Reviews

Album Review – Andrew Pope – Stoned on the One

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Rating: 7.5/10

I had never heard of Andrew Pope until Megan clued me into this album. She lured me in with the promise of lots of steel guitar, which I’m sure everyone who reads my reviews knows I love. As this is Andrew Pope’s second record, I was excited to hear it. This is because most of the artists I’ve learned about recently have quite a few other albums out, and I was hoping to find a newer artist to like. As it turns out, I definitely have.
This is a very country album. It features lots and lots of steel guitar throughout most of the songs, as I’ve previously stated. There are lots of heartbreak songs too, and you can’t get deeper into the roots of country music than That. Andrew Pope mixes things up with some great songs about family and life being a musician, among other things. The instrumentation is skilled enough to stand out, though some of these songs are overlong. One big criticism I have about this album is that Pope likes to have pauses between some of his lines that last for a few seconds. It’s one of the things that immediately stood out for me, as he does it quite often. It’s not my favorite, and it bugged me a lot.
The title track kicks off this album in style. “Stoned on the One” is one of the best songs on here. It’s a great heartbreak song about missing his girlfriend, and the memories of her that he clings to. I especially love the chorus. “Honky Tonk Tragedy” is a fun song about a musician who’s tired and broke, but he wouldn’t change his life for anything. “I Wish I Was in Austin” is all about Pope wishing he were in Texas, playing music with Willie Nelson and soaking up the atmosphere where good country music is still loved. As someone who’d love to visit Texas, I definitely relate to that!
After this comes “Runnin’ After Rainbows”. It’s a standard song about a girl who can’t love someone, and there being nothing the man can do about it. This song features a metaphor of the girl trying to heal a heartbreak by driving down a highway, chasing after rainbows. “If I Go Crazy” is your average song about being too proud to admit how affected someone is after he’s left by his girlfriend. The chorus goes “If I go crazy, tell her I’m doing fine”. My problem with this is that being too proud to admit that you’re hurt has been done thousands of times. “Even Ramblers Get the Blues” is about a rambler, of course, but he sometimes gets tired of going from city to city, with nothing to hold him anywhere. All he has is his guitar and strangers. It paints a very stark picture.
“Redneck CEO” is one of my favorite songs off of this album. It’s all about his grandfather, who taught him everything he needed to know. He says that fancy boots and three-piece suits could learn a thing or two from his honest farmer of a grandfather. Now, we come to my least favorite of the album. It’s supposed to be a fun song about going into town with his girlfriend where she doesn’t have to dress up, but really, using the words “granny panties” just makes everything weird. I could probably appreciate this song without those mentioned, but as it is, it just feels wrong to me. “Country Congregation” is a good song about there being no discrimination in the country community, if you love country instrumentation and songs, you’re in. I like the theme here, because he’s saying it doesn’t matter if you’re rich, poor, happy or sad. Everyone’s welcome. “Everything’s Changing but Me” is yet another favorite song on this album. The world seems to be going crazy, but he stays the same. He feels out of place in today’s world, which is definitely relatable to a lot of people. I know it definitely resonated with e.
“Whiskey Gets Me There”tells the story of a man not wanting to feel the pain of his ex leaving him. The only thing that makes him numb is whiskey. It’s another cliche song about drinking to forget your problems. I like the acoustic guitar in this song, and how it strips everything back to just Andrew Pope’s voice, though. “Stormchaser” uses the imagery of storm chasing to talk about how a man keeps chasing heartbreak. I quite like how descriptive the lyrics are. “Through” is a nice way to close the album. It could be seen as the end of the heartbreak songs, with him finally saying he’s through with the pain of his relationship, and he would never go back to being with his girlfriend or wife again. This song was stretched out to accommodate for some really good solos, but I’ve always been a lyric person so this wasn’t really my thing.
Overall, I found this to be a good album. I wish that some of the songs were shorter, and again, those pauses between the lyrics really stick out for me. However, there is some awesome steel guitar featured on almost every song, and his lyrics are just varied enough to make most of the tracks stand out. I recommend this if you like traditional country music with a good backing band, as well as descriptive lyrics.

