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Album Review: John Baumann–Proving Grounds

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Rating: 8.5/10

Texas country and Red dirt, despite all of the many influences and sounds, still really comes down to two sides, just like its Nashville counterpart–there’s more of an equal playing field in Texas and Oklahoma, and that’s ultimately the difference, but the point is, you still have your serious, singer-songwriter types and your more pragmatic, commercial types. The former would be the Jason Eadys and Courtney Pattons and Jamie Lin Wilsons, and the latter would be the Aaron Watsons and Josh Abbotts, and the beauty of it all is that each artist gets to choose their own path. And then sometimes, you get artists like Turnpike Troubadours; I remember Jamie Lin Wilson telling me they could play in listening rooms or big venues because Evan Felker writes deep songs “that also make you want to party.” And it would seem that John Baumann has managed to capture that spirit as well on his latest album, Proving Grounds, effortlessly blending the serious and the fun, the bright and the dark, into a really enjoyable album, an album that I think will have quite a lot of mileage throughout the year.

John Baumann has said that this is his most personal record, and you can feel that echoing throughout the album, from the stirring opener, “Here I Come,” to the nostalgic closer, “Pontiacs,” which goes on for over eight minutes. The opener details Baumann’s dreams as a child to one day become a successful singer-songwriter and reflects on his life now as he gets closer to being a “high plains troubadour.” I think “High Plains Troubadour” would have been a great name for this record. The closer, as I mentioned, is nostalgic and sees John Baumann as an adult, wishing for just one more day to be young. Admittedly, this is not one of my personal favorite tracks, but it does serve as a closing thought to the journey started in “Here I Come,” and together, the two frame the album nicely. In between, we learn, in sharp detail, the pain of Baumann’s father dying in “Old Stone Church,” and how each family member coped in their own way. With its simple melody and honest, glaringly specific lyrics, this one stands out proudly on the album and will relate to anyone who has been through the pain of losing a loved one despite it being so personal to Baumann.

In less autobiographical, but no less serious, moments, there’s the beautiful love song “Turquoise” and the thoughtful “Lonely in Bars”–I’d like to take a moment to point out that the former takes place entirely by a river in the moonlight, and that the latter is about two people meeting in a bar and the offer for more, and yet neither of these songs manage to be clichéd, disrespectful, generic, etc. IN “Turquoise,” the only parts of the woman we ever hear about are her “turquoise eyes” and it never goes further than “the first kiss I plan to give her.” In the latter, the story line goes far deeper than just meeting at a bar and hooking up; you hear the details about the woman not having a ring and having been in a troubled relationship with an older man, and you hear the narrator making the offer to stop being lonely in bars and see what happens, “embarrassment be damned.” Either of these, especially “Lonely in Bars,” could legitimately be mainstream hits, or they could have been, if they were less well-written or respectful. Essentially, they started with moonlit rivers and midnight bars, the foundations for mainstream hits, and then actually progressed into great songs.

Mixed in with all these great songs, we get the fun side of John Baumann. “The Trouble with Drinkin'” has got to be one of the catchiest songs I’ve heard this year; that fiddle is awesome, and it would be great live. There’s another one dealing with addiction in “Heavy Head,” and the beauty in “Turquoise” is followed by the more lighthearted “Love #1” which could be seen as the continuation to that song. Texas songwriters are often criticized–and many times rightfully so–for their continuous references to Texas, but “Holding it Down” manages to be clever, witty, and catchy despite this. There are so many artists that could take a lesson from this–you can make a song about Texas in a smart way. “When Ophelia Comes to Town,” with its lively, rocking production, is one of my personal favorites here, and one of the most fun; it details all the things the narrator does to get ready for a woman to visit, and all the things they’ll do once she arrives. I wasn’t expecting the twist at the end, and I almost wish it had stayed fun because in the end, he gets word that “Miss Ophelia’s dead.” But the song’s still fun, and it’s still one of the standouts for me.

So, if you haven’t figured it out, this is a great album. It’s got some excellent songwriting, and it’s a good balance between the serious and fun songs. Hopefully, John Baumann continues in this direction, writing more personal stuff, because this is where his writing shines, and I think it will only get better. This is one of the best Texas country albums released in 2017 so far and one that gets better with each listen.

