Monthly Archives: July 2017

Reviews

Album Review: Charley Pride–Music in my Heart

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Rating: 8/10

The Apple Music description of this album is unintentionally hilarious, citing it as “traditional country.” Why is this funny? Because in all my time using the service, I’ve never seen anything so specific labeling a country project: you get “country,” “Americana,” “folk,” “singer-songwriter,” and it’s the same in other genres. You don’t get specifics like “pop country,” “Red Dirt,” or “country rock.” I did see “traditional folk” on Shinyribs’ latest, but that’s arguably not even all that accurate, so I’m not sure that counts as specific. But this album is so unabashedly country that even the Apple Music people felt it should be called “traditional country.” And you know what? If there’s been any album in 2017 or really during all the time I’ve written here that deserves this classification, Music in my Heart qualifies. Forget genre-bending and trying to undefined country music; Charley Pride has made an album so undeniable and unapologetic in its countriness that even Apple Music recognizes it and wants to make sure you’re entirely aware that this is different from Sam Hunt and all the others irresponsibly using the term to market music that is nowhere close to country at all and is more often than not crappy in its rightful genre as well.

That’s ultimately the strongest point of this record. There’s great Americana and pop country and Red Dirt, and we shouldn’t let genre solely dictate our musical tastes, but there’s something so inexplicably comforting about hearing fiddle and steel and three-chord arrangements that words just can’t express. If you’re a fan of country music, even if you’re not a purist–which I’m certainly not–you can’t help but listen to this album, with its shuffling rhythms and scandalous amounts of fiddle and steel, and be thankful that not everyone has forsaken this sound for Americana or some other blend of country. IN sound, this is country in its purest form, or at least in the purest form you’re going to get it in 2017.

But just because it’s country doesn’t mean it’s good, so let’s talk about the writing. I don’t think any one song is going to blow you away, but the lyrics are pretty strong throughout. It’s just as country in theme as it is in sound, featuring many songs about love and heartbreak. “New Patches” is a pretty clever take on a tried-and-true country theme, likening finding someone new to the inadvisable practice of sewing new patches on old garments. “All by my Lonesome” is another standout, and the copious amounts of fiddle here certainly help. “The Way it Was in ’51” is the only one that really deviates from these themes, and it’s one of the strongest songs on the record lyrically, really painting the pictures of that year well. But honestly, sometimes you don’t even pay attention to the lyrics because you’re so caught up in the sound.

Although not every song stands out, the universality in these songs does, and this relatability is the thing that Willie Nelson’s record lacked. That’s no criticism of Willie, but he reflected much on old age and the end of life, and at seventy-nine, Charley Pride could be doing the same. Again, no disrespect to Willie Nelson, or to Pride if/when he explores these subjects, but the songs of Music in my Heart are much more relatable and universal in theme, and that’s what ultimately was missing for me on God’s Problem Child. This is an album that I think will have considerably more mileage for younger listeners, and certainly for me.

There’s not much to criticize here, but the lack of variety thematically does start to make this run together a little in the middle of the record. There’s virtually no variety in tempo either, so that doesn’t really help matters. The closer and title track is really the only up-tempo track here, and it probably could have used a couple more earlier on the album to spice things up.

Overall, this is just a really comforting record. I don’t really know how else to put it. You aren’t going to be blown away lyrically, but there are still a lot of good songs. The highest point of the album, though, is that honest, three-chord country. I say all the time, “this isn’t the album to buy if you want fiddle and steel,” usually followed by praise of the album. But friends, this most certainly is the album to buy if you want fiddle and steel; you’ll have no shortage of them. I should also mention how good Charley Pride’s voice is at his age–I was admittedly a little amazed by that. This is not a flawless record, but it’s a good one, and one a lot of people will surely enjoy.

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Reviews

Album Review: Sons of the Palomino (self-titled)

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Rating: 7/10

Before I get too in-depth about this album, I would like to talk about what Sons of the Palomino are trying to do here. With this album, the band tries to recapture an era and a feel, that of the Palomino, a club where classic country stars played during the 80s and 90s. Megan told me I should read the band’s biography before listening to the album, and though I would have liked it anyway given how country the material is, I’m glad I knew all of the information about the band’s goals going in. It helps give the album a special feel.

As for the album itself, I did not love the whole thing. There were songs that I felt were too sleepy for my taste, like “Old Roads and Lost Highways”. Then, the album had a couple songs which I did not connect to emotionally, like “Whiskey Years”. I should have liked the latter more than I did, as it tells the tale of a man looking forward to the day where he can be sober and not have to drink his pain away.

