Category Archives: Reviews

Reviews

Album Review: Rhiannon Giddens–Freedom Highway

3 Comments

Rating: 8.5/10

It’s taken me quite a few listens to put my feelings about this album into words. Even now, it’s one of the more difficult albums I’ve ever discussed, but it’s definitely worthy of discussion. For those unfamiliar with Rhiannon Giddens, she’s the wonderful voice on Eric Church’s “Kill a Word,” a song that speaks out against all the evil in the world, from racism to hate to loneliness. Giddens has also released an album of covers, but this is her first album of original material and my first exposure to her outside the Church song. The album she delivers is as complex in sound as it is in theme, taking us on a journey from the days of slavery to the Civil Rights movement to the racism and police violence of today. None of these are easy issues to address, but Giddens has brought us a record that can open our eyes and teach us much about our history, all in a way that is more observation than judgment, more storytelling than sermon, and at once grieved by the past but hopeful for the future.

The album opens with the slow-burning “At the Purchaser’s Option,” and right away, we are told the story of a slave whose owner has raped her; now she has a baby boy, and she can’t help but love him even though she knows someday he will be sold. It’s a great opener and sets the tone of the album well. Next is a cover of “The Angels Laid Him Away.” The acoustic instrumentation really allows Rhiannon’s voice to shine, and her ability to convey emotion is something that will be an ongoing highlight of the record. This is the first of several smart covers chosen for the album. “Julie” is a standout of the record; it’s another acoustic-driven track, this one another, more complicated slave narrative. Both Julie and her mistress sing here; it appears that they had a good relationship and may have even been in love, but Julie has found out the mistress has sold her children and leaves when the Union soldiers come. I applaud Rhiannon Giddens for recording a song as complex as this one.

Giddens does an excellent job with the cover of “Birmingham Sunday,” a song about the 1963 16th Street Baptist Church murder by the KKK. The perspective shifts to today’s issues with the funky “Better Get it Right the first Time.” This one is upbeat and somehow lighter on the surface in the midst of a dark album, but the lyrics are some of the most thought-provoking on the whole record. Giddens repeats the line, “Young man was a good man,” in between recounting the details of his life; he did his best to live right but went to one house party and ended up being shot by police. Rhiannon’s nephew, Justin Harrington, adds a rap to the song that elevates it, telling the story from the young man’s perspective. The conclusion is that for black Americans, there aren’t second chances, so “You better get it right the first time.” This is another highlight of the record. “We Could Fly” is another standout, speaking of the hope that comes after death and flying away from what the song calls “the bonds of earth.” It’s the opposite of “Better get it Right the first Time,” dark on the surface but one of the more uplifting tracks on a somber record.

Speaking of light moments, next is the fun, lighthearted “Hey BéBé.” I wouldn’t necessarily say it adds to the album, but it’s definitely catchy and serves as a break from the intensity. The horns in this are just cool. At the same time, as a song itself, it doesn’t stand out; it says more in the context of the album. “Come Love Come” is another slave narrative, this time about a slave couple waiting to be reunited. The woman waits for her lover in Tennessee. This is a solid song, but it doesn’t have the same impact as the other slave stories; I don’t know if it’s because this is the third one or if this one just doesn’t resonate as much as the others. The soulful “The Love we Almost Had” is another light moment about a love that could have been. This one works better than “Hey BéBé” as a diversion from the dark themes of the record because it is more understated, whereas “Hey BéBé” almost sticks out like a sore thumb. “Baby Boy” is my least favorite track; it’s another acoustic song about Mary watching over Jesus, or possibly also any mother watching over her son. It’s not a bad song, but it doesn’t add anything to the record. The instrumental “Following the North Star” follows, and I have to say, I think it would have been a nice prelude to “Julie,” but it works well here before the closer and title track, a cover of “Freedom Highway.” The album ends in more of a place of hope than it began, asserting that the quest for freedom is daily and ongoing.

This is a great piece of history and commentary, using storytelling to bring us a message that can’t be delivered by activists or preachers, but only through art. It’s an album that can teach us all something if we let it, and that’s one of the most compelling things about music. I will say that it is held back for me a little because it won’t hold up as well as other albums, especially the latter half. even the excellent front half won’t have the staying power of some other records because it’s not something you will probably pull out months later for some nice, relaxing music. But that’s not what this album was meant to do. It was meant to be respected more than enjoyed and to teach and preserve pieces of history in an effort to keep the same mistakes from occurring in the future. IN that regard, this record excels, and for that, Rhiannon Giddens should be praised.