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Reviews

Collaborative Review: Jason Isbell and the 400 Unit–The Nashville Sound

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Jason Isbell is a fascinating, thought-provoking songwriter, and this is exactly the type of album that should, and does, stir conversation and differing perspectives. It seems like every person I’ve talked to who’s listened to this and every review or opinion I’ve read has added something different to my own thoughts. So it seemed like the perfect record for Brianna and I to collaborate on and share our thoughts in conversational form.

Conversation

Megan: I think we have to start out by making the point that this really didn’t turn out to be a political record.
Brianna: I was pretty afraid it would be, given the title of “White Man’s World.”
Megan: “White Man’s World” is really about as political as it ever gets. I already talked about that song, but I think it was a great message and better coming from a white man. And I think it’ll be more effective on this album that really isn’t too political otherwise.
Brianna: I think that was more effective too, but I have to agree with Trigger from Saving Country Music–we should all stop labeling each other and just be people. But yes, the song was very well done, and I liked it. It was very intense musically, and I liked the theme. It’s a very political time, and he did well with that song and the message he expressed about privilege.
Megan: Yes, I think the “stop labeling each other” bit was sort of what Jason was going for with “Hope the High Road.” I know that’s one place we disagree here; you enjoyed that song, but I think it has some mixed signals. Like that’s the message, but then he has the line, “there can’t be more of them than us.”
Brianna: I do think that line complicates things. I like the energy of the song, though.
Megan: You said something to me the other day about this record that fascinated me, so I think you should share it, and that was that this is a very restless album. So please, elaborate on that.
Brianna: Well, you have songs like “Anxiety.” I think that one best shows it. He’s very emotional and unsure; he’s anxious. I just think that theme gets played out a lot over the album. I mean, he’s wondering if he’s the only one who feels empathy on “Last of my Kind.” He’s wondering how the world will be for his daughter once she’s grown. I think it’s all very emotionally restless.
Megan: Yes, I think you’re right. I’d also say that restlessness comes out in sound. You have folk and rock and country, and I think he called this The Nashville Sound for a reason, because it’s almost like it can’t settle on anything.
Brianna: I’d have to agree with you on that. I mean, of course I like that it’s quite varied, but it just fits in very well with the whole restless theme. Adding to all that the many influences in Nashville, and I think you may have something there with the name.
Megan: At first, I didn’t like the hard, rocking “Cumberland Gap” sandwiched between “Last of my Kind” and “Tupelo,” both softer, more acoustic songs, but after you pointed out the restlessness, I realized that’s what connects them. The characters in those first three songs are all unhappy in the world they’re living in, and the difference is just that the guy in “Cumberland Gap” explodes about it, lol. By the way, “Last of my Kind” is a killer song. It hit me hard in a personal way. One of the best songs I’ve heard this year.
Brianna: OH, now that’s a great point. It makes total sense now that you pointed it out. And I also loved “Last of my Kind.” There’s a moment where he talks about an old man being ignored by everyone but him–that moment was just so poignant.
Megan: What hit me most was that first verse, him not being happy in the city and people not dancing like him, all “clapping on the one and the three.” Actually, I just thought all the first five tracks were brilliant.
Brianna: I like that verse too, but something about the old man being ignored by everyone just got me. The first half is definitely the best for me too. After that, I start to have some issues. “Anxiety” is a really good song, and we’ve talked about how emotionally restless it is. I like that. However, the production is really messy, and it didn’t work for me. I also have pretty big issues with the production of “Chaos and clothes.” There are some layered vocals in that song that really distract me and keep me from digging deeper into the song. “Molotov” is one I’m still trying to figure out, and if you have any kind of insight into that one, I’m all ears.
Megan: “Chaos and Clothes” is awful. I don’t care how deep the lyrics are, or how artsy and cool it’s meant to be, that layering of the vocal track renders it unlistenable. Jason Isbell can make, or at least agree to, better production decisions than that. That’s what makes it even worse, he’s just better than that. “Anxiety” has really grown on me, and I do agree that he didn’t need the angry production behind him to help with the song. I’m struck enough by lines like “I’m out here living in a fantasy” and “I can’t enjoy a goddamn thing” on their own,” so the production takes it down a little. I feel like he was trying to be vulnerable, and it would have been better stripped back. I’m really enjoying “Molotov” after a few listens. Nice, nostalgic love song. It sort of pales in comparison to the genius that is “If we Were Vampires,” but it’s still a great song.
Brianna: Again, I completely agree with you about “Chaos and Clothes.” It’s weird and distracting, and it doesn’t sound great. I’m glad you figured “Molotov” out. Also, nothing will beat “If we Were Vampires” this year. I’ts impossible. I mean, it’s all about mortality, and the fact that because we have it, everything means so much more. I love that song.
Megan: It’s incredible. I think the closer will be a bit underrated, but “Something to Love” is a fine piece of writing too.
Brianna: OH, you have to appreciate “Something to Love.” From my perspective, it’s all about his daughter, and how he hopes she finds something that makes her happy despite the world’s darkness. I really like the song.
Megan: I agree, closes out the restless album with some hope. All in all, after some listens, strong 8 for me. The first half and the closer are stellar, with a couple of other good songs. It’s one of those rare times I actually wish the album had been longer, because on say, a 12-song project, this might be an 8.5 or even possibly a 9, but “Chaos and Clothes” and, for me, “Hope the High Road,” bring it down too much.
Brianna: I agree with you, I have to give it an 8 as well. I was thinking 7.5 at first–I know, unpopular opinion–but honestly? “If we Were Vampires,” “Last of my Kind,” and “White Man’s World” are fantastic. Add to that the fact that I really like all the rest aside from “Anxiety” and “Chaos and Clothes,” and I like 80% of the album…so 8 it is! I too think there was a bit too much filler and/or weird production choices to bring this album up to an 8.5 or 9. All in all, this is a solid album for me, but I still say Southeastern and Something More Than Free are better albums.
Megan: I like the songs of Southeastern, but it’s too dark for me as a fan. I love Something More Than Free, and I think this, in places, is stronger. That got a 9 from me here, and it was more consistent, but honestly, I’ll play this more. This is the Jason Isbell record I’ve connected to and enjoyed most overall.

