Category Archives: Memorable Songs

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.

Memorable Songs

Memorable Songs From Overlooked Albums: April 13th

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Since this little feature has been around for a year now, and you all seem to enjoy it, I’ve given it its own category, so you can more easily find all of these. This is a semi-regular affair that pops up when we’ve got enough material to warrant it and contains songs from forgettable/mediocre albums, songs from stuff we didn’t review out of deference to artists or time constraints, and songs from albums we just didn’t have much to say about but still felt some tracks deserved a feature.

Dallas Moore: “Home is Where the Highway Is

I know many people liked Dallas Moore’s album Mr. Honky Tonk–it really wasn’t for me, but it’s one where I get the appeal for those who like that “outlaw country” sound and style. I could have really picked any of these tracks to showcase because once you’ve heard one, you’ve got the idea, and basically, you’ll know who you are if you’re going to like it. It’s that typical, straightforward outlaw sound that many artists have relied upon recently, although I will say that Moore tries to go deeper than the surface with some of this and pulls this off more than many of his counterparts.

David Lee Murphy–“As the Crow Flies”

The best and most succinct descriptor for David Lee Murphy’s recent album, No Zip Code, that I’ve seen is “lame.” It’s a shame because he made some really cool music back in the 90’s; on this album, he tries to revive the ghost of bro country in lots of boring and ill-advised ways. The album has very little personality, but here’s a track that really stands out among the forgettable.

David Lee Murphy–“Voice of Reason”

Definitely a highlight on this album, a nice country rock track reminding you what David Lee Murphy is really capable of when he applies himself. More of this on the next record, please.

Western Centuries–“Earthly Justice”

This Western Centuries album is just not for me. “Earthly Justice” was the first song I heard From Songs from the Deluge, and I thought I’d really enjoy it, but it turns out to be the only one I really like. That said, a song like this is the reason this feature was born because this is a really cool song that deserves to be heard. And who knows, the album might be for you as well.

Jordan Davis–“Going ‘Round”

Now to the mainstream, and yes, that dude who produced the completely idiotic “Singles You UP” also has a couple of intelligent cuts on his album. “Going ‘Round” is the antithesis of “Singles You Up” actually, depicting a narrator who is remorseful after screwing it up with his ex, and now that he’s heard she’s broken up with her new boyfriend, he wants to get back together. But he doesn’t want to move too fast because he knows she’s hurting, and he also knows that if he hadn’t let her go, this probably wouldn’t have happened in the first place…yes, I know, actual mature, intelligent emotions. Really good song here.

Jordan Davis–“Leaving New Orleans”

Further proof on Home State that this guy has something meaningful to say comes in the closer, “Leaving New Orleans.” Here, our narrator is leaving that town and all he’s ever known because it reminds him too much of his ex…again, actual, honest emotion, and also really nice, vivid imagery of the Quarter and the things that make New Orleans unique and beautiful.

Kim Richey–“Chase Wild Horses”

Kim Richey’s Edgeland is a victim of a bad release day–it came out the same day as Lindi Ortega, Kacey Musgraves, Ashley McBryde, Red Shahan, etc. It’s partly because of time constraints and partly because I like this album better than my review would likely indicate that I leave it here; those obsessed with the rating would get caught up in the 6, but it’d be a good 6. This is one where I could have chosen several songs and the album I most recommend people listen to out of the ones featured here. If you liked the Caroline Spence album Spades and Roses from last year, you’ll have a great shot of enjoying this. I tried to display the variety here by going with these two, “Chase Wild Horses” being the more upbeat, folk rock number.

Kim Richey–“The Get Together” (featuring Mando Saenz)

The best for last, and this is a beautifully written and performed song about two friends, or exes, or really whatever relationship you want to imagine since it’s not clear, getting together because one of them is leaving. It’s something we can all relate to, and the harmonies really add a lot to this track. This one’s also more country-leaning and features some excellent steel guitar. There’s a reason this is on the March playlist for sure. Really great song, and my only regret is that this live version is all I can find to place here.

Memorable Songs

Memorable Songs From Overlooked Albums: March 8th

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WE say that this feature appears semi-regularly, whenever enough songs are available to produce one, and this first one has been a bit long in coming this year. That’s really a good thing, as it means that most of what we’ve heard so far in 2018 has been good and deserving of a full review, and even some of this has only made it here out of a lack of inspiration on our part rather than a real lack of quality in the albums. For anyone who is new to the site or the feature, we place good songs here from mediocre albums, songs from albums we did not review out of deference to artists or time constraints, and songs from albums we just didn’t really have much to say about but still considered the album or artist worth spotlighting in some way. Most of these songs fall into the last category.

