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Reviews

Album Review: Lucero–Among The Ghosts

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Rating: 8/10

From the opening guitar riff of the title track, quiet at first and ever building into this album’s first song, I was drawn in by Lucero’s latest record. It’s been a hard album for which to find the words, and yet it’s not been an album that had to grow on me in any sense. Rather, it’s just a record where I’ve listened so many times and found myself taken out of a place of critical comment, or really comment altogether, and just into a place of reflection.

It’s difficult to put into words because this album’s greatest strength is in the music, the chemistry of Lucero as a band after twenty years together, and the darkness that permeates this whole record as its title would suggest. Most of these songs are delivered in minor keys, befitting the somber nature of a good majority of this record. Instrumentally, it’s one of the best albums I’ve heard all year, bringing engaging melodies and certainly incredible musical arrangements. At this stage of their career, Lucero could be complacent, or they could have exhausted their creative abilities and resorted to releasing stale, lifeless music. But just like Old Crow Medicine Show earlier this year, this band delivers an album that still sounds fresh, drawing on that chemistry forged from years together for one of this album’s greatest assets. It’s the killer guitar chords in “Everything Has Changed” and “Long Way Back Home” and the beautiful piano in “Always Been You” that make these songs come alive. It’s the surprise of that saxophone coming out in the closer, “For the Lonely Ones,” which makes that song go from average to instantly one of the standouts of the whole album. And Ben Nichols’ delivery, always rough and raw and gritty, adds something intangible to the mood of this album that just naturally makes it all work better. It’s hard to put something like this on paper, for the joy of the experience comes in listening and capturing the album’s mood.

That’s not to say that the lyrics here aren’t memorable; you just don’t keep replaying the album for its lyrics. Still, there are moments like the introspective “Bottom of the Sea” and the quietly sincere “Loving” where the writing really shines. Themes of love and family, particularly the tension between staying at home with family and being on the road, echo throughout. This is first introduced in the opener and title track, the most personal song here for Nichols, as he sings about leaving his wife and daughter and says that his daughter’s first word was “goodbye.” “To My Dearest Wife” feels much the same, only less autobiographical, as it’s framed from the point of view of a soldier missing his loved ones while on the front lines. “Long Way Back Home” sees two brothers doing all they can to survive, even if it means breaking the law. “Always been You” and “Loving” carry the themes of love and reconciliation, bringing hope to this mostly sobering affair. For all the hope in the lyrics, though, there’s that haunting sense of fear which runs heavily through this; perhaps it’s a fear of losing the people and things that are important, the ones that really matter most in this life. Ben Nichols has spoken of this, of a shift in his perspective since having a daughter, and it’s certainly reflected in the writing here.

But as I say, words can’t really do justice to this particular album, and although it deserved words, the real beauty comes from hearing it. It’s great to see Lucero return to more of the harder rock style that made them popular in the early days of their career, a sound from which they’d departed some on their last several records. If you’ve been missing that style from this band, Among the Ghosts is certainly a welcome return to form. It’s a record which is instantly replayable, especially if you like darker material. It encapsulates what people love about Lucero in the first place, and why they’re still going strong after twenty years. Maybe not the album for everyone here because this leans heavily toward the rock end of the spectrum and because of the darker feel, but for the right audience, Among the Ghosts is a great listen.

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Reviews

Review: Robynn Shayne–Coffee Days and Whiskey Nights EP

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Rating: 8/10

The EP will inevitably, for better or worse, be the redheaded stepchild of all music releases. The mainstream thrives on the hype behind big singles, and the independent world revolves around full-length albums. EP’s get lost in the shuffle so often; it’s understandable, especially for independent artists, why releasing an EP can be more feasible and make more financial sense, but to the listening public, EP’s rarely find themselves being remembered and replayed, getting lost in the endless release cycle and ever-crowded musical marketplace. WE review EP’s here on a very limited basis, yet the highest volume of pitches I receive is for these releases. But EP’s are just often too short and leave the listener wanting more. In 2018, I have not heard a single EP worth commenting on before now–and yet, by that same token, when a rare one does rise above the rest, it’s all the more important to pay attention and not let it get overlooked.

