Reviews

Amanda’s Radio Single Round-Up: Part 1

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Amanda’s Radio Single Round-Up — Part 1

Tenille Arts, “I Hate This”

The debut single from Canadian-born Reviver Records recording artist Tenille Arts is definitely a solid one. “I Hate This” blends a voice reminiscent of Carly Pearce with a heavily acoustic-based production, complete with prominent dobro. Lyrically, it’s very relatable: the song is describing a relationship in which the couple is taking a break, and it’s nearly killing the narrator, as she still loves her boyfriend and hates this period of separation. The softer production and solemn emotional content of the song really make “I Hate This” a great song, and a great choice for a debut single. Of course, it probably won’t be a mainstream hit as country radio unfortunately doesn’t take too kindly to females and their commercial success in the format, but please don’t let their closed-mindedness stop you from giving this one a listen. It truly is as good of a song as you’re going to get from the mainstream these days. I can’t wait to hear more from Arts.
GRADE: 8/10

Tenille Townes, “Somebody’s Daughter”

Another Tenille, another debut single. This time around, it comes from Sony Nashville’s Tenille Townes. “Somebody’s Daughter” is the narrator’s account of her observation of a homeless young woman. The lyrics are very heartfelt and strong, encouraging the listener to take compassion on the young woman, as she is “somebody’s sister, somebody’s best friend, somebody’s high school best friend, somebody’s daughter”. Townes reminds listeners that everyone has a story, and the narrator of the song wonders about the subject of the song. While the lyrical content is solid, the production is a bit of an issue. Maybe it’s just me, but the production of this song seems a bit loud and cluttered, and takes away from the message and story of the song. Nevertheless, it’s still solid and still worth checking out.
GRADE: 7/10

Tim McGraw, “Neon Church”

Tim McGraw is back. On the heels of his awesome Damn Country Music, and releasing a duets album with his superstar wife, Faith Hill, Tim has released a new single, the lead single from his upcoming album, to country radio. For starters, the lyrical quality of this song is stellar. The narrator of this song is completely heartbroken, and compares the bar he is sitting at to a church setting. Quite the juxtaposition, and at first glance, McGraw’s song reminded me of Maren Morris’s “My Church”, a song I really enjoyed. The lyrics are very descriptive and interesting, but the production is where this song really falls flat. Much like the aforementioned “Somebody’s Daughter”, the production sounds clunky and cluttered, and to add, really distorted sounding. Whoever produced this should have their producer title taken away from them immediately. This was a great idea for a song marred by terrible production. However, it is still above average and will be one of the better songs at country radio currently.
GRADE: 6.5/10

https://m.youtube.com/watch?v=vIQUfinukh4

William Michael Morgan, “Tonight Girl”

Oh boy. I really wish I had better things to say about this. This is the review I thought I’d never have to write, and after hearing this song, this was the review I dreaded writing. Morgan heavily impressed me with his 2016 debut, Vinyl, which was full of awesome traditional country goodness. Vinyl was hands down my favorite album of that year, and it is still on repeat for me. Seriously, if you have not yet checked out “Missing”, “Lonesomeville”, “Cheap Cologne”, and “I Know Who He Is” (warning, you will need to break out the tissues for that last one), you are missing out on some killer music, and you need to give them a listen as soon as possible. “Lonesomeville” was far and away my favorite song of 2016. Morgan truly set the bar high for himself with those four songs, and with the album in general. Friday marked the release of the lead single of his upcoming sophomore album, so did he live up to his potential? Not even close. This song sounds like literally every other boring male-led generic song on country radio currently. Morgan is capable of, and can do so much better than this, and everyone knows that. Hopefully this is the worst song on the album. Also, what the hell is up with that annoying whistle sound throughout the track? I refuse to believe this is the same guy who recorded “Lonesomeville”. Where is the steel guitar? Where is the fiddle? Where are the heartfelt lyrics we witnessed on his debut album? None of them are here. This is just another boring, pop-ish, dime-a-dozen, generic song. The lyrics are generic, and the production just isn’t good. Morgan is capable of so much more. He could be the next generation’s George Strait, when he is being himself and staying true to his style of music, instead of chasing radio trends. If this keeps up, looks like Jon Pardi will have to fill that role. Even Pardi’s worst songs (cough cough “Dirt on My Boots”) maintain some sort of country element. It truly saddens me that I have to give him this kind of feedback, and this score. I hope for the rest of the album, he will stay true to himself and do what he does best, which is record kick-ass neotraditional country. The last thing we need is another Dustin Lynch.
GRADE: 3/10