Josh Grider: “Less and Less”

Josh Grider is the exception to the above, as he falls into the mediocre category. This album was, in many places, simply bland and boring and without flavor or color. However, I have seen a host of varying opinions about it, and a lot of people seem to really enjoy it, so it seems ideal to place here and let you all draw your own conclusions. This one is a pretty decent breakup song with a melody that is catchy and a hook that’s smarter and more interesting than what you’ll find on much of this album.

Josh Grider: “Pictures Do”

As mentioned, one of the biggest drawbacks to Good People was the blandness and lack of color of it all, so it’s nice to see Grider really sounding heartfelt and emotional on this track about the value of pictures and memories.

Bonnie Montgomery: “No More”

Bonnie Montgomery and her album, Forever, inspired an idea for another post about which I have been in the process of piecing together my thoughts. This is an album that’s pleasant enough, floating by without making much of a mark, but not really offending you either. The sound on this is stellar, and for people that just want something to carry the “outlaw” flavor and enjoy lots of fiddle and steel, there really is a lot to enjoy here. It’s underwhelming in the writing, but it’s the vocals that bring this album resoundingly down. It’s for that reason that I choose a track like “No More” to highlight, because although there are better selections lyrically, this is the only one that works in spite of her lack of energy, or maybe the only one where she pays attention enough to her vocal power to make this one stand out and remain memorable.

Dusty Rust: “Arizona”

This is a case of featuring Dusty Rust and his album, Stolen Horse, in a better light here than in a full review. It’s a western album done similarly in style to Marty Stuart’s latest, and another song, “No One to Blame,” was also featured on January’s playlist. I could have picked several of these songs, and this would get the best review if I featured one of these, but the drawback is that it’s short. People hung up on ratings wouldn’t check out an album that deserves it because on a nine-track project, you can’t afford to only really enjoy six. This album gets a 6 if I review it, but it’s a 6 filled with promise and potential rather than disappointment. If you’re into stuff with a western theme and forward-thinking approach, check this guy out.

Ronnie Eaton: “Another War”

Ronnie Eaton’s concept album about a soldier returning home from war, known as The Hand That Mocked Them and the Heart That Fed, is something I can honestly say I have listened to many times and have absolutely nothing worthwhile to say about it. I respect the hell out of it more than I enjoy it, and I guess that’s why the proper words have never come for me. That said, it’s probably the one I’d most recommend to you all because I think it’s being underappreciated, and I can see the appeal for many. It also had a song featured on our January playlist, so I’ll put another one here.

John Oates: “Arkansas”

I debated whether to list this one at all, seeing as it’s a song featured on February’s playlist. But for people who don’t do the playlist thing or may otherwise be new to this, this is a surprisingly great song from yes, that guy from Hall & Oates. I’ll be the first to say I found the rest of his album completely unlistenable vocally, although the style was quite cool and bluesy, but this title track is a great song.

J.D. Wilkes: “Walk Between the Raindrops

What can I say to introduce this? J.D. Wilkes is a strange guy, and Fire Dream is a strange album. I don’t even know who I’m recommending it to because I don’t know if any of you would enjoy something this bizarre. It’s almost theatrical in nature, as if Wilkes took elements of really old forms of country and then infused them with something modern and theatrical and weird. I can’t say I necessarily enjoyed this, but there is no doubt that it was forward-thinking in its approach and very interesting instrumentally. And the qualifier for this little feature is memorable, which it certainly was. Who knows who it may resonate with, but here you go.

Brandon Jenkins: “Other Side of the Wall”

And now we come to some of the hardest stuff I’ve ever had to write.
Many of you have followed the updates on Brandon Jenkins and his heart surgery and subsequent complications. I won’t lie and say that I was a huge Jenkins fan; rather, I was largely unfamiliar with much of his music and only lukewarm on the new album, save for a couple excellent songs which I’m about to feature here. But he was too young to leave us and has made a lasting mark on the world of Texas and Red Dirt music.
The new album, Tail Lights in a Boomtown, was released in the midst of his health issues and just days before his surgery, and I held off commenting during this time, simply following the updates and grieving with the rest of the Red Dirt community when he passed away last Friday (Mar. 2nd.) The record has a completely different meaning when you listen now, as if Brandon were experiencing premonitions of what was to come. It is sometimes painful to listen to. So, rather than give a review to his final album, I want to highlight the two gems I found and maybe give other people who also weren’t as familiar with him a gateway into the music of the one known as the Red Dirt Legend.
This first is about the woman on the other side of the wall from his apartment, as he understands the private hell she’s going through even though they’ve never met.