It was an Internet comment that led me to Robynn Shayne, the comment that her latest release might be the EP of the year. And indeed, this one does manage to stand out, and even though it’s only six songs and twenty minutes, there’s a lot here, and it doesn’t feel incomplete.

Crying steel guitar introduces “Whiskey and Bad decisions,” the lively opener about the reasons Shayne has found herself behind bars. Openers can make or break an album, and on an EP, they become even more vital since there’s only so much time to get to know the artist. This is the perfect song to introduce a new listener to Robynn Shayne’s style and twang, somewhere between Erin Enderlin and Tanya Tucker. “Nothin’ crazy About You, But Me” is a fun little duet with Jordan Lee in the vein of Shinyribs’ “I Don’t Give a Shit,” or maybe a more lighthearted take on Ashley McBryde’s “Andy (I Can’t Live Without You.)” The point is they don’t mind each other’s quirks and faults because they know they are made for each other. And then there’s the antithesis of this, in “Two Words one finger,” wherein these are at first the words “I do” and the finger the narrator was wrapped around, but now they represent something entirely different after she has caught him cheating on her.

“Hell Broke Loose” is the current single on Texas radio, and on one hand, we’ve had a ton of songs like this to the point they’ve become a bit of a cliché, where a woman kills an abusive husband, but on the other side of this, I tend to enjoy these songs unconditionally, and this one is in fact my favorite on the EP. This song is enhanced by some lovely fiddle and a driving beat, and although I do wish they’d let that guitar solo breathe a little more, this song would sound excellent live. The title track, “Coffee Days and Whiskey Nights,” is probably the most country–although all of this is pretty definitely country–with hints of Western swing and references to Jack and Joe, both of whom she needs to get through life. Just a fun, catchy little tune that can get stuck in your head quite easily. The album closes on a burst of energy, with its most lively track, “Movin’ On.” Robynn is telling an old lover that when he said goodbye, it turned out to be a blessing, and now she’s moved on and he can’t have her back.

Then, sadly, our twenty minutes is over. It only leaves me wanting more from Shayne, but not in the unsatisfying way of most EP’s, rather it’s because all these songs are so infectious and well-written, and Robynn Shayne has a presence as a vocalist. This little EP is more lively and fun than many of the full-length albums I’ve heard in the past year, especially among 2017 releases, and nothing here is filler. I just want to hear more from her. I can’t wait till we get a full album, but for now, go check this out, as well as Shayne’s other music. Really cool discovery, and Robynn Shayne is a name you should keep your eye on.

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Collaborations

Collaborating on Country Music’s Mount Rushmore

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One of the best parts of this whole thing has been the community of fellow country music enthusiasts I’ve gotten to know, a community of writers who can share music and opinions and respect each other’s viewpoints even when those viewpoints differ. Recently, Julian Spivey of The Word had the idea for several of us to compile our choices for who would be on our Mount Rushmore of country music and to explain our reasons why. It has been my honor to be a part and great to read the others’ selections. You can read that piece here!

Country Music’s Mount Rushmore: Who Makes the Cut

Collaborations

How Different People Hear the Same Songs: a Collaboration With the Cheap seat Report

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I said I had something different planned for Amanda Shires’ excellent new album besides the review. It’s an idea that came from my friend and fellow writer Michael Rauch, of The Cheap Seat Report. By the way, definitely check that blog out; Michael writes only about music he enjoys and from multiple genres, and he’s always got some interesting new music. Anyway, his idea was to look at how different people react to hearing the same song–he explains it better below–and he did a piece like this awhile back with another friend and writer that I absolutely loved. WE both really got into Amanda shires’ latest album, so it seemed natural to ask him to do this again. These are all real-time reactions as we listened to each of the songs on the album.

People listen to music differently. And that’s a good thing. Some people need meaningful lyrics, some need the instrumentation to be spot on. Some need familiar, some need interesting. I lean towards interesting and unexpected and good. Amanda Shires delivers on all of those.

“Parking Lot Pirouette”

I’m not one to interpret lyrics, that is for each individual listener, but these lyrics are great. It’s also a way to ease the listener into the fact that this is not going to be the Amanda Shires album that you were expecting.

What a way to open this album, atmospheric and soaring. And I love how she writes so poetically, painting the pictures of the constellations and stars. Really good way to capture the vibe of this whole record.