Tyler Rich, “The Difference”
Who? Speaking of sounding like every generic male on country radio, here’s a prime example. The dunderheaded folks operating mainstream country radio would like to present you with the 75th example of a faceless generic pretty-boy male singer singing lightweight, boring pop bullshit, because you know, nobody wants to hear actual country singers, female artists, or just artists who prefer substance over style in general. All jokes aside, if you’ve heard one, you’ve heard them all. The one thing that sets this song apart from all soundalikes in the worst way is the horrid lyric in the first verse: “I want you to be my hottie riding shottie, I don’t want nobody’s body but your body, babe”. Whoever thought “hottie riding shottie” was a good idea for a lyric in a song should have their songwriting privileges immediately taken away. This is another creative failure that will most likely be a hit at country radio, unfortunately.
GRADE: 0/10

Reviews

Album Review: Eric Church–Desperate Man

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Rating: 9/10

At this point in his career, we all know that Eric Church isn’t really a country artist. His music is and always has been more correctly labeled as roots rock. But that’s not really the point anymore with Church, unless perhaps you’re a firm traditionalist who is only interested in music soaked with fiddle and steel. The bigger point with Eric Church is that in a mainstream full of compromise, he remains his own man, and in a world of drum machines and watered down lines, his records are organic sonically and intelligent lyrically. It may not be very country–although the songwriting on this record and even the instrumentation in a few places certainly can be argued as such–but Desperate Man is firmly and unashamedly roots music, with bluesy interludes and extended guitar solos, and radically different from the majority of major label albums, certainly different from those albums that are still somewhat radio-supported. Eric Church has not abandoned radio, or maybe it would be more accurate to say radio has not abandoned Eric Church, but you get the feeling listening to this album that airplay is a secondary concern, the primary ones being appealing to his fans, and most importantly, doing whatever he damned well pleases.

The rootsy, organic nature of this record is so refreshing. It’s not experimental to the point it loses sight of itself like much of The Outsiders, but the instruments are allowed to breathe more so than on Church’s last record, Mr. Misunderstood. Desperate Man balances the feel of those two albums well, finding and keeping the best elements from each of them. This record finds Church more sure of himself and his sound than ever before, and although there are varying influences, it feels less like the aimless wanderings of The Outsiders than just simply trying to correctly interpret each song and capture the right mood and style to fit the lyrics. He’s never in a hurry to get to the point, often meandering through various chords and guitar licks before settling into the groove of a song. The album opener, “The snake,” introduces the record with over a minute of bluesy guitar picking before any other instruments join the party. “Heart Like a Wheel” wanders through dissonant chords and arpeggios before sliding into its groove and selecting a key, and “Solid” features almost an instrumental prelude of drums and electric guitar flourishes ahead of the actual song. These are little things, but they really enhance the record, giving it a cohesive, continuing feel all the way through and further stressing the point that this isn’t your typical mainstream record full of artificial drumbeats and electronic sounds. These are actual musicians playing actual instruments and giving the album a bit of a live feel.

And you can say Eric Church isn’t country, but it’s hard to classify a song like “Jukebox and a Bar” as anything else. Sure, crying steel is replaced with electric guitar licks, but this is your classic country heartbreak song about drowning sorrows in a bottle. “Some of It” and “Hippie Radio” feature prominent acoustic guitar and country songwriting, the former detailing all the lessons life teaches you on the journey, and the latter being a story song revolving around the radio and how the different songs became the soundtrack of the narrator’s life, from driving around with his dad to starting a family of his own years later. Both of these could be accidental radio hits as well, fitting the format without compromising anything lyrically. “Solid” is another one that’s very country thematically; basically, think of a remake of Dierks Bentley’s “I Hold On.”

Vocally, Church just reaches a different level on this album. It’s like all the passion that we knew existed and which came out from time to time on his previous records finally reaches its full potential here. He slays the title track vocally, doing great justice to the songwriting of Ray Wylie Hubbard and singing with the same kind of fierceness and intensity that you can imagine Hubbard employing. This one is both better and worse in the context of the entire album–better because it fits the mood of the whole thing so well and worse because it’s not really a standout of the record. Church’s vocals are also on fine display in “Hangin’ Around,” the least country but also the most infectious tune on the album. He does a nice job building throughout “Heart Like a Wheel,” a song about opposites attracting that’s infused with some blues and soul. “Higher Wire” nearly stretches his range too far; it still works, but it admittedly may have worked better one key lower. Still, the strain goes well with the lyrics about this love that’s addicting and out of control.