Collective Rating: 8/10

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Reviews

Album Review: Steve Earle & the Dukes–So You Wannabe an Outlaw

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Rating: 8.5/10

I’m not really sure I need to write any kind of introduction to this; I’m pretty sure Steve Earle has been introducing this quite well on his own, and that may or may not be taking away from the music. So I’m going to take the advice from Steve’s own comment, and let this be about the songs. What I will say is that he stated both that he wanted to make a record inspired by the outlaws, and more specifically, Waylon, and that this record would be about dealing with loss. And what we get is basically exactly that–the front half is filled with badass, renegade/outlaw material–or at least what we might think of when referring to that term–and then the back half adds to the validity of it all by taking us on journeys of heartbreak, loneliness, and loss, and in the end, you’re left wondering if this outlaw thing is really all that great after all, and perhaps second-guessing your dream. And in a way, that separates this record from all the others trying to be cool outlaw because it shows all the sides to the story, the glamor along with the pain.

That’s not to say there aren’t painful realities on the first half. IN fact, the opener and title track starts the album by explaining all the things you have to go through if you really want to be an outlaw, albeit in a pretty lighthearted manner. Willie Nelson appears here, which adds to the message and the overall coolness of the song. You also have “Lookin’ For a Woman” and “If Mama Coulda seen Me,” both of which Earle wrote for the show Nashville–the former is a restless heartbreak song where the narrator is trying to find a woman who “Won’t do me like you,” and the latter is about a prisoner who is thankful that his mom died before she had to see him in chains. All of this half, however, is pretty upbeat, and even though the material is dark, some of the glamorous side of being an outlaw still shines forth in the attitude and in the cool blending of country and rock instrumentation. This half comes to a brilliant, angry climax with “Fixin’ To die”–this song is told from Death Row, and I didn’t mean to compare it to Chris Stapleton’s song “Death Row,” but that’s what happened. I said before that Stapleton’s didn’t quite have emotion even though he belted it–I know a lot of people disagreed, but the point I’m making is that whether it came through or not, Stapleton meant that song to be sad. When this opens and Steve Earle bellows, “I’m fixin’ to die, reckon I’m goin’ to hell” and then adds, “I’d be tellin’ you a lie if I told you I was takin’ it well,” for me, that captures all the emotions, from anger to sadness to regret. It’s an intense story and definitely a great way to complete this more rocking front half of the record.

