Aug 25, 2019
Aug 24, 2019
Archives: A Crapload of 2011 Snap Judgment Reviews ft. Blake Shelton, Luke Bryan, Sunny Sweeney
ORIGINALLY POSTED MAY 30, 2011
Snap Judgments: Promo Only Country Radio June 2011
Extremely mixed bag this time out. Lots of good, lots of garbage, interspersed with the usual middle of the road. (Click song titles to listen - they're old though; they may not work)
Blake Shelton - Honey Bee
My first thought is "phoning it in." This is a catchy song, but it's such an easy release… no risk involved whatsoever. Sure Blake sounds good and the song is catchy, but there's not much "there" there. It's cheerful, radio-friendly and requires little attention. On top of that, it's mostly just a list of things that go together as a comparison to a relationship. Not bad, but at this point, I expect a lot more from Blake - at least as the first single from a new album anyway.
C
Trace Adkins - Just Fishin'
Following his usual pattern of "crap song-good song-crap song-good song," Trace delivers another strong release. It's well-intentioned and follows through on that message with a solid delivery. Trace just kills these "family is everything" songs. Good stuff.
A-
Luke Bryan - Country Girl (Shake it for Me)
Not good at all. Luke was poised to jump to the A-list… and probably still is, commercially, but this is just a bad, bad song. I like Luke and think he's got a ton of potential in the neo-traditional realm, but this is a flat-out laughable track. On the bright side, it's ripe for plenty of comedy material.
F
Stealing Angels - Paper Heart
Nice melody, fairly memorable song. Vocals are a little thin, but this isn't too bad overall.
C+
Brantley Gilbert - Country Must Be Country Wide
Disclaimer: I'm not a fan of this guy (or any of his compadres, but we'll get into that later). I think he's just Jason Aldean redux, and this song does nothing to refute that opinion. Lots of name-dropping, lots of rock riffs, lots of attitude. Nothing more. Some of his slower songs I've heard prove him to be more than a one-trick pony, but this isn't very good.
C-
Dierks Bentley - Am I the Only One
Another big talent kinda phoning it in, but at least this one's more fun. Just another light-hearted summer country partyin' song, but Dierks sounds into it enough to make me take notice. It's also populated with interesting details and characters, so it stands out to some degree.
B
Jason Aldean - Dirt Road Anthem
I told you he'd release this. I never had a doubt. 90% of my brain hates this so bad. It's a rap song, for those of you not in the know. He sings the chorus, but it's a rap song. And he drinks and drives in it. Not a very responsible message. Confession: 10% of my brain thinks this is very catchy and nearly a guilty pleasure. The 90% wins, however.
C-
Jaron and the Long Road to Love - It's a Good Thing
Jaron has been trying in vain to repeat the success of his '10 hit, uh, whatever it was called - that spiteful one about flower pots falling on his ex's head. This is like his 4th single since then, to no avail. It's not country, piano pop really. Jaron sounds good though. Way catchier than anything Jimmy Wayne's put out lately. Still, not a hit. Just not substantial enough for repeated play.
C
Reba - When Love Gets a Hold of You
Shouldn't that be "When Love Gets Aholta You" for the country market? This isn't bad, but feels a little thin. The melody just doesn't have enough highs and lows to keep my interest. Reba sounds great, as always, but this tune isn't up to her level. It sounds like a hit though.
C+
Jake Owen - Barefoot Blue Jean Night
Way better than I expected. It's a simple pop-rock summer anthem, but it's a helluva earworm. I should probably hate this but I don't… it just has a certain "it" factor I can't explain. Big hit.
B
Billy Currington - Love Done Gone
As happy of a sad song as you're gonna hear, "Love Done Gone" would be craptacular at the hands of a lesser vocalist, but Billy is not a lesser vocalist. The opening "babadabadaba's" nearly turned me off in the first place, but I stood strong and Billy hit a homerun with this release. I have a soft spot for bittersweet tunes like this. It's poppy, catchy and well-performed. A winning single.
B+
Margaret Durante - Maybe Tonight
Meh. Not catchy, not that well sung. Nothing to see here.
D
Rodney Atkins - Take a Back Road
Looks like my predictions that Rodney's 15 minutes were up were incorrect. He milked that last album with the sh*tty "Farmer's Daughter" tack-on-hit into some staying power, and follows that up with a surprisingly good new single. It follows his usual schtick, but without any of the shockingly embarrassing lyrics he usually drops in. There's a name-drop, but it's on-point with the song's theme, so no negative points for it. Unsurprisingly, a tractor is mentioned. I think he has a one-tractor-mention-per-song quota in his contract. Anyway, not a bad song at all.