Listen to Album

Reviews

REVIEW – SOUTH TEXAS SUITE BY WHITNEY ROSE

4 Comments

Rating: 8/10

Ever since I first heard Whitney Rose’s last album Heartbreaker of the Year, I have been looking forward to hearing more music from her. Therefore, I was really excited to hear her new South Texas Suite EP when it was released back in January. Given Whitney Rose’s move to Texas, I was curious about whether or not this EP would sound different from her last album.

Upon listening, I can definitely say that it does. It’s still got the nice blend of pop and country Whitney Rose did so well on Heartbreaker of the Year, but with a great Texas bent. That is shown right away on the opening track “Three Minute Love Affair”. There is some really good accordion, and it immediately sets the tone for the song. It revolves around a couple on the dance floor. They had never met before the dance, but for three minutes of the song, they are in the midst of a love affair of music and movement. For those three minutes, it’s just the two of them, the dance, and the song.

Next is “Analog”, where Whitney talks about wanting things to be simpler. She wants records instead of digital music, and a memory instead of a photograph. It’s a really nice song about wanting to get back things that we’ve lost because of technology. It’s not preachy by any means as the technology part was just briefly mentioned in the song, but I thought it was a nice sentiment. I really like the instrumentation, too. It’s got a slower pace, with a bit of an older pop sound.

Following these two songs, there’s “My Boots”. This is my favorite track off of the EP. It’s all about Whitney Rose just wanting to be herself. No matter where she goes, she just wants to be comfortable, and she won’t dress herself up to make a better impression. This song has some really good steel guitar and fiddle in it, too, so that always helps.

“Blue Bonnets” is all about the main character wanting to make things better for her partner. She wants to remind him of all the good things the world has to offer when he comes home. The music of this song really reminds me of 60s pop, and it brings back the vintage Whitney Rose sound heard on her last album that I liked so much, because while it has that older pop flair, there is some great fiddle too. Then there’s “Looking back on Luckenbach”. I love the title of this one. The main character is looking back to the town where a lot of her best memories were made. This is probably the song that I like the least, but it’s not bad at all. It’s got a nice easy pace with some really good instrumentation.

Lastly, there’s “How About A Hand for the Band”. It’s a simple instrumental where the band gets to show off their skills. I thought this was a great way to give the musicians a chance to shine. As Whitney Rose produced this herself, I just thought it was a really nice touch.

Overall, I do quite like this EP. I really like the new Texas sound Whitney Rose worked with on here. From the accordion to the steel, to some honky tonk settings and Texas themes, I thought it was an interesting step for her. I’m definitely eager to see what she comes out with next.

Buy the Album on Amazon

Reviews

Album Review: Jaime Wyatt–Felony Blues

1 Comment

Rating: 7.5/10

Jaime Wyatt’s debut effort comes to us from a place of authenticity few artists can really claim; she was convicted of robbing her drug dealer and subsequently served time in prison. Upon her release, the hardship and stigma that came with her past eventually led her to country music. I could go into more detail, but I feel like I should keep my focus as much on Wyatt’s music as possible. Still, it is worth noting because the album’s title rings true in a way that much of today’s music doesn’t, and the raw honesty that comes with life experience like this can serve music well, and certainly does in Jaime Wyatt’s case.

This is an interesting album to discuss, as it isn’t really quite an EP or an album. At seven songs and thirty minutes, it lies somewhere between the two. The rating may be slightly misleading because there are some really fantastic songs and some really average songs. So in order to better serve Jaime Wyatt and the potential shown in several places on this record, I will discuss the high and low points rather than going through the album track by track.

A definite high point on this record is the instrumentation. The opener, “Wishing Well,” immediately captured my attention with its driving production. From the opening line, “I wanna wake up somewhere where you don’t have to lose,” I was drawn to the raw quality in Jaime’s voice. This is the kind of song she really excels at, and I’d like to see more like it from her in the future. Lovers of fiddle and steel should check out “Wasco,” arguably the album’s best track. The narrator in this song is in love with an inmate and dreams of graduating high school and going to be with him, singing, “ain’t nobody gonna tell me who to love.” Songs like this and “Stone Hotel” directly speak to Wyatt’s past and give an authentic feel to the album. “Stone Hotel” especially seems autobiographical, telling the story of an inmate looking back on her conviction and forward to the day when she gets out of prison and can try to live a different life. Another song that stood out for me after a couple listens is the easygoing “Your Loving Saves Me.” “Hard as concrete, soft as gravy, Jesus is cool, but your loving saves me.” Once again, the production and instrumentation really fit the song well.