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Reviews

Collaborative Review: Chris Stapleton–From a Room, Volume 1

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Ok, so we thought we’d try something different for this review, and if it works and you all enjoy it, we may do this on occasion for more albums in the future. Brianna and I each came into this album with very different opinions of Stapleton’s prior work; while we were both fans, she was more impressed by Traveller than I was, and a self-described Stapleton fan, and although I really enjoyed that album, I felt it was a bit too long and not quite on the level assigned to it by some critics. We both felt his unprecedented sweep of the 2015 CMA’s and subsequent historic success to be well-deserved and have both looked forward to this album. And, while we’ve both enjoyed Chris Stapleton’s second record, different songs and aspects spoke to each of us once again–it goes back to that whole “music is subjective” thing that Leon of Country Music Minds and I seemingly discuss every five minutes. So with that in mind, we thought we’d share our opinions together and just have a conversation about the music.

Track Listing

1. “Broken Halos”
Brianna: “Broken Halos” is a really nice way to open this album. From the opening acoustic guitar to Chris Stapleton’s voice, I was immediately drawn in by this song. I like the lyrics too, which are admittedly a bit vague, but seem to speak on how people help us, but eventually leave. This song has continued to grow on me with each listen. It’s one of my favorites off this album.
Megan: See, I would disagree slightly. I think it’s a really solid song, but it doesn’t draw me in as an opener like “Traveller” did off his last album. I think it’s the vagueness in the lyrics you mentioned. There’s no doubt his voice and that guitar make you want to listen, but for me, it’s not a strong opener.
Brianna: The vagueness is the one thing I’d change about that song.
2. Last Thing I Needed, First Thing This Morning”
Megan: Wow, what a song this is. It’s a nice Willie Nelson cover, and the harmonies with his wife Morgane are always great. Although, and I’m probably going to be unpopular for saying this, I sort of feel like with this, and later on with another cover, he’s trying to manufacture another “Tennessee Whiskey” moment. And I’m just not sure that’s happening again. Still love this though.
Brianna: I never knew it was a cover until you told me, but I agree with you on feeling like he’s trying to make another “Tennessee Whiskey.” I really like the song, but at the same time, I don’t love it either. I won’t keep saying it, but his voice is fantastic. OH, and I like the imagery in the lyrics, but I guess that doesn’t really come into play here since it’s a cover.
Megan: I think it still does, to some degree. I mean, he did choose a good cover lol.
3. “Second One to Know”
Brianna: The more upbeat music on this track was a really nice change, and the theme in the lyrics is pretty clever, since he wants to be the “second one to know” if the woman he’s with decides she’s done with the relationship. It’s really catchy since the song’s fast too. It’s not my favorite, but I do wonder why this particular song was chosen to be performed on the [ACM] awards.
Megan: I agree–I like the theme and the upbeat instrumentation. Not to harp on it any more, but if I’m Stapleton, I’m opening the album with this fun little song.
Brianna: There aren’t many upbeat songs on the album, though, so maybe that would have misled the listener. Not sure why they did a lot of things they did, though.
Megan: You make a good point here–and yeah, Mercury really screwed up a lot of things, but that’s enough for a whole other piece lol.
4. “UP to No Good Livin'”
Megan: Here’s your classic country song, complete with lots of steel. Everybody who says Stapleton’s more soul than country, it’s like this song is a giant “f you” to this notion.
Brianna: Exactly. He proves he’s country with this song. NO surprise to anyone, but it’s my favorite. The steel, the vocals, the lyrics being very witty, talking about being unable to live down being up to no good.
Megan: Yep. “I’ll probably die before I live all my up to no good livin’ down”–I’m not sure you get much more country than that.
Brianna: I love it. So much.
5. “Either Way”
