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Reviews

Album Review: El Coyote (self-titled)

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Rating: 7/10

Isn’t country music a beautiful thing? Just in the last three reviews, we’ve found it in Kentucky, (Rhyan Sinclair), Oregon, (Wes Youssi & the County Champs), and Massachusetts (Lori McKenna.) Country music can stir the hearts and minds of anyone from anywhere, and to those who think it can only originate in the American South and West to be considered “authentic,” you’re only limiting yourself and keeping yourself from good music. Country music is not about a place, it’s about a spirit, and sometimes, especially in 2018, we must seek out that spirit all over America and the world in order to find those within whom the passion for country music still lingers.

Today, our search takes us to Montreal, Canada, to a group known as El Coyote, one of the few groups left keeping the country tradition of three-part female harmonies alive. I noted when discussing the Trio record recently that El Coyote, along with many of these current groups, is more a folk effort than a country one, and that especially rings true of the lyrical content here. But the arrangements are definitely more simple and country-leaning than what you’ll find from others, and you’ll hear steel guitar and dobro in healthy amounts on this record. There’s also a little Latin flavor in these guitar licks, giving a bit of context to the name El coyote. The strength, though, is definitely the melodies and the beautiful harmonies of Angela Desveaux, Michelle Tompkins, and Katie Moore. Listening to this album through headphones or stereo speakers where you can more easily hear each element of the harmony is highly recommended; it is flawless, and although each of them takes the lead on certain tracks, none of them seem like a “lead singer” more than the others. Rather, much like the Trio record, which I also happened to be spinning while contemplating this album, it seems to be a case of three great singers making something together that is even better than the sum of their parts or what any of them could have achieved on their own.

The songwriting here is subtle and reveals itself with more listens; in this aspect, the group leans more toward the folk end of the spectrum. But it’s hard not to appreciate a song like “lighten up Diane,” where the narrator is the other woman who’s finally become disenchanted with the facade of her relationship. The song is framed so well with the opening verse speaking of how she always seems to be late for things, and how she’ll have no pictures in her photo album to capture the passing of time. It doesn’t make a lot of sense until we learn she’s the other woman, and then it becomes genius songwriting–she’s too late to have this man in the proper sense, and she won’t have any photos of them together because their love has been a secret, so it won’t even look real to everyone else. The melodies and especially the harmonies draw you in on this record long before the lyrics, but the beauty in the writing continues to reveal itself with each subsequent listen.

The biggest criticism people will have for this is that it can be sleepy. Ironically, the album’s only lively tune, “Tip Jar,” really draws attention to this. Their voices are so suited for the softer, more introspective stuff that it’s almost a surprise when “Tip Jar’ makes its appearance as the sixth track, and the group sings about being tired of life “sleepin’ when everyone’s workin’, workin’ when everyone’s livin’ it up.” drums are also a rare occurrence on this album, so when they come in here, they provide a nice moment of energy. “Tip Jar” is an album highlight and proves they can pull off more upbeat songs very well. Consequently, it makes me wish they’d have gone this direction a bit more; I like the songs here, but the main thing that keeps this album a good one instead of a great one is just that it’s too sleepy, a bit too safe. It’s a debut, and I’d like to see them up the tempo some on a future record.

As it is, though, this is one of those albums that’s perfect on a lazy, rainy Sunday afternoon. It’s a mood record, and if you’re a fan of the softer, more relaxed stuff like this, you’ll really enjoy it, probably more so than me. And if you are starved for the sounds of three-part female harmony backed by more country-sounding instrumentation, this is certainly a good place to turn. It will be sleepy for some, but it’s a good, solid foundation for El Coyote to build on, especially in an area of country which is currently so underappreciated.

