Oct 2, 2019
Really Dumb Country Reviews: October '19
These are real reviews from a popular digital music service.
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Zac Brown Band - The Owl
The Highwomen - s/t
Jon Pardi - Heartache Medication
Upchurch - Parachute
Sturgill Simpson - Sound & Fury
(yeah, I know it's not actually country)
Miranda Lambert - Wildcard
Larry Lee the Primitive Baptist Reviews Zac Brown Band’s “God Given”
It’s been a busy year for me with bake sales and car washes and mission trips, but Trailer has me back to review this? I’ve only been gone a year and country music has devolved even further than I thought possible.
First of all, I played this song for some youth in my church and they all said it was “all the cringe.” They also said that it was a janky old dude trying to get invited to the cookout. While I don’t always understand the slang of the younger generations, I will say that they were spot on with their observations. So clearly, this is not a country song, yet it’s on the country chart on the iTunes. Therefore, the Zac Brown Band is ‘straight up lying yo,’ and even toddlers know lying will put you on the fast track to Satan’s cookout, where everyone is invited.
Next of all, I quickly found out that this is a song about idolizing the sexuality of the female form. That is, I found it out after the part where Zachary was spouting on about his materialism. Already, we’ve got three sins catalogued in this ‘sus’ musical work. The Lord is ‘collecting receipts’ and the Zac Brown Band is surely indebted.
Even I was cringing at the part about hips riding little dimples. Bless it. If he’s going to be lustful, why can’t he stick with the tried and true lady parts to get excited about? That seems like what they call fetishism, which is probably a sin too, but I’m not sure how those niche weirdisms work. God will sort that all out.
Obviously I don’t like the title and hook of this song. Using God’s name so closely in the song with the word “damn” is not quite taking the Lord’s name in vain, but it’s close enough to feel the waves of heat pulsing through the wrought iron gates of Hades.
In summary, I wish Trailer’s email about this song was ‘left on read’ and I do not “Stan” this song. Side note: one of my congregation members is named Stan and he doesn’t seem to like anything, so that’s quite ironic, don’t ya think? Anyway, please avoid this song; it’s bad for your soul, and possibly worse for your ears and brain. Peace out.
F
Oct 1, 2019
Sep 30, 2019
Sep 29, 2019
Sep 28, 2019
Archives: Warning Labels on Albums from Luke Bryan, Willie, GnR, etc.
ORIGINALLY POSTED OCT 8, 2012
Album Warning Labels: Willie, GnR, Luke Bryan, etc.
Sep 27, 2019
Whiskey Myers: A Self-Titled Masterpiece
By Kevin Broughton
When Whiskey Myers front man Cody Cannon got the call last year, the band was in the studio working on what would become their fifth, self-titled album. The pitch: Would the group like to appear in Kevin Costner’s Yellowstone? Not just on the soundtrack, but in an actual scene?
It was a no-brainer, and a decision that had nearly immediate – and retroactive – benefits for the Palestine, Texas-based Red Dirt rockers, as noted by Saving Country Music:
In the aftermath of the episode, the band’s most recent album, Mud, went to No. 1 on the iTunes country chart, and Top 20 all-genre on the hourly-updating aggregator. Also, their album Firewater came in at No. 3 in country, and the album Early Morning Shakes came in at #9. On the iTunes country songs chart, the song “Stone” was in the Top 10.
In an ever-evolving music business, independent artists often find a shot in the arm of exposure from film and television; Colter Wall, Chris Stapleton and Scott Biram all got boosts from appearing on the soundtrack of the Oscar-nominated Hell or High Water. But Whiskey Myers’ catapult ride from relative obscurity to the forefront of commercial success was almost otherworldly. The Yellowstone appearance landed three previous records – dating back seven years – in the country Top Ten. That momentum set the stage perfectly for the band’s self-titled album released today.
Their two previous offerings, 2016’s Mud and Early Morning Shakes from 2014, were both helmed by all-world producer and Grammy machine Dave Cobb. For their fifth release, though, the band decided to produce it themselves. Lead guitarist and multi-instrumentalist John Jeffers emphasizes how a sense of collaboration and experimentation really defined their whirlwind eighteen days of recording at the Sonic Ranch studio, outside of El Paso. “There’s never a right or wrong answer when it comes to ideas,” he says. “We would run every single idea from everyone — some work and some don’t, but we give them all a shot. And then there’s that magical moment when the whole band hears it, your eyes get a twinkle — ‘That’s it, that’s us!’”