“Swimmer”

This song is totally 80s era Stevie Nicks. Which in my book, makes it awesome.

This is an older Shires song, but this version is better and fits better here with this production. Also nice track placement after “pirouette,” as both reflect images of desire.

“Leave It Alone”

Bubblegum pop for grownups. But if you go back and listen to a lot of bubblegum, it wasn’t just unicorns and rainbows either.

We’ve been hinting at desire, and all of it comes out in full force here. The effects on her vocals really add to this, making everything almost echo. I love the melody, the sound, the beautiful words, everything. This is my favorite.

“Charms”

This sounds so familiar and soothing. The sound belies the heaviness of the lyrics.

Nice, relaxed, more tender moment after the first three. Good to see a different side to Amanda Shires here as she sings about motherhood.

“Eve’s Daughter”

This is where the album takes off for me musically. This is where we point to when we say “Amanda Shires rocks”. It’s just a kickass rock song. If you had any doubts before, this is a rock album.

And now after the softest, most introspective moment comes the hardest-charging part of the album. This is just a jam. And the fragile shakes in her voice only add to this, as this whole thing sounds so ragged musically and determined lyrically, as if she’s desperate to get this story out of her.

“Break Out the Champagne”

90s alt rock to the core. Shires is showing her true colors in her love of rock on this track.

I love the attitude in this song, as she’s just saying we should embrace life and take the good with the bad, live each day like it’s our last. The plane lost an engine? Break out the champagne. Oh, if we could all be like that and just take life as it comes!

“Take on the Dark”

Southern Gothic Go-Go’s. Nothing more needs to be said.

This is another jam, and just like in “eve’s Daughter,” here, that quality in Shires’ vocals adds to the intensity. Another anthem about everything ultimately being all right, but what makes this one so different from all the others is that she admits life’s hard, saying, “it’s okay to fall apart” and “take on the dark, without letting it take over.”

“White Feather”

This is a great song. The keyboard, the bass, and guitar weave together perfectly. Shires’ vocals are perfect. Got some Tom Petty in there.

I don’t have much to say about this one, and these two here are my least favorites. I enjoy the poetic imagery of scarecrows and feathers, but this one hasn’t stuck musically with me.

“Mirror, Mirror”

This is a torch song. Could be performed on top of a grand piano, for effect.

This one hasn’t stuck with me as much either musically, and her vocals can be distracting here, but I do really like the message and the details, as Shires is singing about all the women that other women look up to and idolize which makes them feel worse about themselves.

“Wasn’t I Paying Attention”

This one reminds me of Dire Straits, the lilting instrumentation. Not Mark Knopfler, but the guitar solo is appropriate.

What a great way to close this out, hard rocking musically and so intense lyrically. It’s the tale of a man’s last morning on earth before he committed suicide, and it strikes me listening right now how catchy the song is in spite of it. I love that, that it’s a song about this subject without being so depressing in its execution.

Conclusion: It was interesting to read these reactions while listening to these songs, and this speaks to the unique and wonderful power of music, that two people can both appreciate an album so much and yet come up with such vastly different descriptions of it and reactions to it. This was a fun little exercise, but it’s also a case for the power of music itself to hit so many people in so many different ways. It’s also a testament to the value of others’ perspectives and opinions; in a world of division, music can bring us together in discussion. This particular discussion was a fun one, and what a great album to get to listen to while doing it.

Reviews

Album Review: Jason Eady–I Travel On

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Rating: 9/10

Jason Eady’s is a name I want to shout from rooftops and post on billboards, and if you ask me to name an underrated traditional artist getting criminally overlooked in 2018, I’ll say Eady every time. If Keith Whitley was his generation’s shot at Haggard and Jones, as Garth Brooks stated in his Country Music Hall of Fame induction, then Jason Eady is this generation’s shot at Keith Whitley, with a voice so pure and filled with emotion and absolutely born to sing traditional country music. There is a comfort in his voice and a talent in his pen rivaled by few, and this remains true album after album, as he continues to project great music out into the atmosphere without ever a lapse in quality. And yet the mainstream will never take notice, and even many independent fans won’t pay proper attention and give him the respect he is due, for Eady is not the country soul hybrid of Chris Stapleton or the rock/Americana blend of Jason Isbell, or even the upbeat Red dirt of Turnpike Troubadours. He’s too country for the success and recognition enjoyed by those artists, and it’s a shame because in a just world, Jason Eady would be a household name.