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Reviews

Album Review: Lori McKenna–The Tree

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Rating: 10/10

We can debate all day long about the styles and sounds of country music, whether it needs fiddle and steel to fit in the genre, and which modern artists are carrying the sound forward in progressive ways rather than just killing it on the vine. But one thing we can probably all agree on, and the thing that I’ve heard most from people on all sides of the genre debate, is that country music is real. It’s about life, and life is not always happy. IN fact, life is incredibly hard, and country music is important to so many because it embodies that spirit, telling the stories of real people and situations, and providing an empathy in the midst of our own struggles that works far better to heal the soul than songs of escape. That is not to discourage those songs either–in fact, brothers Osborne made a great record this year that works despite its lightweight lyrics and party themes because it provides a moment of peace and levity in the broken world in which we live. But there are also times when we need to know someone else has been through the same things and can understand our pain, and country music has a way unlike any other genre of capturing that truth and empathy and providing comfort to its listeners.

Lori McKenna is desperate to find that truth, stating in the opening lines of “Like Patsy would,” the closer to this album, “If it comes from the whiskey, then pour me a drink. If it comes from the heartache, let me feel the sting. If it comes from the spirits, set ’em loose in this room.” These words are the thesis of this whole project, as she sets out to carry on the traditions of country music by immortalizing the stories of real people. She’s an expert at this familiarity, taking the most mundane topics on the surface and then adding her unique, vivid details to make timeless stories that can relate to us all. Because of that, it’s imperative to give this album a few listens because every time, you will find new words and phrases that make these songs come alive. McKenna’s subtlety reminds me of the writing style of Jason Eady, for his turns of phrase are sneaky, and there’s always something hidden, waiting to be discovered and treasured. “A Mother Never Rests,” the simple opener and ode to motherhood, is elevated by the little details Lori throws in, like the nightlight being left on so that even the sun can set; the mother rarely sits down, but since she provided the light, even the sun can rest awhile. “The fixer” might not be a standout on your first couple listens because if you miss a phrase or two, the whole thing isn’t as poignant, but when you catch the lines about the “fixer” leaving ginger ale on the nightstand for his sick wife and then busying himself with some household project that he can control because he can’t fix her, and she’s too tired to even sip the drink, you can feel that pain. She’s referred to as “the fighter,” doing battle just to sit in her chair in the yard and praying for a miracle despite believing she can’t be fixed. And “The lot Behind St. Mary’s” becomes an incredibly special song of nostalgia and lost love when McKenna utters lines like, “I know you wonder why we can’t get back to When September was our only adversary.” On an album full of excellent songs, this one is definitely a highlight.

There’s the perfect amount of levity and hope sprinkled in as well, making this able to be replayed and keeping it from being a depressing listen despite the serious nature of most of these tracks. “Young and Angry Again” fits with the themes of nostalgia on the record, but it’s upbeat and catchy, and told in such a way that younger people can relate as well, not just people looking back on the good old days. As a 26-year-old, I appreciate when I can relate to a song like this because it shows Lori McKenna’s talent as a writer and an interpreter. “Happy People” was one of my least favorite songs on Little Big town’s last record, but Lori’s own version is more heartfelt and serves as a much-needed lighter moment on this project. “The Way Back Home” admittedly comes off as “Humble and Kind Part 2,” and I wanted to dislike it, but again, her details win out; when she sings about keeping a Bible by your bed like “headlights coming up the road” and getting back to whichever backyard you came from when you’re feeling lost, it’s impossible not to appreciate this song.

Dave Cobb did another fine job with this as well, neither overproducing McKenna and losing her lyrics in unnecessary arrangements like on Ashley Monroe’s album nor leaving Lori alone to hold our attention on her own. The lyrics are the main focus, and most of these songs are driven by acoustic guitar, but there’s always enough instrumentation to keep anything from being bare or minimalist. A producer shines when he or she enhances the artist and at the same time doesn’t draw attention to the production in lieu of that artist, and Cobb succeeds very well here.

As I said on Twitter, this album gets better and better like a fine wine. The Tree wasn’t a 10/10 for me on first listen, and I encourage you to give this several spins. The writing of Lori McKenna is subtle, and it’s absolutely full of hidden little details. But it’s those details which set her apart as a writer and emotive interpreter, and the more you uncover, the more there is to love about this record. It’s simple and relatable, taking real life and turning it into something magical and poetic. It’s everything that country music stands for, and a mark of the best songwriters.