Brianna: I love the acoustic production here. It really allows Chris Stapleton’s voice to be the star–which it should be on a painful song like this. It took me a moment to adjust to this version of the song, since I’ve only heard Lee Ann Womack sing it, but he’s very successful at making his version stand out. The chorus gets me every time.
Megan: Yeah, and if he’s actually going to have another “Tennessee Whiskey,” it’s going to be here, as I prefer this version. The actual lyrics are about a couple passing in the hall but barely speaking, and when he belts out, “You can go, or you can stay, I won’t love you either way,” you can’t help but feel that pain. My favorite of the album.
6. “I Was Wrong”
Megan: Well, I said Stapleton isn’t more soul than country, but he’s definitely got a lot of soul in his country, and all that comes bursting out on this heartbreak song. One of the least country moments, but also one of his best vocal performances on the record.
Brianna: Yes, I have to agree with you about how soulful this song is. What I love about Chris Stapleton is that he isn’t out of place singing in a few different genres, and that it all feels natural. Back to the song…I like that he outright admits that he was wrong to his ex, as opposed to only himself.
7. “Without Your Love”
Brianna: This is my least favorite song off this album. The chorus is very catchy, though. I like that this is the next song after “I Was Wrong,” as it could be seen as the continuation of the story. I just think this song is otherwise forgettable.
Megan: It’s my least favorite too, and it does feel like the continuation of “I Was Wrong,” as in this one, he’s missing the ex. But it also adds to it being forgettable because it comes off as the lesser version of the incredible “I Was Wrong.” ON a longer album, I don’t mind this, but on a 9-track project, it feels like filler, and you can’t afford filler on a 9-song album, especially not one as stripped-back as this.
8. “Them Stems”
Brianna: It really does, as does “Them Stems.” I like the rhythm of the song, and again, the album did need a bit of a change in tempo, but this song doesn’t grab me aside from that.
Megan: Yeah, this is where we’re total opposites. I saw SCM call this filler and call the use of pot references to be cool outdated–which it is–but sue me, this is just the fun break from the rest of the album that I needed. One of my favorites. Just makes me smile every time I hear it. Also have to love the harmonica.
Brianna: Haha, I do recognize that a fun song was needed here, so I get it. And it is catchy. I don’t hate it, but it is my second least favorite.
9. “Death Row”
Megan: It’s a nice way to close the album, mixing his soulful voice with more country lyrics about a man on death row. The only tiny criticism I have for this is that while he sings the crap out of it, I don’t quite feel his pain like I do in “Either Way” and “I was Wrong.” Doesn’t quite connect with me.
Brianna: I don’t feel it emotionally either. Also, is it just me, or is the song kind of ambiguous? I don’t know if he did it or not. The reason I say that is because he says he told Jesus everything he knew, not everything he did. Plus, his lyrics are a bit hard for me to understand when the song starts.
Brianna: I love the sparse production though. It fits perfectly.
Megan: Yes, I would agree about it being ambiguous, not quite specific enough to strike a chord. That production definitely fits it and closes the whole thing well.

Overall

So, as you can see, although we both enjoyed this quite a bit, different moments stood out to each of us. My favorites were “Either Way,” “I Was Wrong,” and “Them Stems.” Brianna’s standouts were “Up to NO Good Livin'” and “Broken Halos.” WE did agree that “Without Your Love” seemed like filler, and we each thought that while this record was solid, as a 9-song effort, it seems to still be missing something. For me, it’s an overall better effort than Traveller because that was too long, but since this was shorter, I wanted it to be nothing but brilliant songs, and it didn’t quite live up to that. Brianna considers this more a solid, consistent effort all the way through for a 7.5, while I see it as a good album with a little filler but also some standout brilliance, making it about an 8.5. So we’re going with a collective
8/10

