I’m learning new terms all the time, and they’re all so fluid. Describe touring with Austin Lucas.

Fantastic. Touring with Austin was fantastic. We had been trying to get something together for years, and we were finally able to make it work last summer. He’s just immensely talented, and so kind and thoughtful. I had a great time with him, and running around with Sally the dog was great, too.

The ubiquitous Sally. Top five albums of all time regardless of genre?

Alright. I’m glad you hit me with this earlier, because that’s a moving target. I got it down to seven, so I’ll give you the five.

Tell you what, then, let’s make it top seven.

Guns ‘n’ Roses, Appetite for Destruction. Randy Travis, Storms of Life. Kris Kristofferson, The Silver Tongued Devil And I. Any Creedence Clearwater Revival album. (Laughs) If I only get one, I’d go with Chronicle, a greatest hits record with about 20 songs on it. Pearl Jam’s 10.

As I was thinking through that list, there are a couple on there I haven’t listened to in a while, but there are a couple others I can’t imagine being without: Two Cow Garage’s Sweet Saint Me, and Glossary’s Better Angels of Our Nature.

Why is How To Survive your best work?

I think the simple answer to that is I’ve been able to apply everything I’ve learned thus far (in my career) and apply it to this album. I think if you release a record and you don’t think it’s the best one you’ve ever done, then you’re not doing your job. With How to Survive, I think because of its introspective nature, there’s something in there that just about everybody can relate to.

Writing love songs is not something I typically do a lot of, but there’s some of that mixed in with all the heartbreak. What it lacks in story songs and murder ballads, I think it more than makes up for with truth and emotion. At least I hope that’s how people perceive it. 

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How to Survive is available today on Bandcamp, iTunes, Amazon, etc

Jul 9, 2015

Todd Farrell Jr. Performs "Paper Napkins"

Here's FTM pal/Nashville resident/Atlanta sports fan/singer/songwriter/computer nerd/Two Cow Garage part-timer/former lead singer of Todd Farrell Jr & the Dirty Birds/current lead singer of newly renamed band Benchmarks.... Todd Farrell Jr. singing "Paper Napkins," a fantastic tune about relationships and disconnect in the modern world. A full-band version appears on Benchmarks' forthcoming EP.