The pen of Jason Eady, as I mentioned, is his greatest strength. On any given day, you can pop in any of his previous three records and find something new and hidden in the lyrics. His turns of phrase are sneaky and riddled with deeper meaning, infused with subtlety and depth of emotion so that even months later, there’s something fresh to uncover. And yet, for all that, this new album isn’t really that way, the writing being more straightforward and direct. It’s not your typical Jason Eady record in that sense; the songwriting is more simple, though still great, and there’s not really a moment where you’re taken completely aback by the brilliance and poetry of a lyric like on some of his more recent material.

Yet I Travel On earns its place alongside all those other great Jason eady albums, and even above many of them–in fact, I would argue this is his best album aside from Daylight and Dark, which is my favorite record of all time–and it’s because of the sound and the instrumentation. seeing Eady live is a special experience and one that any fan of his or of live music in general should seek out. And now we get to hear this live touring band on an album, except made even better with the added harmonies of Courtney Patton that enhance every Jason Eady release. The whole thing was cut live in the studio, everything feeling loose and organic and vibrant. It’s all infectious and upbeat, the way you hear these songs out on the road. Bluegrass player Kevin Foster, who plays lead guitar and fiddle in Eady’s touring band, always adds so much to these songs live, and it’s great to hear that unleashed on a record. Not to mention the added bluegrass flair from Rob Ickes and Trey Hensley, two badass bluegrass pickers in their own right called upon to add flavor and vitality to this record.

And it was just the right time to add all these flourishes too, for as its title suggests, this album is very much a tale of the road, of restless characters passing through on their journeys. As I said, there isn’t one song or lyric that will blow you away, but the whole thing is injected with this rambling spirit that just works so well. We have songs like “That’s Alright” and the title track, where the narrators are trying to find themselves as they travel from place to place. In “She Had to Run,” our heroine is escaping abuse, leaving as fast as she possibly can because that’s the only thing left for her to do. And then there’s “The Climb,” where the man’s journey is metaphorical–he’s following a dream, and he’s reached the point on the mountain where he’s gone too far to turn back but can’t really reach the top. It’s just such a simple yet profound line when Eady sings, “he’s not lost, he just don’t know what to do.” I think we find ourselves in this position so often in our journey, at a crossroads and not knowing which way to turn.

It all comes to a head musically and lyrically in “Pretty When I Die,” where all these bluegrass hints and flourishes finally come bursting out, and all the energy and uncertainty of the road comes pouring out right along with it. In this little tune, Eady declares that he doesn’t want to take an easy route or travel on a road he’s already been on before, and that at the end of this whole journey of life, he wants to “look like a man who tried.” He wants a story for every line on his face when he dies. The introspective companion to this song, and the one that shows off the best instance of Jason’s writing on this project, is “Happy Man,” wherein he lets us know that if he dies today, he would die happy, and that he’s thankful for all of the blessings in his life.

Jason Eady has been blessed with the kind of comfort and healing in his voice that almost can’t be explained, a comfort which makes his stories ones that you have to listen to over and over. When he sings of traveling through life and the struggles and challenges that that entails, you just want to pull up a chair and listen, and draw from that wisdom. There is a thoughtfulness in his pen that is unmatched, and even if it doesn’t come out in overly deep lyrics like in some of his earlier output, it’s there in the beauty and simplicity of a song like “Always a Woman.” It’s that comfort and wisdom that draws you into any Jason Eady record, but I Travel On sets itself apart because it’s also infectious and catchy and able to be replayed for months, even after you’ve been captured that first time by the writing.

As an Eady fan, I do wish there had been a moment here that blew me away lyrically, and for longtime fans, there isn’t really a moment like that anywhere. But this album holds its own in his discography because it brings an energy and musicality that didn’t exist on any of Eady’s other records. Sometimes there’s something to be said for simplicity, for just singing three chords and the truth, and that’s what Jason Eady delivers with I Travel On. And this is the album to show people who don’t know his music, for this is the one that can bring people in and turn them on to the greatness we’ve all had the privilege of knowing. Now go and listen to this fine record.

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