Their do-it-yourself result is a Southern rock masterpiece.
The album kicks off with “Die Rockin’.” Cannon’s raspy, proud vocals are right in your face – and you definitely feel the influence of co-writer Ray Wylie Hubbard.
Over the course of fourteen tracks, though, songs expand, moods change and songs like “Bury My Bones” and “California to Carolina” explore different stories and emotions. “You want an album to be like a rollercoaster,” says Jeffers. “Does it really take you for a ride, with ups and downs and some loops and sometimes you’re upside down?”
There are indeed shifts in the album’s momentum and flow. “Bitch” is the best indictment of Bro-country you’ll ever find.
Collaborative writing with Adam Hood (“Rolling Stone”) and Brent Cobb (“Running”) provide balance and country texture. Ultimately, however, this is a Southern rock album in the very best tradition of the nearly forgotten genre. “Houston County Sky” channels The Marshall Tucker Band, and “Little More Money” and “Bad Weather” are right out of Dirty South-era Drive By Truckers. “Hammer” is a sultry, swampy reminiscence of early Black Crowes.
Whiskey Myers has positioned itself on the cusp of rarified air; can they enjoy widespread mainstream success without benefit of commercial radio in the way, say, Jason Isbell has in recent years? We’re about to find out. This album is a triumph.
Whiskey Myers is available everywhere you consume music today.
Album Review / Michaela Anne / Desert Dove
By Megan Bledsoe
It can be alarming sometimes to hear an artist talk of expanding their sound. In mainstream country, it's usually a not-so-subtle hint that the artist wants to abandon his or her roots in favor of some ill-advised EDM singles in a misguided effort to stay relevant. It can make independent fans cautious too, as their favorite artists move further and further away from what captured these fans in the first place (Sturgill, anyone?).
But then there are those times when such expansion really works, bringing artists to their full potential and capturing their music better than ever before. Such is the case with Michaela Anne and Desert Dove, as she left Nashville behind for California and a more alt-rock vibe. But though it leans more toward rock than country, the arrangements are more polished, with sweeping strings to make the whole thing mellow and lonesome like the deserts of the West. Sam Outlaw's fingerprints can be felt all over this record, as everything sounds so elegant and polished. But this is not nearly as sparse or as quiet as an Outlaw album, and this atmospheric production is the record's greatest strength, bringing the desert to life in mood more so than in lyrical content.
In the lyrical sense, this is somewhat reminiscent of Kacey Musgraves' Golden Hour. This may seem like a strange comparison at first, and the similarity is not stylistic; rather, it's in the way that this album, like Golden Hour, operates under the assumption that less is more, going for simple lyrics and instrumental breaks rather than elaborate stories and deeper songwriting.
There's a wistfulness running through this record that is captured by both the production and the lyrics. The whole thing comes across as Michaela Anne journeying through the desert searching for something tangible. She calls herself "everybody's temporary friend" in "Child of the Wind" as she drifts from town to town. In "Tattered, Torn, and Blue and Crazy," she's convinced that her current lover will one day leave her, as if it's impossible to imagine anyone ever staying, anything ever being permanent. "One Heart" conveys a similar feeling, as she seems to believe that love has ended before it's begun but chooses to go down this road anyway. "Run Away With Me" sees her on the move yet again, albeit this time not alone. She always seems to be searching, and unfortunately, nothing is ever resolved; she never really finds what she's looking for by the end of the album.
Despite the sweeping arrangements, Michaela Anne's voice is still the focal point. She's never drowned out, and this is fortunate because her vocals are certainly a strength of this record. Her melodies also work really well with the open, atmospheric vibes and enhance the wandering feeling.
This shift in sound has worked excellently well for Michaela Anne. These songs fit her voice nicely, and this style suits her lyrics. The decision to record this in California with the inspiration of the desert and the coast really paid off. If you enjoy records with a western feel, you'll definitely love Desert Dove.
Desert Dove is available today everywhere you buy or stream music.
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