Dec 30, 2013

FTM's Favorite Albums of 2013: 21-60






22. Band of Heathens - Sunday Morning Record

23. Tim Easton - Not Cool

24. Quaker City Night Hawks - Honcho


25. Caitlin Rose - The Stand-in

26. Charlie Robison - High Times

27. Water Liars - Wyoming

28. Buffalo Gospel - We Can Be Horses

29. William Clark Green - Rose Queen


30. Doc Feldman and the LD50 - Sundowning at the Station

31. Lindi Ortega - Tin Star

32. Robbie Fulks - Gone Away Backward

33. Chris King - 1983

34. JJ Grey & Mofro - This River

35. Shinyribs - Gulf Coast Museum


36. Valerie June - Pushin' Against a Stone

37. The Wood Brothers - The Muse

38. The White Buffalo - Shadows, Greys and Evil Ways

39. Will Hoge - Never Give In

40. The Statesboro Revue - Ramble on Privilege Creek

41. Bruce Robison & Kelly Willis - Cheater's Game

42. Deer Tick - Negativity

43. J. Roddy Walston and The Business - Essential Tremors

44. The Mavericks - In Time

45. Javi Garcia - The Great Controversy

46. Jimbo Mathus - White Buffalo

47. The Winery Dogs - s/t

48. Holly Williams - The Highway

49. Alan Jackson - The Bluegrass Album

50. Red City Radio - Titles

51. Clutch - Earth Rocker


52. Charlie Worsham - Rubberband

53. North Mississippi Allstars - World Boogie is Coming

54. Zane Williams - Overnight Success

55. Cage the Elephant - Melophobia

56. Earl Sweatshirt - Doris

57. Hiss Golden Messenger - Haw

58. Chance the Rapper - Acid Rap

59. Jason Boland and the Stragglers - Dark and Dirty Mile

60. Dallas Moore Band - Blessed Be the Bad Ones

Very Honorable Mentions:
Bonnie Whitmore - There I Go Again, Bow Thayer and Perfect Trainwreck - Eden, The Devil Makes Three - I'm a Stranger Here, George Strait - Love is Everything, The Avett Brothers - Magpie and the Dandelion, The Weeks - Dear Bo Jackson, Emmylou Harris & Rodney Crowell - Old Yellow Moon, Dawes - Stories Don't End, I Can Lick Any Sonofabitch in the House - Mayberry, Jayke Orvis & the Broken Band - Bless This Mess, Owen Temple - Stories They Tell, Have Gun Will Travel - Fiction, Fact or Folktale?, Lorde - Pure Heroine, The Wild Feathers - s/t, Phosphorescent - Muchacho, Lincoln Durham - Exodus of the Deemed Unrighteous, Star Anna - Go to Hell, The Deadfields - Often Wrong Never in Doubt, Left Lane Cruiser - Rock Them Back to Hell, Hank 3 - Brothers of the 4x4, Kellie Pickler - The Woman I Am, D.B. Rielly - Cross My Heart + Hope to Die, Amanda Shires - Down Fell the Doves, Brett Detar - Too Free to Live, Blitzen Trapper - VII, Mando Saenz - Studebaker, Cody Canada - Some Old, Some New, Maybe a Cover or Two, Vampire Weekend - Modern Vampires of the City, Childish Gambino - Because the Internet

Sep 9, 2013

Feel Bad For You Mixtape - Sept '13: Unsung Heroes



This month's edition of the Feel Bad For You mixtape features a theme of "unsung heroes," artists who never seemed to get their due or catch on like they should have (or haven't yet, anyway). Included on the 17-song set are tracks from Swamp Dogg, Two Cow Garage, Valerie June, Glossary and more. Stream below or download/comment here!

 

Aug 2, 2013

YouTube Gems: Two Cow Garage

From their forthcoming album The Death of the Self Preservation Society, here's Two Cow Garage with "Gerri" (spelled "Geri" on my review copy of the album).

Sep 28, 2010

RGR: Two Cow Garage - Sweet Saint Me

Two Cow Garage's new album Sweet Saint Me hits digital outlets and cooler music stores October 26th (I'll remind you!!) and, to use a sports cliche, it's a beast. 2CG is a loud, sweaty, snarling alt-country outfit who blend punk, country, pop and bar rock in with some of the catchiest melodies and smartest lyrics you'll ever hear out a band of this ilk. With Sweet Saint Me, the boys play us (thankfully) more of the same, though brought into greater clarity with more songwriting prowess than they've exhibited on records past. The hooks are sharper, the themes more focused and there just seems to be a greater heft to the work this time around.

There's not an insignificant track to be found, so I'll just point out my early favorites (which will likely change because Sweet Saint Me is a big-time grower). The first single, however, is far from a grower. Lydia (official video here) grabs you immediately with its its insanely memorable chorus and its knife edge lyrics about an intergenerational romance:
"Lydia, you're much too young
to have your teeth on the tip of my tongue
If just your lips were a little bit older"

The very next song, Jackson, Don't You Worry, is a loving note to a bandmate's son about the difficulties of being a dad whose occupation keeps him on the road 200+ days a year. It's reassuring but heartbreaking and completely real. I dare you not to be moved.

My Great Gatsby is a treatise on the state of our culture and music in particular. Touching on great works of song and literature, it's an unflinching look at the demise of art in a day of greed.
"DJs are making records, could you please just be ashamed
of your raping and your pillaging of this thing we love?"
I'm not sure if (main lead singer) Micah here boldly proclaims this album "my Great Gatsby" but I won't say he'd necessarily be wrong.

Sweet Saint Me is a special album, long on emotion and absent of pretense; it sounds like they buzzed on inspiration and burned from labor to show us who they are. If Two Cow Garage doesn't break as big as an indie-rock/alt-country band can possibly break with this kickass album, it won't be for lack of giving us all they've got.

RIYL: Bruce Springsteen, The Replacements, Lucero, Drive-by Truckers, The Gaslight Anthem, The Hold Steady, Uncle Tupelo, Drag the River, Javi Garcia.

Free download of opening song "Sally I've Been Shot" here.

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