Brandon Jenkins: “Fade to Black”

And in the tradition of saving the best song for last here, this is both the best song here of Brandon Jenkins’ album and the best one on this feature. And this one goes even deeper now because it’s certainly one that carries the undertones and foreshadowing of what would happen to Jenkins. RIP, Red Dirt legend.

Memorable Songs

Memorable Songs From Overlooked Albums: November 20th

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Well, during my last one of these, I said we’d probably have another soon because I already had a few in mind, but after that, I took a break, and also there weren’t as many forgettable/mediocre albums from which to draw material. This time, I think there will be another one soon, as I wrap up the year. You might even see some next time that came out before these songs, as we go through the back burner and try to get to things we’ve missed throughout the year. For now, we’ll get to some of the more recent ones and throw in a couple that have been waiting their turn for awhile. Y’all know the routine: songs from albums we didn’t cover due to time constraints, good songs from mediocre and forgettable albums, and songs from albums neither of us had much to say about but which we still felt deserved a feature.

Margo Price: “Don’t Say It”

Yes, I found Margo Price’s second album, All American Made, incredibly boring most of the way through. This was a great opener, and I also enjoyed “Weakness,”–not featured here because it was covered in Brianna’s review of her EP–but after that, it was just so sleepy. As someone who enjoyed her debut record, I was looking forward to this, and it just didn’t resonate with me. I know I’m in the minority here, and that’s part of why these features exist, to provide a space to highlight stuff I otherwise couldn’t write about and give you an opportunity to fall in love with it if you so choose.

Margo Price: “Pay Gap”

One rare moment of energy on Price’s album came here, as she candidly explored the problem of unequal pay for women. The upbeat atmosphere contrasts with the seriousness of the lyrics in a way that really works and serves to elevate the message.

Lee Ann Womack: “The Lonely, the Lonesome, and the Gone”

This one is a decent album, it’s just one I don’t have much to say about, and with the time constraints as we near the end of 2017, I don’t have time to think of words. It seemed like for every good track on her latest record, the next one or two lost me. Still, there are more good ones here than the two I’ll showcase, and of the albums listed here, this is the one I’d recommend checking out over the others. The title track is one of the strongest and also one that seems to be getting a bit underrated in terms of the songs that we’re, you know, supposed to like here.

Lee Ann Womack: “Mama Lost Her Smile”

As I say, there are others worth checking out here besides the tracks featured–most notably, the cover of “Long Black veil”–but this one is certainly deserving of all the attention it’s received. Probably the universal favorite, this one describes looking at old photographs and wondering just when and why her mother started to look unhappy. Lee Ann’s interpretive ability is on full display here.

Christian Lopez: “Swim the River”

Once again, probably in the minority here, but I just cannot get into Christian Lopez. This isn’t a terrible album, it falls into the mediocre category as well, but one thing Christian can do very well is love songs. This opener is a good example.

Christian Lopez: “Silver Line”

Another place where the potential and personality in Lopez shines forth on Red Arrow; not coincidentally, also another love song. There’s also some cool fiddle here which makes everything better.

Lindsay Ell: “Worth the Wait”

And now to the mainstream for a couple songs that I almost didn’t include here because they’ve been out since August and indeed, would have made that list that was supposed to happen shortly after the last one. But then I told myself the whole point of this is to highlight stuff that’s been overlooked, so I should do that anyway, even though it’s November now. First is the final track on Lindsay Ell’s debut album, The Project, and it’s one of the only times she actually seems to be being herself, not to mention one of the only moments you can sort of call country.

Brett Eldredge: “Cycles”

Brett Eldredge isn’t the problem with the mainstream, but he’s also not the solution, and this is honestly the only thing I can remember from his self-titled album. That said, this is a really nicely written song that explores the on-again, off-again relationship thing quite well.

The Lone Bellow: “Deeper in the Water”

Okay, so best for last, as always. I knew nothing by this group until I put on Walk Into a Storm and fell in love with this song. And then? Not much happened after that. But this one is the one I’ve been most looking forward to putting on this list.