B-
Jason Michael Carroll - Numbers
Cracker Barrel's newest employee delivers his first single for that label here, to not-so-great results. JMC's got a killer baritone, but he sounds way too stilted and karaoke-ish here. Also, the "numbers" theme gets tired out within the first two lines and it doesn't quit. This sounds like a too-clever lyric written by a lyric-critique message board regular (i.e. something I'd have written 5-6 years ago), and just isn't up to snuff with the market. Overkill in the thematic department too. Rewrite.
D
Randy Houser - In God's Time
Devastatingly good. Repeating myself: in the hands of a lesser vocalist, this might be overwrought and come off as way too schlocky… but Randy is not a lesser vocalist. In fact, he has, bar-none, the best voice in modern country music and he just kills in this song. If you don't listen to this with the ear of a jaded, better-taste-than-thou music snob, it's a near masterpiece. Here's hoping this guy finally gets his due.
A+
Sunny Sweeney - Staying's Worse than Leaving
Love this chick and this is my favorite track off her recent EP. It's kinda throwback in its theme - sounds very 90's in that aspect - but it's modern sounding. She's in great voice and this is a very solid tune. I'm so tired of happyhappyjoyjoy radio - we need more songs like this on Clearchannel.
A-
John Rich - For the Kids (warning: this vid's a tearjerker)
You know me - I want this guy to be FTM fodder for years to come - but he seems to possibly be maturing in more ways than one. His Celebrity Apprentice appearance actually had me rooting for him - on the show and in his life, that he'll overcome the reputation he's lived down to for years. Honestly, this is not a song I'll listen to multiple times, but for what it is (an anthem for the St. Jude's Childrens Hospital), it's excellent. John sounds better than he usually does on slower songs, and this isn't bad overall. I'll average out my personal feelings and my critical perspective and give this a:
B
Danielle Car - Pretty Please
Thin, poorly produced. Catchy though. Pretty good mix of country and rock with a little attitude mixed in. The lyrics are middling, but in parts, memorable. That all adds up to a:
C
Aug 23, 2019
Hopeful Emergence: A Conversation With Jason Hawk Harris
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| Photo by Sean Rosenthal |
By Kevin Broughton
Jason Hawk Harris hit rock bottom during the writing and recording of his debut full-length albumLove and the Dark. In the last few years, the Houston-born-and-raised, Los Angeles-based musician endured life-altering hardships—illness, death, familial strife, and addiction—yet from these trials, a luxuriant and confident vision of art country emerged.
With an unlikely background, Harris is a singer/guitarist/songwriter who walks his own line, one that touches on Lyle Lovett’s lyrical frankness, John Moreland’s punk cerebralism and Judee Sill’s mysticism and orchestral sensibility. There’s even the literary and sonic audacity of an early Steve Earle, an outlaw unafraid to embrace harmony. Comparisons to Jason Isbell will inevitably follow, and they won’t be hyperbole, either.
While touring and performing in the indie folk band The Show Ponies,Jason started writing his own songs, intuitively returning to his country roots but incorporating his classical and rock ‘n’ roll performance skills. He released his first solo offering, the Formaldehyde, Tobacco and Tulips EP in 2017 and hit the road.
Meanwhile, his world fell apart: his mother died from complications of alcoholism; his father went bankrupt after being sued by the King of Morocco; his sister was diagnosed with multiple sclerosis and gave birth to a premature son with cerebral palsy; and—subsequently—Jason got sidetracked by his own vices.
This album is his personal narrative on death, struggle, and addiction, of a life deconstructed and reassembled. From the opener, “The Smoke and the Stars,” it’s apparent this album, produced by Andy Freeman, will take you to compelling new places. An ache, a longing, claws its way out of the speakers, the gradual drone blossoming through without rigid genre designs. You can hear the essence of classical music in a long crescendo; you can feel his Houston upbringing in JHH’s soulful and humid inflection; you can sense his Los Angeles home in the sharp and risky dynamics. You can also hear the joy and exquisite desperation when he swings for the fences, belting “Maybe I was just waiting for you, to get through the grapevine, tear down that door, and let me live in those green eyes of yours.”
Harris has composed one of the best country albums of the year and helped Bloodshot continue its hot streak of debut records from its stable of the finest talents in the genre.
A master’s degree in music was at one time a viable option for you. Though you ended up not going that route, I’m curious about what formal or classical music education you’ve had.
