Showing posts with label Uncle Lucius. Show all posts
Showing posts with label Uncle Lucius. Show all posts

Nov 4, 2021

Everything You Need to Know About Yellowstone Season 4



You need to suspend more than just disbelief, okay?

  

By Kevin Broughton

 

It’s complicated.

 

About three years ago, I started getting text messages from a friend back in Mississippi: “Have you watched Yellowstone?” 

 

Well, of course I hadn’t. “Isn’t Kevin Costner the lead actor?” I asked. “You know, he’s not really known for his…well, acting.” My friend assured me that this didn’t matter.  I remained unconvinced. A year went by.

 

My friend, who knows I write for this site, upped the ante. “You like Whiskey Myers, right? Bro, they’re all over the soundtrack.” My friend – we’ll call him “Johnny” -- knows me too well. Sure enough, just a few minutes into Season 1, episode 1, I was treated to Stapleton’s “Tennessee Whiskey,” then this gem from the aforementioned Dallas rockers:


  

“Johnny” used excellent music like a 3/0 treble hook on my inner cheek, and I now I couldn’t shake loose from this soap opera if I wanted to. Indeed, it’s complicated. 

 

Let’s get down to business, which is letting FTM readers know all they need to about Sunday’s premiere of Yellowstone, Season FOUR:

 

1. THE GREAT

 

Here are just some of the artists who have appeared on the soundtrack through the first three seasons:

 

Ryan Bingham (more on him in a moment:)


  

Uncle Lucius

 

Whitey Morgan and the 78s


Emmylou Harris

 

John Pardi

 

Kacey Musgraves

 

Blackberry Smoke:


  

Jason Isbell

 

Tyler Childers:


  

This list isn’t close to exhaustive. It is a fair sampling, though. The soundtrack is exquisite. Perfection. 

 

2. THE VERY GOOD

 

Anyone who’s visited Big Sky Country knows what a wonderful backdrop any cinematographer will have to work with. Montana is ready-made cinematic beauty, and the guys behind the cameras on Yellowstone do not disappoint. Watch a few episodes, and you’ll want to visit Montana; I know it’s made me crave a return trip. It’s some of the best photography on television, period.

 

3. THE MERELY MEDIOCRE

 

Have you noticed that we’re a couple hundred words in and we haven’t discussed what Yellowstone is actually about? Things get dicey here.

 

The “Plot.” (Spoilers ahead)

 

Yellowstone is the name of the ranch owned by John Dutton, the unluckiest man alive. The plot? In each of the first three seasons, it’s this: SOMEONE IS TRYING TO TAKE JOHN DUTTON’S LAND!!!1!

 

In Season One, it’s the Injuns. Seriously. Not the scalping kind, but their honorable, suit-wearing and casino-owning descendants. Never mind that it’s 2018; forget the Bureau of Indian Affairs and gaming licenses. Heck, forget the civil court system. Those would get in the way of a classic cowboys-and-Indians narrative.

 

Seasons two and three feature corporate raiders and hedge-fund dudes who want to build an airport (two) and city (three)…ON JOHN DUTTON’S LAND!!!! 

 

At first, they all offer John Dutton money; filthy lucre to make him wealthy beyond the dreams of all avarice. They also beat up his daughter and blow shit up. But so far, THEY HAVEN’T TAKEN JOHN DUTTON’S LAND.

 

4. THE BAD

 

Go ahead and pour a drink.

 

The characters and “actors”

 

This is typically called “the cast” in show business, but it’s helpful to break them down. Getting back to my initial concern when my pal pitched me the show: Yes, Kevin Costner is the male lead, playing the eternally besieged John Dutton. Costner has a 40-plus year body of work to judge. 

 

Here’s one of the most memorable scenes in the first three seasons of Yellowstone:


  

There you have it. Kevin Costner, ladies and gentlemen. Actually, that’s not quite fair. Costner had the role of a lifetime in The Big Chill. It’s an accomplishment that will stand out long after he’s shuffled off this mortal coil. 

 

Dutton has three kids. Well, he had four, but the oldest son – whose name is unimportant – got ventilated in the series’ first episode. That poor actor really got hosed on residuals. 

 

Here are the three remaining Dutton offspring:

 

Kayce (pronounced “Casey”) is the untamed free spirit. He’s a war hero because of course he is. (Navy SEAL, natch.) He’s so alienated from his dad that he hooks up with an Indian woman (would you believe she’s absolutely gorgeous?) makes a baby with her, and lives in a trailer on the reservation. In the very first episode, his hot Indian wife gets a job teaching college, which can only make Kayce feel even more inadequate. He’s actually considering going back overseas and they’re arguing about it in the truck, when a meth lab explodes right next to them.  Just a typical day on Yellowstone.