Memorable Songs

Memorable Songs From Overlooked Albums: August 22nd

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Man, these have been really piling up with my two trips and slight break from writing, so although I haven’t written one in awhile, you can probably expect another one quite soon. For new people, here we have songs from forgettable/mediocre albums, songs from albums we didn’t cover due to time constraints and/or out of deference to artists, and songs from projects we didn’t have much to say about but still felt some tracks deserved a feature. These appear when there are enough songs sliding through the cracks to make one, and as I say, you probably won’t have long to wait before the next one.

Carrie Elkin: “New Mexico”

This Carrie Elkin record, The Penny Collector, goes in that category of not giving me anything worthwhile to say about it. It’s been out for awhile, and I’ve given it several listens, and it isn’t that I don’t enjoy it–in fact, I think she’s been underrated considerably–but my review of the album would be uneven. It’s very dark and moody, having been inspired mostly by her father’s passing. I advise people who lean toward darker material to check this one out, but I’m not getting into the whole thing. This song is a lovely ode to Carrie’s homeland and a nice opener for the whole thing, and you can see where she drew the inspiration for this record.

Carrie Elkin: “Always on the Run”

This is one of the more interesting tracks in terms of production here. It’s kind of hard to describe really; the song is reflecting on how in life, we’re constantly running, and the lyrics and the melody add a hurried feel to everything that enhances it.

Carrie Elkin: “Live Wire”

This is easily my favorite of the album, as it’s a little more lighthearted, and the production is a little more interesting. If there were more production moments like this one, it would have really added a lot to this record. Having said that, it doesn’t really fit in with the tone of the album, and that’s what makes it a great song for me. I’ve heard Carrie Elkin’s voice compared to that of Linda Ronstadt, and it’s never more apparent than on this song. As a huge fan of Ronstadt, this is easily the standout of the album for me, even if it might seem out of place on this particular record. I can’t argue with the brilliant lyric, :life half empty is a life half spilled” either. If you liked the other two, you may not enjoy this one; equally, if you found the other two too dark or boring, check this one out.

Whiskey Shivers: “Cluck ol’ Hen”

And now we switch gears from a dark, depressing affair to a punk/bluegrass album that arguably has too much energy for its own good. I’ll give it this; Some Part of Something has stellar instrumentation throughout. But this album is just a little too crazy to be taken all that seriously. This one is a nice interpretation of an old bluegrass tune.

Whiskey Shivers: “Fuck You”

Yep, not much to say about this, the song speaks for itself. It’s a final farewell to an ex who, according to the singer, “always asked me for a song.” Be careful what you wish for I guess.

Whiskey Shivers: “Liquor, Beer, Wine, and Ice”

Here it is: the proof that you can make a small-town partying song and actually have it be catchy and yes, intelligent. Nice, fun song.

Jim Lauderdale: “Sweet Time”

For any of you who know me well, you know that I have a propensity to listen to new albums on a Friday or Saturday afternoon in the background while I play online poker. Why? Because it gives me something to do other than just stare into the distance contemplating the album, and also because if a record can hold my attention while that attention is divided, I know it’s worth giving more listens and possibly a review. Admittedly, sometimes I get distracted, and I have to give some records more listens to make sure I gave them a fair chance. This usually happens with deeper albums, but these require several listens anyway. All that to say, after the first listen to this London Southern album, I thought it was my fault that I couldn’t remember a single thing after the opener. No, it’s simply the fact that this is, hands down, the most boring record released in 2017. So, here’s the opener, which is really quite a nice song. But don’t use it as a stepping stone to possibly check out an album I didn’t review because I promise you, after that, there is nothing noteworthy here whatsoever.

Joe Nichols: “I’d Sing About You”

I intended to review this album actually, but time got in the way. If I did review Never Gets Old, it would probably get a 5, maybe a 6. Lots of mediocre material on the record, nothing awful except “Tall Boys” which is truly atrocious. But there are also some highlights, and even though this is probably the one most people know since it’s been released as a single, it deserves to be featured here as a bright spot on Joe’s album.

Joe Nichols: “WE All Carry Something”

Probably my favorite on this record. Joe Nichols’ sincerity shines through this song as he sings about real-life situations and the burdens that we all must endure. This would have been a radio hit ten years ago.

Joe Nichols: “Billy Graham’s Bible”

That sincerity I mentioned before really carries this track, as Nicols sings about being made for someone just like Billy Graham’s Bible and Willie Nelson’s guitar. It’s a shame this album didn’t have more like this one and “We All Carry Something” because tracks like these really show the potential in Joe Nichols. Who knows if he’ll ever live up to it on a whole album, but at least we can hope for a few songs like this sprinkled throughout his records.