For all of the lackluster moments on this album, though, I felt a real love for the instrumentation. Even on songs I did not care for, I always loved the actual musicianship. The steel guitar, fiddle, piano…it all goes back to the days of an older style of country. It’s a style that I personally gravitate toward, so even when I was ambivalent about the actual lyrics, I always liked the instrumentation.

With all of the things I didn’t personally get into about this album out of the way, let’s talk about the good stuff. The first track, “Runnin’ Around,” is what convinced me I needed to hear what this band were selling. It’s a mid-tempo country song about a man who knows his girlfriend is cheating, and how he won’t be there when she comes looking for him. Done a million times? Sure, but this band makes it fun, and again. The instrumentation here is stellar. The next song, “Authentic,” brings in something else unique about this album. At various points, there are featured guest stars singing in parts of the song. Well, the band certainly couldn’t get more “Authentic” than John Anderson, and let me tell you. Hearing him on this track was awesome. The actual lyrics tell of being real and true to yourself, and not trying to be some fake version of country. In the days of pop country, and many people not knowing what country really is, this song is a must-listen. “Countryholic” is pretty hilarious, as the song discusses a man who just loves Waylon and Willie, steel guitar, and boots. It’s a bit cliché, but I chuckled a few times.

I liked the slower and more feeling-driven “Outta This Town”. It’s all about a man who can’t seem to leave his hometown. The planes never stop there, the train never makes a trip to the town, and he gets a woman pregnant and marries her. Thus, he’s stuck in the town. This one features Emmylou Harris on backing vocals, and I thought it made a nice change from all the faster songs. As much as I’m bored of all the drinking songs in today’s mainstream country scene, “Hole In The Wall” was an easy listen. I didn’t love it, but it was pleasant enough. The lyrics revolve around wanting to find a little bar with cold beer, a small dance floor, and a jukebox. I just liked the instrumentation, the lyrics, and everything combined to make this an enjoyable, if not completely amazing, song. My favorite emotional song is definitely “Unbroken People”. It’s all about feeling the pain of losing loved ones, but leaning on platitudes people say like “everything will be okay,” or “you’re gonna make it.”. This was the song that really resonated with me emotionally, where most of the others failed to do so. Finally, there’s “Used to be a Country Town”. I loved Gretchen Wilson’s part of the song, and it really just made me want to go listen to more of her music. The song itself is all about how they used to party in a town that used to be country. They wasted their money, but they had fun doing it.

Overall, I liked this album. The guest stars featured made it really unique. There were some I actually missed until I later went back and looked at who was featured. I did not catch Vince Gill or Jamey Johnson. The musicians did a wonderful job at bringing back the sounds of 80s and 90s country, too. I love good piano, fiddle and steel guitar, and I got all three of those in spades. Lastly, I must talk about the skills of the lead singer. Jeffrey Steele has quite the vocal range. When I was first listening to this album, I thought there were more guest stars than the site of the Sons of the Palomino alludes to. In fact, it’s just that Steele can sing in both very low and very high registers. It’s pretty awesome stuff. I think if you like the 80s and 90s era of country music, you are doing yourself a disservice by not checking this album out. The instrumentation is great, there are some really well-done songs here, and seeing names like John Anderson’s on a contemporary project like this is really cool.

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Random Reflections

Reflecting on: Travis Tritt–It’s All About to Change

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Well, from the day we started doing these, I always knew I would cover Travis Tritt on here, and now seems like the perfect time since I am going to see him Friday. I went back and forth for an inordinate amount of time on which album to cover, considering his originals and various compilations. Over the years, I’ve worn out the album The Very Best of Travis Tritt, so ultimately I decided to cover an album not as familiar to me. I chose the album that has my two favorite Tritt songs, It’s All About to Change, but really any place is okay to start with Travis and his music.

Release Date: 1991
Style: traditional country infused with Southern rock
People Who Might Like This Album: those who like their country mixed with rock and grit
Standout Tracks: “Here’s a Quarter (Call Someone who Cares),” “Anymore,” “Bible Belt,” “Nothing Short of Dying,” “If Hell Had a Jukebox,” “The Whiskey Ain’t Workin'”
Reflections: Travis Tritt said in one of the songs on his debut album that he vowed “I’d mix Southern rock and country, and that’s just what I did.” That’s really the best explanation of Tritt and his sound. He takes the best of both traditional country and Southern rock and blends them into a sound all his own, respecting country’s roots while being very modern and forward-thinking. Those that think country is boring, try saying that after “The Whiskey Ain’t Workin” or “Bible Belt.” Incidentally, the former features Marty Stuart which just adds to its overall coolness.