Three chords and the truth. Fantastic record.

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Memorable Songs

Memorable Songs From Overlooked Albums: July 19th

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This has been awhile in coming, mainly because several albums we had originally intended to feature here got better with time and ended up getting full reviews. For new people to the feature, here we place good songs from mediocre albums, songs from albums we didn’t review due to time constraints or out of deference to artists, and sometimes tracks from albums where we just didn’t have the right words for a full review. It pops up at random whenever we have enough songs to produce one.

Gretchen Peters: “Wichita”

This song is on the May playlist, along with one other song from Dancing with the Beast. Gretchen Peters is definitely a great writer, but this album just bored and depressed me. “Wichita” is the only somewhat upbeat moment, differing from the elegant, polished ballads that make up most of the album. It’s still an intense song about a disabled child protecting her sister from being raped, but here, the production is more interesting and really sells this song. Peters’ record is still something I”d recommend if you like darker, more depressing material–for someone in the right frame of mind, there could be a lot to appreciate because the writing is undeniably strong throughout.

Parker Millsap: “Tell Me”

I swear, I’ve really tried to get into Parker, but it just hasn’t happened. And I also don’t care for the sort of rootsy, vintage pop style he adopted on Other Arrangements. I think it does work well on this song, though, as the soulful style really suits his voice.

Neko Case: “Sleep All Summer”

Neko Case’s album Hell-on just went right over my head lyrically; she’s a great writer, but often it’s at the expense of relating to her audience, or at least to me. This is not country, but fits in the vein of Americana well, and I can tell it has been great for a lot of people unlike it has been for me. She’s a wonderful vocalist, and her melodies are enchanting. There are a couple songs I like here just for their melodies and her performance. This duet is the one I chose to feature here because I think it’s the most accessible lyrically.

Tami Neilson: “A Woman’s Pain”

Sassafrass! is a fascinating album, and much of it is fueled from uniquely female anger, covering discrimination and double standards and sexual assault scandals. It’s the musical style I’m not sold on personally, but of all the albums here, it’s the one I’d recommend everyone listen to the most because it really has some cool things to say. I loved this song on first listen.

Tami Neilson: “Manitoba Sunrise at Motel 6”

After all that anger and energy throughout the whole album, it’s such a great moment when this song comes on near the end and displays a tender side to Tami Neilson. An excellent song of life on the road and missing those she loves that stands out even more on such a record.

And now to Brianna, for her selections from the latest album from Cody Canada & the Departed.

Cody Canada & the Departed: “Lipstick”

Cody Canada is an artist I’ve liked for a few years now. I was a fan even before he announced the formation of The departed. I really liked their last two albums, so needless to say when 3 came out, I was quite excited to hear it. Therefore, when I listened and only liked about six of the fourteen songs on the record, you can imagine my disappointment. While this album did not grow on me  personally, I think that any fan of this band should check it out. The songs have various tempos and instrumentation, so you will definitely not be bored with this material. My main problem was that the writing left a little to be desired with a lot of vague lyrics, but that could be just me. I cannot come up with enough things to say about this album for a full review, so I thought I’d highlight my two favorite tracks.

“Lipstick” is a very catchy and more upbeat song. From my interpretation, it has to do with how beauty can lead to sin and cause people to lie. I like the melody a lot, and I find myself going back to this song whenever I look at this album.

https://www.youtube.com/watch?v=sh3nbFGfY-E

Cody Canada & the Departed: “Footlights”

“Footlights” is my second favorite song from this album. I think it’s a very honest look at what singing as you get older is like. I definitely feel like Cody Canada is speaking from personal experience on this track even though it’s a Merle Haggard cover, and it makes it one of the most relatable and real songs off this record.

Random Reflections

Reflecting on: Trio by Dolly Parton, Emmylou Harris, and Linda Ronstadt

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My last reflection was on a Linda Ronstadt solo album, and I promised the next would be on this record, for the trio of Ronstadt, Dolly Parton, and Emmylou Harris is receiving a well-deserved star on the Hollywood Walk of Fame.