Yeah, I have a bachelor’s degree – from a small, liberal arts college in Southern California called Biola University -- in music composition with an emphasis in voice. That’s the level I stopped at. I applied and was wait-listed for the master’s program at UCLA, but I just decided I didn’t want to go that route.
Do you play more than guitar on this album?
Uh, let’s see…I played some percussion; I played most of the guitars, though there were a few of those parts I didn’t play. I played somepiano, but for the most part, anything that wasn’t guitar…I wanted killer players on this record and had them in studio. So the piano and percussion stuff I did was after the fact and just to fill in space.
A couple of the songs have a classical or orchestral feel to them, particularly the first and last cuts. Can you describe how you and (producer) Andy Freeman went about arranging and producing this album? You obviously had some really good players; how much of this was done live?
As far as the arranging goes, I’m the most anal about that sort of stuff. So usually when I go in the studio I have a really good idea what I want to do. And I’ll throw it to Andy, and he’ll be like the fine-toothed comb; he’ll say, “Well, I like this, but this part needs to shine a little bit more,” you know? Andy is really good at unlocking the creativity in the people he’s producing. And sometimes he’ll just let me go nuts, like I did at the end of “Grandfather,” and bring out all the classical chops and orchestral training.
A lot of the album was recorded live. Even the base tracks for “Grandfather were recorded live; obviously the strings and the percussion and xylophone were not. “I’m Afraid” is one whole, live take.
Speaking of the opening song: I believe a dream about being in a room full of snakes inspired “The Smoke and the Stars.” Someone with green eyes comes to your rescue, but by then the snakes are a metaphor for something else, aren’t they?
Mmm? I don’t know. Maybe. My thing is when I’m writing like that, I’m not just writing metaphors. And I don’t like metaphors that have to work too hard. So I’m just writing as if the subject is real.
You’ve not made a secret of the fact that you struggled with substance abuse during the making of this album. If you don’t mind elaborating, which were your poisons of choice, and what are your physical and spiritual states as you approach your release date?
I’ll just say this. I’m physically and spiritually more healthy than I’ve ever been. It’s something that I’m trying…trying not to think of as something that defines me, even knowing full well that it has an effect on me. I’m not sure I’m ready to talk about drug of choice or low points or anything like that just yet. Maybe for the next record
“Giving In” is as positively an upbeat song about an addict’s relapse I can imagine, with imagery of a man’s using his wife’s wages when he goes out to fix. What went into writing this song?
Yeah. Not all of my songs are completely autobiographical. Most of them have a lot of me in them, though. “Giving In” is a character that’s kind of based on my mother and me. My mother was an alcoholic and an addict, and she was someone – and I’ve been around a lot of addicts in my life – who wanted to stop. She wanted to be sober more than any addict I’ve ever met. And she was just powerless to do so.
So it’s a combination of her journey and her struggles, and mine.
The line “I wish that where I am was where I’ve been” can be interpreted at least a couple of ways. Is someone looking ahead or backwards?
The way I was thinking about it was, “I wish that where I am now,” which is not sober and completely idiotic and drunk – I wish that was something I could look back on and say, “Oh man, remember when I used to get so f*cking drunk and I was a mess? That was so dumb.”
You’ve experienced a horrific level of family tragedy in a short time. It seems hackneyed to ask if the creative process was therapeutic, but there does seem to be a hopeful air to an album filled with really sad vignettes. Do you feel like making it helped you emerge in a better place?
Yeah, I think so. Hope is something that – even in the darkest times of the past five, six, seven years when the aforementioned tragedies took place – I never felt hopeless. It’s…I do believe in an afterlife and I believe that we’re all going there. And that gives me a lot of hope, even when I see the worst that life has to offer. Because I don’t think that it’s the end. And it’s okay if other people don’t believe that, but that happens to be where I fall on the spectrum of belief.
I kind of got that feeling, especially listening to the last song, which I’ll ask you about now. “Grandfather” is such a warm, big sweeping song. It’s literally otherworldly; I’m just not quitesure of the context. Did you have a near-death experience and see your granddad? The song has a church feel to it; is this how you envision Heaven? Or something else altogether?
I think I’d like to keep it open for people, because I wanted it to be – well, I wanted it to have an opiate feel, which is why I’m so vague about where I am in the first verse. And I think that’s important to the song’s ethos – that it has an air of mystery and the unknown. I think hope is the embrace of the unknown; it’s not something desperate and awful.
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