I mentioned this has my two favorite Travis Tritt songs. The first is “Here’s a Quarter (Call Someone Who Cares),” another country rock song where he tells his cheating ex who wants to come back home that she can call one of her “sordid affairs.” As the song says, he’s kind enough even to offer her a quarter. This song is probably the one he’s most known for, and it even made Saving Country Music’s Greatest songs of All Time which can’t be taken lightly. Incidentally,, it’s very much responsible for my current relationship too; it was a conversation about this song and Travis Tritt in general that started all of it. My other favorite is “Anymore,” where he’s telling a woman that even after much time has passed, he still loves her and he can’t keep pretending otherwise. It’s the first song of his I ever heard and one of the best examples of Travis doing more traditional country. It’s the marrying of country and rock that is his signature sound, but ballads like this and “Nothing Short of Dying” shouldn’t be overlooked either because he does these types of songs just as well. Actually, the video for “Anymore” was the first in a series of three about one character, and all three were ballads.

Like I say, there really isn’t a bad place to start with Travis Tritt, and he’s definitely an artist that you should know. From the more rock-leaning stuff to the traditional ballads, there’s something here for everyone, and this album is a good showcase of his variety in sound. So start here, and hopefully, this will make you a fan, and you will seek out more of his music.

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Commentary

Advice to Young Girls Seeking Country Airplay

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You know the days when you could turn on the radio and hear all sorts of interesting female voices? That’s been true throughout country’s history, from Loretta and Dolly on down to Martina and Faith. Nowadays, it’s Miranda and Carrie–well, no, not even Miranda, as her latest single struggles mightily to chart despite its sales and critical acclaim. Better to say Carrie and Kelsea. Anyway, to all the young girls out there who might be pursuing a career in country music and are wondering just how to shatter the glass ceiling on country radio, here’s some tried-and-true advice.

1. Don’t, under any circumstance, release something traditional. Fiddle, steel, mandolin, throw them all out. Even if they might make an appearance on your album–which is also discouraged–at least do what Maddie & Tae did with “Girl in a Country Song” and release a single with electronic beats and pop elements. Keep all the traditional fans guessing at your intent, wondering if the beats are serious or sarcastic, because it’s better to hold them at arm’s length or even to alienate them altogether if you want to get a #1 at radio.

2. Ignore all the misogynistic bullshit thrown at you by radio programmers, record executives, and in many of the male songs on country radio. Katie Armiger spoke up about that a couple years ago, and look what happened to her career.

3. Don’t date anyone in the industry, or better yet, don’t attempt to have a personal life on any level. Lindsay Ell taught us that.

4. Trivialize the female problem on country radio and in the industry. Kelsea Ballerini’s got success, and she barely admits to the problem. Meanwhile, the ones who speak up about such things struggle for recognition. Just worry about breaking in yourself, and don’t try to help other women along the way.

5. Forget just ignoring the misogyny, try writing lyrics about being these types of women. Throw all your dreams and hard-hitting lyrics to the side and sing about tailgates and tight jeans. If at all possible, try accepting the objectification and embracing this role.

6. Try not to veer too far from singing songs about love or getting noticed by men. Under no circumstances should you speak up about the type of songs that women are often stereotyped as singing.

7. Don’t be sexual or have sexual desires, and if you do suffer from these afflictions, don’t leak them into your music, for God’s sake.

8. Talk about your outfits more than your music. It’s not okay to be sexual in your songs, but it is important to be viewed as desirable at all times.

9. If all this fails, sing one or two lines on a male song, and you’ll soon have a #1 hit. It doesn’t matter if you sound like a glorified backup singer, take it from Maren Morris.

10. Finally, remember that your awards, sales, and most importantly, your perspective, do not matter in this industry and on the radio. Let go of these archaic notions, and you might soon be one of the only four females in the top fifty. Here’s to being one of the fortunate 8%, and I look forward to your #1 hit!

Reviews

Album Review: Rod Melancon–Southern Gothic

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Rating: 8/10

Yeah, this has to be the most challenging review I’ve ever done, but it’s also one of the most fascinating albums I’ve ever covered in my time here, and I enjoy a challenge. I’ll go ahead and say right up front, this album isn’t going to be for everyone; in some respects, it’s not quite even for me as a fan, given the darkness which permeates this record, but that’s exactly the reason it deserves discussing–because it’s so far from anything I’d typically listen to, and yet the writing and the stories and the general feeling evoked by this record still hold my attention. In many respects, it reminds me of Robyn Ludwick’s latest album, This Tall to Ride, because both projects are dark and sometimes downright disturbing, but for listeners who can get past those features, there’s a lot to appreciate in each of these albums.