It’s the back half, however, that really makes this album shine and adds an authenticity to these opening songs. It’s one thing to sing about being an outlaw for the sake of it, but when you get to stuff like “This is How it Ends” and “You Broke my Heart” and see there’s a tender side to this story, it really adds something to the whole project. Steve Earle mentioned loss, and it is explored in every form here, from the heartbreak in these two songs, the former of which features Miranda Lambert, to the poverty and self-doubt in the excellent “Walkin’ in LA” to the closer, “Goodbye Michelangelo,” a tribute to Guy Clark. “Walkin’ in LA” features Johnny Bush, the writer of “Whiskey River,” and it’s one of the best songs on this whole thing, despite it not being the most flashy. It’s one of those rare gems where the melody, the lyrics, and the instrumentation all work together flawlessly to form an incredible piece of music. The melody and beautiful acoustic guitar play in “Goodbye Michelangelo” really add to that song as well. It’s a great way to close the album.

As much as I loved this record, I do have a couple criticisms. There are a few songs that felt like filler; “Girl on the Mountain” was sandwiched between “This is How it Ends” and “You Broke my Heart,” and so it stands out as the weakest heartbreak song of the three. At first, I really didn’t enjoy the pairing of Earle and Miranda Lambert, but that’s growing on me, mainly because it’s just such a damn good song. My initial problem was that Lambert is meant to be singing harmony, but sometimes she drowns out Steve. I’m starting to like it better because in doing so, she makes it easier to understand some of the lyrics. ON the front half, “The Firebreak Line” is quite a fun song, but it doesn’t necessarily add much. “News From Colorado,” the only subdued song on the front half, is also a little vague and underdeveloped lyrically. But all these are really minor, nitpicking criticisms, and overall, this record is pretty great.

So, in conclusion, this is a pretty fascinating album. First, you have the angry front half, and then you have the subdued, heartbroken back half, and together they tell a very good story. Steve Earle is a fine songwriter, and the natural grit in his voice just accidentally adds a lot to this album and the stories told. Every collaborator also brought something to the record. I mentioned there were some weaker songs, or perhaps even filler, but at the same time, it’s one of the few albums I’ve played in 2017 without a single bad track. Very nice, solid album. Give it a listen.

P.S. I’m not reviewing the deluxe version, but that also has four pretty awesome covers of songs previously written by Waylon, Willie, and Billy Joe shaver.

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Playlists

My Top Ten Albums of 2017 so Far

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Editor’s Note: Why didn’t I choose thirteen again? Actually, I was going to, but these ten just stand out above the ones I would pick for eleven, twelve, and thirteen, so they’ll just be in the Honorable Mentions. This has a little, but not much, to do with the original grades given to these albums; it’s more about music that holds up, so some of these might have lower ratings than you’d expect, and there are some that we rated higher that didn’t make this list because I simply don’t go back and listen to them, and for me, that’s what music is all about. It might be a 9 on paper, but if I’m not listening to it months later, that number is arbitrary, so don’t let the numbers factor into it too much at this point. Lastly, just like the songs, these are my picks, not necessarily those of Country exclusive as a whole, and these are, unlike the songs, in order for me.

#10: The Steel Woods–Straw in the Wind

Original Rating: 8/10
This honestly would be higher on the list right now because the first half is excellent, but it does drop off some for me in the back half. Still, it’s a very nice debut from The Steel Woods, tinged with Southern rock, blues, bluegrass, and country; in fact, I’d like to make the point that look how many of these entries are debuts, what a cool year for debut records.
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#9: Chris Stapleton–From a Room, Volume 1

Original Rating: 8/10
Some of you are going to hate me for ranking it this low, and others are going to hate me for saying it’s better than Traveller. But it’s a more consistent effort from Stapleton than his first record, and it’s still holding up nicely.
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#8: Shinyribs–I Got Your Medicine

Original Rating: 9/10
Yeah, okay, this ranks higher as an album than some others that will be higher on this list, and I still stand by that 9 too. It’s definitely the most fun album here. It doesn’t hold up quite as much as some lower-ranked albums coming up because you have to be in a certain mood to play it. But Shinyribs is the type of group you should just let yourself enjoy; they won’t be for everyone, but they should be.
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#7: Robyn Ludwick–This Tall to Ride