“From Outer Space” is one of the lower points of the album. I have listened to it several times, and it just doesn’t connect with me like some of the other songs. Jaime Wyatt’s voice really elevates the acoustic “Giving Back the Best of Me” and the cover of Merle Haggard’s classic heartbreak song “Misery and Gin,” but these songs don’t stand out like the more upbeat, rocking material. They are still really solid tracks, but I find myself coming back to “Wishing Well” and “Wasco” more than anything else because the personality and potential of Jaime Wyatt is clearest on these songs.

Overall, this is a pretty solid album. The highlights are the more upbeat tracks, especially “Wishing “well” and “Wasco.” The production works well with each song, and there are some nice lyrical moments as well. But more than anything on the album itself, this debut shows the potential of Jaime Wyatt. This won’t necessarily blow you away, but it shows promise, and Jaime Wyatt is a name you should keep an eye on.

Listen to Album

Reviews

Album Review – Vaquero by Aaron Watson

2 Comments

Rating: 6/10

Aaron Watson is one of those names I heard about in Texas country, but always forgot to look up. When Megan approached me about reviewing this album, I figured that now was as good a time as any to check out his music. Therefore, when I sat down to listen to Vaquero, I wasn’t sure quite what to expect.
This album has great instrumentation. I realized that right off the bat when “Texas Lullaby” started playing with some quite well-done accordion. Not all the songs feature this instrument, but I love it wherever it is played. There is fiddle and steel guitar all throughout this album, so a traditional country fan listening to this will not be disappointed anywhere instrumentation-wise. I will say, though, that there are a few songs where the instruments needlessly extend things, but that’s just my personal opinion.
For me, it’s the lyrics that bring this album down. Not on every song, but there are many times throughout this album where words and phrases are repeated, and the same subject matter is approached in three different songs. It began to get tiring after a while.
This is not to say that the album is bad. The aforementioned “Texas Lullaby” is a great opening song. Granted, the references to Texas did get a bit over-the-top for my taste, but the song itself is good. It tells the story of a soldier from Texas(whom they called Texas), and how he loved his home state. He fell in love with a girl, and all he wanted to do was come home from the war, live his life in Texas, and not have anyone mourn for him when he died and was buried in Texas. I like it quite a lot.
After this song is where things take a turn. “Take You Home Tonight” is about a man just wanting to spend some quality time at home with the woman he loves. “These Old Boots Have Roots” talks about how the man in the song has deep ties to his town. It would have been much better had the phrase “these old boots have roots” not been repeated so much. Plus, the song just seems a bit haphazardly put together with lots of references made, but nothing being followed through. “Be My Girl Tonight” is about wanting to break down barriers between a couple by spending some time being physically intimate. Personally, I think this is a bit too close to the theme of “Take You Home Tonight”, although the former is about getting back to a good place in the relationship. The latter is more of a feel-good song. “They Don’t Make em Like They Used To” is, of course, a nostalgic song. It discusses how the world has changed over time, and wonders if people of the future will say the same about people of our time.
“Vaquero” is one of my favorites off of this album. In this song, a Mexican cowboy tells the main character stories about his life in exchange for shots of tequila. I really like the instrumentation of this song, especially since it is one of the ones that featured an accordion. “Outta Style” is a love song about two people in love still feeling the same after many years. “Run Wild Horses” is yet another love song that is about the passion the main character of the song feels for his partner. This makes three different songs in the first half of the album that are all about physical passion in some form, so by this point, it gets a bit old.
The instrumental prelude of “Mariano’s Dream” follows “Run Wild Horses.” Mariano is the father of the girl the next song, “Clear Isabel”, focuses on. “Clear Isabel” is my favorite song off of this album, I think. It is a very timely song about Isabel and her father trying to escape the cartels of Mexico, whom Mariano had got on the wrong side of as he was a lawman. To escape them, the two flee to America where they work for the parents of the main character of the song. Isabel ends up married to him, while Mariano gets deported. They receive a green card for Mariano, but it comes two years too late because Mariano had gotten shot. I have a huge weakness for story songs, and this is a great example of one.
“Big Love in a Small Town” celebrates the fact that the main character found love and it is in his tiny hometown. It may be behind the times to some, but to him, that’s a good thing. I really like “One Two Step at a Time”. It has great honkytonk traditional instrumentation, and the lyrics focus on a girl who isn’t into anything fancy. She just wants some homemade tamales, a Texas bar, and a two step. “Amen Amigo” is a bit forgettable. It is about a man just wanting to go back to the days when he, his friends, and his girl went down to Mexico and partied all night. “The Arrow” isn’t a bad song, but it is very vague. It’s a song in which the singer gives advice about keeping to your dreams and hopes, and not letting anything change you. While those themes are great, there is no story behind it, which makes me not connect to the song emotionally. “Rolling Stone” tells the tale of a singer who loves his wife, but can’t stay home. He has to be out on the road, chasing his dreams of being a musician. However, he always thinks of her. This is a good song for someone like Aaron Watson to sing. The final song “Diamonds & Daughters” tells of a father’s love for his daughter, and how he’d always be there for her even after she gets married. Although she is all grown up, she’s still his little girl. I quite like this one.
Overall, this is not a bad album. It is very long at 16 songs, and many of these tracks are overextended with instrumental parts, or repeated choruses. If even a few of these songs had been taken away, I think it would have made for a better album as a whole. However, there are some really good songs here, too. As I said, “Clear Isabel”, “Vaquero”, and “Diamonds & Daughters” are quite good. If you’re looking for music with lots of fiddle, steel guitar, and even some accordion, this album has all of it. With all that in mind, it’s not something I love but I don’t regret listening to it, either.