The difference? Robyn sings with frankness about hookers and cocaine and paints pictures of life on the streets; you come away from that record intrigued by her ability to take the commonly accepted definition of country music that “it’s about real people” and use it to tell the stories of people often ignored by society as a whole and certainly by country music. Rod Melancon takes that definition to a much darker conclusion even than Robyn, telling us in the opening song, “With the Devil,” the story and thoughts of a serial killer. And that’s ultimately the most intriguing and arguably disturbing thing about this song and much of the album; real people do think like this, and Rod Melancon is indeed telling the stories of real thoughts experienced by real characters, even if the specifics are false. Now, I’m not saying this is a country record sonically–it’s got country touches, and a couple of country songs, but it’s mostly a rock record–but lyrically, this is what the genre was made for, to explore real stories and real emotions and perhaps evoke sympathy, or at least understanding, in the listener for the ones portrayed.

It doesn’t lighten up at all after the opener. “Perry” tells the tale of someone equally sinister, saying darkly, “ain’t nobody mess with Perry, and come out alive.” And then we are treated to the most intense moment on the whole album with “Lights of Carencro.” From the spoken word to Rod Melancon’s delivery to the production that can only be described as ominous, this song has to be the most disturbing tale I’ve heard all year. Here, the narrator tells us in sharp detail how his brother was killed in a motorcycle accident after being hit by an eighteen-wheeler. The driver carried on with his life unaffected, and the plan to exact revenge by the narrator’s dad failed. But many years later, the narrator’s brother would take his own revenge, as the driver died in a trucking accident. This is only made more intense by the fact that Melancon speaks the whole tale, and you can imagine your relative sitting across the table from you relaying the whole incident.

It does lighten up in a way after these three, in the sense that we go from sinister to melancholy. There’s “Dwayne and Me,” the story of two cousins who became friends and looked out for each other until Dwayne went off to war and never came back. There’s “Praying For Light,” where the narrator sings about watching the storm clouds build and hoping his land will still be there in the morning because he can’t afford to rebuild. There’s “Promises,” where the main character is stuck in his hometown after a knee injury in football and wishing he’d gotten to leave. It’s all very wistful, and Rod Melancon really has the right voice to pull out the desperation in these characters and make you feel what they’re experiencing. It’s a great example of a singer without a technically great voice using their tone and vocal ability to their advantage to convey emotion.

There’s one more disturbing moment on the album as well in “Different Man,” where we learn about Jimmy, a soldier who has returned home with PTSD. We hear, through the words and ever-building production, all the things going on in his head till finally it just explodes in the end. I’ll go back to the Jason Isbell song “Anxiety” here because Isbell used the angry production there to help the song, and I didn’t think it enhanced the story. I even found the outro somewhat distracting. This, however, is a good example of using the production to help tell the story, as it really adds a sense of frustration to the track, while also illustrating the lack of control Jimmy has over his own mind.

But Rod Melancon is not always dark or even depressed. WE get a nice break in the middle of the album with the fun, energetic “Redhead” that offers some balance to the project and serves to make the darker material stand out even more. “Redhead” also appears to show off more of Melancon’s personality; the other songs seem to be stories about other people, but this one seems to have more of Rod himself in it. The song also stands out because he’s singing about a hot single mom instead of your typical young girl. “Mary Lou” also adds a little variety to the record–it’s still a wistful heartbreak song, but it’s upbeat and stands out as a lighter moment on the album. Both of these songs, though not the best ones here on their own, were crucial to making Southern Gothic stand out and not just be one dark, depressing affair where the songs ran together.

So, overall, this is quite a good album. It’s going to come down to taste, I think, on your mileage with the record, but it shouldn’t be overlooked because there are some great stories here, not to mention many of them are enhanced by cool and interesting production. Rod Melancon does a fantastic job bringing life to these characters and telling the tales of people who no doubt have real-life counterparts but are nonetheless often ignored in music. If you like dark albums, you’re obviously going to enjoy this more, but I’m not someone who gravitates toward them, and this record still managed to stand out to me. I think that’s a testament to the kind of storyteller that Rod Melancon is, as well as to the fascinating listen that is Southern Gothic.

Listen to and Buy the Album

https://www.youtube.com/watch?v=Q0UUMLOsIqc