 

Jamie is a stupid guy who does lots of stupid shit. He’s a lawyer – manages to get himself appointed Montana Attorney General a few episodes in – with a wide sociopathic streak, forever doing self-destructive things. He murders a lady reporter in Season One. In Season Three, we learn that he’s not really a Dutton after all. No, sir. You see, John Dutton may be a gruff man, fighting off all those who want to TAKE HIS LAND, but he has a heart of gold. Many years ago, he adopted Jamie, the welp of a white trash dad and addict mom, when the former beat the latter to death. When Jamie finds out, his reaction isn’t profound gratitude to John, but resentment. He finds his biological dad – living in filth – and decides to turn against the Dutton family. 

 

Beth is John Dutton’s only daughter. She’s a corporate raider, and we get a taste of her ruthlessness in an early boardroom scene; she reduces titans of industry to sniveling wretches with her acid tongue. But her hyper-capitalist days are soon behind her. John Dutton has called her home to fight THE PEOPLE WHO ARE TRYING TO TAKE HIS LAND. She deals with stress the way any woman in high finance would: By having a lot of casual sex with the ranch foreman. Beth can’t have children because when Jamie took her to get an abortion when she was 15, the doctors told him (but not her) that she would never be able to have kids if they do the procedure. Jamie being Jamie, he says “Fine by me.” 

 

Rip is the ranch foreman. Another stray John Dutton picked up, he usually channels his anger into his work, or the occasional grudge-banging of Beth Dutton. Then again, he’s committed or been complicit in a half-dozen murders through three seasons. He’s the son John Dutton never had. 

 

Jimmy goes from being a meth head in Season One episode one, to being duct-taped to the saddle to learn how to ride the next week, to a competent rodeo cowboy by the middle of the season. 

 

Governor Lynelle Perry bears more than a passing resemblance to North Dakota Gov. Kristi Noem in real life. On the show, she’s banging John Dutton, because of course she is. In Season Three, she sides with those TRYING TO TAKE JOHN DUTTON’S LAND.

 

Walker is a ranch hand we see a lot of in seasons one and three. Oh, and he’s played by Ryan Bingham, far and away the best actor on the show. Yes, I know that’s counterintuitive. Back when The Sopranos dominated the popular culture, I had an unpopular opinion: James Gandolfini was not a great actor. How hard can it be for a fat, Italian Yankee to play a fat, Italian Yankee? Yes, Ryan Bingham was an actual cowboy in real life. And he’s the only actor in the entire cast of Yellowstone who comes across authentically. That says less about Ryan Bingham than it does the casting director.

 

5. THE PUTRID

 

The sad thing is, Yellowstone doesn’t have to be awful. It’s a choice made by the showrunners. 

 

The Horrifically Lazy Writing

 

Years ago, a lady friend roped me into watching several episodes of Grey’s Anatomy. I was relieved of this duty after six or so instances of being able to recite the actors’ dialogue before it was said on screen. Just one hackneyed clichĂ© after another. 

 

All soap operas are essentially the same, whether the setting is an operating room or a roping pen. 

 

In “Cowboys and Dreamers,” (Season Three, episode five) Kayce (newly installed Livestock Commissioner) breaks several laws to do the “right” thing. Some poor cowboy has killed himself – there’s actually blood and brain matter on the foreclosure notice. Kayce, with the acquiescence of the sheriff, sells the string of ponies and delivers the cash to the grieving widow. “Cowboys and dreamers,” she says, with wistful regret. “That’s all I’ve ever fallen for.” Ugh. But it gets worse when Kayce chats with the dead cowpoke’s son.

 

“Are you a cowboy?” asks the urchin.

 

“Yep.”

 

“My daddy was a cowboy. I’m gonna be a cowboy, too!” 

 

Really?

 

The Need for Extreme Suspension of Disbelief

 

Look, I get it: It’s television. Make-believe. Fiction. Not real stuff. 

 

All narratives in TV and movies require the suspension of disbelief to some degree. But it’s to what degree that tells the tale. NWA wrestling in the 1980s was fake, and everybody knew it, but with its blue-collar/redneck sensibility, the NWA was still slightly plausible. But along comes the WWF, completely tipping the gaff with its ready-made backgrounds for each wrestler. The message: “Not only is this wrestling totally fake, we’re gonna turn the ‘sport’ into a cartoon for six-year-olds.” 

 

Justified was six seasons of great television. Let’s stipulate that it strains credulity that a Deputy U.S. Marshall in Kentucky kills someone every single week. Yeah, that’s just a little much. What made such an outlandish concept digestible, week after week? Well, actors and writers (see above.) 