Original Rating: 7.5/10
All right, what is it about this one? Well, it just works its way in. It’s unique and cool, and no, the hookers and cocaine all over this record won’t be for everyone, but if you can get past the dark material Robyn writes and sings about, this is a great record. It’s definitely being underappreciated, and I underrated it, not necessarily because I undervalued the songs themselves but because I underestimated its mileage and ability to be replayed which it turns out has been great.
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#6: Jaime Wyatt–Felony Blues

Original Rating: 7.5/10
Yeah, I said this rating would be misleading when I reviewed it, and it turns out I was right. It’s hard to grade a seven-song project, and when four songs turn out to be excellent tracks, and the other three are good, it’s hard to question this. It’s short, sure, but there’s no filler like there has been on many albums this year. Jaime Wyatt’s is another debut record, and this is probably the most promising one I’ve heard all year. She’s someone you should definitely keep your eye on, and since February, this has gone from being a strong debut to one of the best albums of 2017.
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#5: Kasey Chambers–Dragonfly

Original Rating: 8/10
Please, stop caring that this is a double album, and do yourself a favor by listening to it. This has been massively underrated, both because Kasey is Australian and because it’s a double album, but it’s one of the most consistent and diverse releases of the year–there’s something here for everyone, from traditional to blues to folk rock to gospel to country pop. Go check it out.
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#4: Jason Eady (self-titled)

Original Rating: 9/10
This is going to be a dark horse for Album of the Year; Jason Eady is the only person who could make a completely stripped-back, acoustic record that could be played without electricity (except for some steel guitar) and have it compete with the best albums of the year based on his songwriting and melodies alone. This record grows on me every time I listen to it. Another somewhat underappreciated album, and definitely the best album to come out of the Texas/Red dirt scene thus far this year.
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#3: Angaleena Presley–Wrangled

Original Rating: 10/10
I know, some of you that know how I felt about this record are falling out of your chairs right now that this is #3. I still love it, and these top three are all excellent. The reason this has slid momentarily to #3 is that I come back to it all the time, but not as much to the entire album as to specific songs. But like I said, these top three are all almost interchangeable, and some of the songwriting here is the best of 2017 so far.
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#2: Colter Wall (self-titled)

Original Rating: 9/10
All right, so yeah, this has passed Angaleena. There are still a couple of boring songs, so I wouldn’t give it a 10–although I might change angallena’s to a 9 or 9.5 if I were reviewing her today–but man, what a timeless album. This pretty much blew me away on the first listen–which is the case with all the top three–and just like Jason’s, it’s very minimal, and all you need is Colter’s throwback voice and his stories and melodies. Excellent record. Another debut, by the way.
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#1: Marty Stuart & His Fabulous Superlatives–Way out West

Original Rating: 10/10
Back in March, nothing had blown me away in 2017. I remember talking about the fact that there had been some good albums, but not great ones. I was a little discouraged–and then this came along and blew everything out of the water, and I’m still waiting for something to top it. It’s been a much better year since, and 2017 will be an entertaining year waiting to see if an album can possibly top the musical genius Marty Stuart put into this album and depiction of the West. It’s not a lyrical masterpiece; in fact, none of its songs made yesterday’s list. But that’s what makes it even more special; Marty went into a genre that is lyrically focused and made a western album based purely off the musical styles and mood. It’s, at least for me, a flawless record.
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Honorable Mentions

  • Sam Outlaw–Tenderheart (would have been #11)
  • Kody West–Green (would have been #12, another debut)
  • Aaron Watson–Vaquero (would have been #13)
  • Nikki Lane–Highway Queen

  • Rhiannon Giddens–Freedom Highway
  • Sunny Sweeney–Trophy
  • The Mavericks–Brand New Day
  • Zephaniah Ohora–This Highway (this will probably make future lists, but I need more listens

Albums on the Radar, With Potential to be Reviewed

Being listed here does not mean Brianna or I will review these, it just means we’re aware, and they may be considered, but have not been reviewed yet.