Release date: 1987

Style: traditional country

People Who Might Like This album: fans of any of these three artists’ solo work, fans of any female group with three-part harmony

Standout Tracks: “The Pain of Loving You,” “hobo’s Meditation,” “Wildflowers,” “Those Memories of You,” “Telling me Lies”

Reflections: What a joy it was to revisit this record; I hadn’t listened to this in full in many years. As mentioned in the last reflection, Linda Ronstadt has been a really important artist to me personally, and she’s the reason I loved the Trio albums in the first place. Parton and Harris have been more important to country music, but it was Ronstadt whose music I loved first. Even to this day, I am not nearly as familiar with the discography of Emmylou Harris as I should be or as I’d like to be. This album, though, surpasses anything any of them could have done on their own, for it takes three already outstanding voices and puts them together in three-part harmony that can only be described as chilling.

Ironically, as I’ve been listening to this album, I’ve also been giving the new self-titled El Coyote record multiple spins. I should have a review on that project soon, but what I keep coming back to with the trio is that groups like El Coyote and others that are carrying on this tradition of three-part harmony in these modern days overwhelmingly lean toward the folk end of the spectrum. That’s no disrespect to any of these groups or to folk music, but there’s something about hearing Parton, Ronstadt, and Harris singing in perfect harmony with fiddle and steel and country chords supporting them that’s just beautiful and irreplaceable and hard to find in 2018. And to those that discount Linda Ronstadt as a singer of pop and rock who only crossed over into country briefly, this record and the other Trio material should solidify her place in country music history. It doesn’t get much more traditional than the Ronstadt-led “Hobo’s Meditation,” a song penned by Jimmie Rodgers.

It is true I came to appreciate these records first because of Linda, but each of the three has a highlight on this album. “The Pain of Loving You” is an excellent tune led by Emmylou Harris, and the Dolly Parton-penned “Wildflowers” is another standout. More than their individual highlights, though, this record is about the magic of these voices together, an album that none of them could have made without the others. It’s hard enough to write duets, let alone songs that fit three voices. Then, it’s difficult to make sure the voices all blend well, and care must be taken to ensure that each element of the harmony can be heard. They do all this perfectly, and bring character to these songs that none of them could have achieved on their own. Their star on the Walk of Fame is well-deserved, and this album has earned its iconic place in country music history.

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https://www.youtube.com/watch?v=8aHcDD3H964

Reviews

Song Review: Cam’s “Road to Happiness”

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Rating: 7.5/10

We’ve been waiting for Cam to deliver us something in the vein of “Burning House” ever since that song came out and showed such promise. There was nothing really like it on her debut album, and “Diane” was really a great single lyrically, but it was bogged down by busy, pop production that rendered it virtually ruined. “Road to Happiness” is the closest thing we’ve yet seen to that beautiful song, acoustic and heartfelt, and it’s this type of song where Cam really shines as an interpreter.

Similar to “Burning House,” there’s not much here in the way of instrumentation; it’s primarily driven by acoustic guitar and keeps the main focus on the lyrics and vocals. Cam sings thoughtfully of the paths we all take looking for that elusive thing known as happiness–“it’s the wild unknown, it’s a ball and chain” seems like such a simple line, but it’s a great showcasing of how we all seek happiness in different ways. Some of us don’t want to be tied down and find joy in freedom, while others find their greatest fulfillment in loving another for the rest of their lives. She asks, “is the future that we’re chasing worth the right nows that we miss, on this road to happiness?” What a question, putting everything into perspective, and what a bleak way to look at things if we’re so caught up in reaching some indeterminate destination that we lose sight of the little joys in life right at our fingertips. It’s a really simple song, much like “Burning House” was, and yet, like that song, the lyrics are deceivingly complex and thought-provoking. Cam is at her best when she’s capturing that beauty in simplicity, and when her voice and lyrics aren’t drowned out by overproduction. As a fan of Cam and her potential, this song is exactly what I’ve been waiting for from her.

Written by: Cam, Tyler Johnson, Hillary Lindsey