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Non-Country Stuff

Pop Spotlight: Lea Michele–Places

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Yes, we’re called Country exclusive, and yes, we’re about to discuss a pop album. Truthfully, this record is something I discovered by accident based on a link from Twitter that made me want to hear it, and it hit me more than most of the country albums this week. I think most of us listen to music from many genres, and I’m going to start talking about music outside the country genre from time to time. I don’t expect it to be often or to have much rhyme or reason; really, I expect it to be just random non-country stuff that I like and want to share. Also, while I listen to plenty of good music in all genres, I cannot claim the amount of knowledge, or indeed even close to the amount, necessary to judge other genres like I can with country, so I am not calling anything non-country a review–these will just be short spotlights of stuff that I enjoyed and thought worthy of passing along to you. Now that that’s all out of the way, let’s talk about Lea Michele and her second studio album, Places.

As I mentioned, I heard about this by accident on Twitter from a comment that said, “Lea Michele has never sounded so good.” So I searched her and this album on Apple Music, and that’s the perfect thing to point out because the best thing about Places is the sheer vocal talent and emotion of Lea Michele. Often, there is just a piano, or just a piano and a string section, and her vocals, but, in contrast to many pop albums–and indeed many modern country albums–that is all Lea Michele needs to make you listen to songs like “Run to You” and “getaway Car.” It is rare to find such a technically great singer who can also express emotion so well, and I have been blown away by her ability to consistently do both each time I listened to this.

I knew nothing about her before Friday, but I have since found out that before her two solo records, Lea Michele was on Glee, and that while this album is a pop effort, it seeks to be more theatrical. It certainly does have a little of that quality. It’s definitely very ballad-heavy, so it won’t probably be for everyone, but the songs themselves and the fact that Lea Michele just murders these songs mostly makes up for that. IN fact, I’d say the weakest points on the whole record are the few moments where she tries to be more upbeat. I’d normally welcome the variety, but the more energetic tracks don’t do as much to showcase all that raw vocal talent. Anyway, if you are a fan of good pop music that has something to say, stripped-back ballads, or just sheer, impressive vocal ability, I recommend giving this a listen.

Standout Tracks: “Run to You,” “Heavenly,” “Getaway Car,” “sentimental Memories”

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Reviews

Single Review: John Mayer’s “in the Blood”

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Rating: 7/10

If you were hoping to read a piece about how John Mayer should promptly take his ass off country radio, you’ve come to the wrong place. If you were hoping I’d comment about how unfair it is that Mayer can waltz right in and get airplay while Isbell, Simpson, and the Turnpike Troubadours make more country-sounding songs than this and consistently get left out in the cold, I agree with the sentiment, but these are the times we live in in 2017, and the fact is Mayer is going to get country airplay no matter how much we harp on it. So let’s move on from that and talk about the music–because when it’s all said and done, this song is better than at least 80%, if not 90%, of the current Billboard Country Airplay chart, and if it has to be John Mayer bringing substance to country radio, so be it.

The song itself is fairly country with a simple arrangement, although I’d call it pop country. This is mainly due to the somewhat annoying hand-clapping that will probably add to its airplay and overall catchiness but brings the song down a little for me. The lyrics are reflective and relatable, discussing a family’s past and whether the traits of the parents and siblings will be passed down; “will it wash out in the water, or is it always in the blood.” It’s not anything earth-shattering lyrically, but this song has something to say, and it’s simple melodically; it’s the kind of nice pop country song that we would praise if a pop country singer released it to country radio. We’d say it’s improving the quality of the mainstream, and radio should make it a hit instead of mindless nonsense like “Body Like a Back Road” or forgettable, sleepy dreck like the entirety of Brett Young’s latest album. But because it’s John Mayer, we’re all hesitant to enjoy this, and that shouldn’t matter. Let’s judge the song, not the singer, and be glad music of substance that is somewhat country is making its way onto the country airwaves.