Buy the album on Amazon

Reviews

Album Review: Nikki Lane–Highway Queen

Leave a comment

Rating: 8/10

For those unfamiliar with Nikki Lane, Highway queen is her third studio album. I will admit to having checked out lane before, but not really being impressed by either of her two previous records. This was mainly due to production, and Nikki apparently wasn’t sold on it either. She has stated that for this album, she wanted a producer who wouldn’t overshadow her and who would bring out the best in her. So her boyfriend, Americana artist Jonathan Tyler, helped produce this record, and what we get is a great showcase of Nikki lane and her talent.

The album opens with the catchy, upbeat “700,000 Rednecks,” a lighthearted song about all the hardships of being a musician, and all the things “it takes to get to the top.” I am very careful about designating something outlaw country–in fact, I am not sure I have ever labeled anything I have reviewed here as such–but that’s what comes to mind with this song and throughout much of the record. A few tracks lean more toward Americana, but mostly I would call it outlaw country. “Highway queen” is a fun, upbeat track that seems to be a personal anthem for Nikki. The woman in the song lives on the road and travels alone; “the highway queen don’t need no king.” “Lay You down” is another upbeat track about a woman watching her man leave her and asking who will be there for him when he dies alone. The instrumentation, which is the strongest point of the record, is catchy, but it doesn’t really go with the lyrics, and for me, this is one of the weaker tracks.

“Jackpot” is a highlight of the album; this is a fun love song comparing true love to finally hitting the jackpot in Vegas after putting in so many quarters that came up short. If you pick one Nikki Lane song to listen to, make it this one. “Companion” is a more serious love ballad, and once again, for me it is a weaker track. Lane’s voice and style just don’t work as much on these types of songs as they do on the more rocking, upbeat, fun tracks. “Big Mouth” is one of those; it’s literally a song about telling someone to shut the hell up and stay out of her business. Think Kacey Musgraves lyrics but with Miranda Lambert attitude. “Foolish Heart” is another more serious song, this time about finally finding love but fearing losing it all again. This one is better than the previous serious tracks. “Send the Sun” is the type of love song Nikki Lane excels at; much like “Jackpot,” it is more lighthearted. It’s about long-distance love; while they miss each other at night, they promise to “send the sun your way, wake you up with a dawn full of golden rays.” Even though the miles separate them, they can’t imagine being with anyone else.

I have listened to “Muddy Waters” several times, and honestly I have no idea what it’s trying to convey. It’s a pleasant song musically and lyrically, but it seems underdeveloped somehow. Lane repeats, “I don’t believe ’cause I don’t wanna believe” but it’s pretty unclear what she’s referring to. Maybe someone more intelligent than me can figure it out. The album ends with the excellent “Forever Lasts Forever,” and for the first time on the record, Nikki really nails a serious song. This one is about divorce. The lyrics in this song really paint a great picture; “we swore for better or worse, and it was better at first, and worse at the end. They say forever lasts forever till forever becomes never again.” Lane also brings out the emotion in this song well, and it closes the album on a high note.

This is the best place to start with Nikki Lane’s music. The instrumentation is definitely the high point of the record. Lyrically, some of the serious songs don’t connect with me as much, but Lane proves she can deliver them well with “Forever Lasts Forever.” The highlights are the more fun tracks like “Jackpot,” “Highway queen,” and “700,000 Rednecks.” This is a really unique style like that of outlaw country, and Nikki’s unique voice works well with it. I”d definitely recommend getting to know this album and Nikki Lane.

Listen to Album