 

Timothy Olyphant, Nick Searcy, Walt Goggins and others in that stellar cast distracted from the absurdity with their on-screen skills. And the writers used perfectly timed humor to highlight the stupidity of some real shit-for-brains criminals like Dewey Crowe. 

 

Either Costner is doing all the writing, or the writers’ room is staffed with room-temperature IQ dullards. Here are some of the things we’re asked to accept.

 

Remember Jimmy, the meth head-turned-saddle-bronc-rodeo guy? Well, he hooks up with a really hot barrel racer (because of course.) So, it’s only natural that when she (played by Josh Brolin’s daughter) goes for a roll in the bunkhouse hay, her similarly hot, 20-something friend decides to knock boots with 60-something Lloyd, another ranch hand. It’s totally plausible.

 

Kayce, the war-hero SEAL, at another point when he’s considering joining back up, says, “Yeah, I’ve been talking to my sergeant about it.” Hey, dullards in the writers’ room: There are no sergeants in the Navy. 

 

You think the bunkhouse romance between meth head Jimmy and the smokin’ hot barrel racer was a stretch? Hold on to your Resistol, Cowboy. I’ll see that and raise you a tale of true love between Colby – the one black dude on the show – and Teeter, a snuff-dipping, pink-haired skanky white girl. 

 

Then there’s just the sheer amount of mayhem that takes place in this corner of Montana. Multiple murders, explosions, countless acts of eco-terrorism, and corrupt law-enforcement officials everywhere you look? Big Sky Country would be crawling with FBI, and maybe a couple of infantry brigades. But no. This is just the way things are, when someone is TRYING TO TAKE JOHN DUTTON’S LAND. 

 

It’s not just disbelief you have to suspend. It’s also taste, and a chunk of your self-respect. 

 

Season Four promises to be even dumber, if this “meet the new cast members” video is any indication. 


  

An animal-rights activist (Montana is fertile ground for them, after all,) a lady with a New England Brahmin accent (who’s trying to TAKE JOHN DUTTON’S LAND,) and some new kid (“Everyone just calls me ‘boy,’” because of course they do) will doubtless combine to add all the authenticity one expects from a Costner-led cast.

 

In the Season Three finale, the people who are TRYING TO TAKE JOHN DUTTON’S LAND really ratcheted up the pressure. Beth’s office in downtown Helena is bombed. If the external shot of the explosion into the street is any indication, a pink, misty substance should be the only thing left of her. Other gunmen attack Kayce in his law enforcement office. We see him upend his desk for cover and draw his sidearm. John Dutton, having helped a lady change the tire on her minivan, gets turned into swiss cheese by a couple of dudes with MP5s. Rip frantically calls Jamie: “I can’t get anybody on the phone,” he says. “Rip, you probably shouldn’t call me anymore,” replies the sociopathic doofus. 

 

Could this be the end for John Dutton? Will the people TRYING TO TAKE HIS LAND finally TAKE HIS LAND? 

 

Tune in Sunday night on Paramount, for the craptacular Season Four premiere!

 

Yes, it’s complicated. Yes, it’s downright bad television, save the music and scenery.

 

And yes, I’ll watch Season Four with every bit of self-loathing I deserve. 

 

Damn you, “Johnny.” Damn you, Andrea von Foerster, brilliant music supervisor that you are. Without your stellar – nay, flawless – musical taste, I wouldn’t have written this misanthropic screed. 

 

And I guess part of it’s my own fault for loving Whiskey Myers, et. al. so much.

 

I feel like Charlton Heston at the end of Planet of the Apes.

 

Jan 4, 2013

FTM Top 75 Albums of 2012: 1-20


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

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

See review here.

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

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

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

Standout tracks: Pocket Full of Misery, Rosalia

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

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

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

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


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

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




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

Sep 13, 2012

Best Albums of 2012 So Far: September


New to the chart this month: The Pollies, Chris Knight, Uncle Lucius and the John D. Hale Band.


1. Lee Bains III & The Glory Fires - There is a Bomb in Gilead


2. Marty Stuart - Nashville, Vol. 1 Tear The Woodpile Down

3. The Pollies - Where the Lies Begin (Release Date: Oct. 2)


5. Turnpike Troubadours - Goodbye Normal Street



7. Arliss Nancy - Simple Machines



9. Killer Mike - R.A.P. Music

10. Shooter Jennings - Family Man

11. Blackberry Smoke - The Whippoorwill

12. Darrell Scott - Long Ride Home

13. John D. Hale Band - More Than I Can Handle (Release Date: Sept. 25)

14. Jason Eady - AM Country Heaven

15. Kellie Pickler - 100 Proof

Aug 31, 2012

YouTube Gems: Uncle Lucius

From their excellent new album, And You Are Me, here's Uncle Lucius with "Pocket Full of Misery."

LinkWithin

Related Posts with Thumbnails