  • The Infamous Stringdusters–Laws of Gravity
  • Lauren Alaina–Road Less Traveled
  • The Secret Sisters–You Don’t Own Me Anymore
  • Ray Scott–Guitar for Sale
  • Glen Campbell–Adios
  • Shannon McNally–Black Irish
  • Joseph Huber–The Suffering Stage
  • Tony Jackson (self-titled)
  • John Baumann–Proving Grounds
  • Jake Worthington–Hell of a Highway
  • Ags Connolly–Nothin’ Unexpected
Reviews

Album Review: Amanda Anne Platt & the Honeycutters (self-titled)

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Rating: 7/10

All right, so I’m not overly familiar with The Honeycutters, and some people in this situation like to take a little time before such a release to listen to past albums and perhaps familiarize themselves more with a band or artist, but for me, I enjoy just staying ignorant and getting to know the artist through the new record. I know a few Honeycutters songs, but I’ve never listened to one of their albums, and for me, this is an opportunity to see if the new album can make me a fan. They’ve changed themselves to Amanda Anne Platt & the Honeycutters–and kept the Honeycutters part simply for less confusion–but that’s just simply long to write, so I’ll stick with just the Honeycutters mostly.

So after listening, yes, I’m definitely enjoying this group, and Amanda Anne Platt is a fine vocalist and wordsmith. There are some great songs here too, which I’ll get to, but first, I do have one giant criticism of the album as a whole, and I usually don’t like to start reviews off negatively, but this has to be said. This entire album is going to sound better in October. It’s got fall/winter vibes, and it’s just not a record I want to pull out in June and listen to. The opener, “Birthday song,” even mentions the fall, and it just puts you in that frame of mind, and you never leave. It’s mid-tempo all the way through too, so there’s never really any upbeat, summery atmosphere, and I just can’t help but wonder why on earth they released this album right at the beginning of summer. It would probably rate higher than a 7 in October, and hell, it will probably be one of the albums that grows on me throughout the year. So please, I encourage you, if this album bores you or puts you in a somber mood, pull it out again in October.

That said, even though I can’t really listen to this record as a whole right now, there are some really standout songs. There is a moment in the heart of the album where you have three incredible songs in a row in “Eden,” “The Guitar Case,” and “Learning How to Love Him.” I keep replaying these three. “Eden” tells of the hardships of a family living in the heartland of Indiana; the woman has lost her job and is struggling to get by each day with her kids. It’s unclear whether she is divorced or widowed. The hook here is astounding–I say, please, let me back inside the garden. I won’t eat anything that’s fallen from that goddamned tree.” It’s not where I thought this was going, and it’s interesting because it alludes to the fact that original sin brought all this on, or at least that this character thinks so. “The Guitar Case” seems to be autobiographical and describes Amanda Platt’s struggles as a singer–“You can do what you love, or you can go to hell.” The melody in this one is also really nice and adds to the song, along with some nice piano, which I should mention is an instrument used pretty liberally by this group and which I enjoy. Brianna pointed out recently that it’s not used enough in country, and she’s 100% right. Then there’s “Learning How to Love Him,” which was written for Platt’s friend about her struggles to love her husband all the years they were married; now suddenly he’s terminal, and she finally understands what love truly means, and nothing else matters. If you listen to these three, particularly right in a row, and don’t come away with respect for the songwriting of Amanda Platt, I’d be shocked.

There are a couple of other nice moments too, like in the love songs “Rare Thing” and “What We’ve Got.” The latter sees Platt confronting her selfish past and finally being glad that she can appreciate love instead of wanting everyone to want her; it’s quite a mature, honest way to present a love song, calling herself “ugly and unkind.” “The Good Guys” is another good one trying to convince a man to do the right thing and buy the woman he loves a ring and start a life together. There’s more piano here, and once again, the melody really enhances the song. Actually, a lot of the songs are quite good on their own, it’s just that they run together in album form. As I said before, there needs to be more of a variety in tempo, and there’s also some unnecessary, frankly boring filler on this thirteen-track record. “Diamond in the Rough” is the best example of a track they could have just left off.

Overall, this is a nice, pleasant listen. Amanda Anne Platt is a pretty great singer, which isn’t always the case in Americana music, and she does a great job bringing out the emotion in tracks like “Learning How to Love Him” and “Eden.” There are some really well-written songs too, and the instrumentation and melodies work well with the songs. There’s some filler, but the main problem is just that it’s a fall album. IN October, I might give this an 8.5, but it’s just too mid-tempo and sleepy right now in June. So, I recommend checking it out, listening to some songs, and then coming back to the album in say, four or five months.

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