Written by: John Mayer

Reviews

Album Review: Willie Nelson–God’s Problem Child

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Rating: 8/10

I’m not sure at what point it becomes ridiculous for me to sit here and attempt to judge the quality of Willie Nelson’s music and expect anyone to take me seriously. obviously, Willie has proven his output will stand the test of time, and as Josh, formerly of Country Perspective, said on Twitter, he’s putting out better music at eighty-three than most artists will in their entire careers. Having said that, I don’t think it’s an album that’s going to change your opinion of Willie Nelson; if you enjoyed his music, you’ll like this record too, but if you aren’t really a fan, I wouldn’t say this album is going to be anything earth-shattering that will change your mind. Personally, I’ve always been on the side that enjoys a good amount of Nelson’s music, and this album was another pleasant, if not mind-blowing. listen.

Mortality is a theme running heavily through this record, as other outlets have pointed out. Sometimes it’s metaphorically, such as in the opener, “Little House on the Hill,” where Willie Nelson seems to be referring to heaven. Sometimes it’s humorous, like in “Still Not Dead,” where Willie makes fun of the frequent death hoaxes surrounding him and says, “I woke up still not dead again today” despite what the Internet said. Sometimes the references are more introspective, such as in the song “True love,” where Nelson states that when it’s all over, he’ll still believe true love was a friend. Regardless, the end of life definitely overshadows this record; it’s both somber and peaceful, but I think that your mileage on this album will directly be affected by your ability to deal with these references.

There are frequent mentions of old age too, quite obviously in “old Timer” and more subtly in “It Gets Easier,” as Willie expresses that it gets easier to back out on your commitments as you get older. These types of songs can make the album less relatable at times, and that’s okay–just as Maddie & Tae’s youthful songs about growing up will speak more to their generation, these songs will no doubt speak more to Willie Nelson’s generation and those reflecting on the next stage of life.

I noted this record is peaceful, and that’s the perfect word to describe it sonically. It’s somewhere between the clean production of Sam Outlaw’s latest record and Jason Eady’s, with lots of quiet, introspective moments. And much like Outlaw’s, the overall mood this album puts you in as you listen says more about it than explaining the individual tracks. The aforementioned “True Love” is one of the best to capture this mood, along with “A Woman’s Love’ and the title track, which features Tony Joe White, Leon Russell, and Jamey Johnson. (Jamey Johnson continues his incredible run of lending his voice to amazing songs, by the way, and I’m beginning to think he’ll never release new music, just continue to appear in other people’s songs like this for the rest of eternity.) Another really nice moment, and one of the few that touches neither on old age nor death, is “Lady Luck,”–think of this as the more thoughtful, intuitive version of “Ace in the Hole” or a more laidback version of “The Gambler.” This is my personal favorite but that’s probably just because it’s more relatable to me than much of the album–or it could be because I have a partiality to poker. Another standout track is the closer, his tribute to Merle Haggard, “He Won’t Ever be Gone.” We’ve had a lot of Merle tributes, but this one is from a friend, and so this one just means much more.

If I have anything to say against this album, it’s just similar to Sam Outlaw’s in that parts of this can run together, and no song really blew me away on its own. IN the context of the album, many of these songs are great, but as I mentioned, part of this has to do with the overall mood and frame of mind created by this record. as I say, your mileage, I believe, will depend on your take on the old age and death references, but that’s not a criticism at all, just a personal preference. I want to make that especially clear since many of the best songs here deal with the end of life, and Willie Nelson has done a great job reflecting on that and capturing his state of mind through his songwriting.

So, overall, yeah, Willie Nelson has given us another good album and is still churning out quality country music at eighty-three–well, eighty-four after last Saturday. It’s a nice, pleasant listen, and while I wouldn’t say it’s anything groundbreaking, I would say it’s certainly worth your time. Hopefully I’ll still be struggling to find words for Willie Nelson albums well into the future.

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The Most Destructive Criticism is Indifference