Listening to this album, you keep waiting for that one obvious commercial single, but it doesn’t come. There’s no drop in quality lyrically and no compromise in the sound. Not every song is fantastic, but every song is good, and each belongs on the album. Desperate Man is eleven tracks and thirty-seven minutes long, with no filler and avoiding the mainstream trend to cram in as many songs as possible. Not only did Eric Church make the record he wanted to make, but the record he wanted to make was a damn good one. We should be both shocked and thrilled that this came out of the mainstream in 2018 and recognize it as a victory for artistic freedom and growth as well as one for organic roots music and quality songwriting. As for Church himself, this album signifies him finding his place vocally and sonically, releasing a record that not only stretches boundaries but also knows what it wants to be and carries out that vision well. This may not be for everyone, but again, that’s not really the point. It’s the album you want from Eric Church, the best of his career and certainly the strongest to come out of the mainstream this year.

Buy the Album

Reviews

Album Review: Bri Bagwell–In my Defense

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Rating: 7/10

In a just world, Bri Bagwell would be a mainstream country star, and this album would be certified gold. It probably could have done that in 2004. It’s firmly country, but laced with elements of pop and rock so that it would fit well on mainstream radio. It’s hook-driven and catchy, yet it doesn’t insult the intelligence of the listener. It’s at once thoughtful and accessible, personal and universal, authentically country but still commercial enough to appeal to a wider audience. And yet, Bri Bagwell remains fiercely independent and unfairly obscure, fighting to be heard in a Texas scene where success for women is arguably harder to come by than in Nashville.

This album is a great case for the value of pop country, for the fact that commercial appeal doesn’t necessarily mean a drop in quality, and perhaps most of all for the care for song craft in Texas music. Now, there’s some truly awful music coming out of Texas and Oklahoma; don’t be one of those people who just thinks music sounds better when it’s not made in Nashville and is no longer a discriminating listener. But generally, much of the more commercial side of Texas country does tend to be more substantive than mainstream Nashville, and this record is a great example of that. It’s not trying to reinvent the wheel, and you won’t get something groundbreaking lyrically, but the hooks are strong and clever, and this is exactly what you want from an artist like Bri Bagwell.

As mentioned, the hooks are the strongest asset of the record, and none is more interesting than in “Cheat on Me,” where Bagwell opens the song with the immediately intriguing line, “I wish you would cheat on me.” She goes on to reveal that basically, she knows she doesn’t love this man, but he hasn’t done her wrong, so she feels bad hurting him. If he would just cheat on her or lie to her, she could leave without breaking his heart or feeling guilty. It’s a really blunt way of putting things, but if we’re honest, I think many of us have probably felt similarly at one point, dreading having to hurt someone for whom we care deeply, or wishing we loved someone back but knowing it will never happen.

“As Soon as You” is also really well-written, with lines like “as soon as you try to fence me in, I’m breaking loose” and “as soon as you bring up a ring, I’m nowhere to be found” explaining that she’s just not ready to settle down. Then we get the chorus, where she admits that “if you wait patiently, eventually I’ll wanna say I do, I just won’t get there as soon as you.” In a complete antithesis of this song, we have “Feel Like Home,” in which she’s the one trying to convince the man to settle down, saying, “if you don’t slow down you’ll never know if a house could ever feel like home.” I enjoy both of these songs, but they are a bit troubling in light of each other; the former feels more personal to Bri, and she has said the whole album is quite personal to her, so it makes the latter song feel slightly out of place. Individually, however, they hold up as two of the strongest tracks on the record.

Most of these songs are upbeat, but it’s nice to see a softer, more tender side to Bagwell toward the end of the album. In “Ring a Bell,” she’s singing from the perspective of the other woman, lamenting their choices to commit adultery and ruin three lives. There’s a really cool little nugget of songwriting here in the line, “you took the ring off your hand, put it in the one nightstand, next to the King James.” The album closer, “Empty Chairs,” finds Bri at her most vulnerable, as she sings of the ups and downs of being in the spotlight and asks God to be there with her even on the nights when she sees empty chairs from the stage. This is her pouring out her soul, even going so far as to admit to finding her worth in the number of tickets she’s sold. It’s just a deeply personal confession, and it’s a privilege to the listener to be let into her delicate head space here.

Bri Bagwell’s vocals are definitely a strength here. She displays a pretty extensive range and shows both technical skill and the ability to interpret a lyric. Here’s one more artist in the independent scene proving vocal ability still matters as much as a good piece of songwriting. That said, she lacks something distinctive about her voice to really make her stand out. It comes out in flashes, like in the slight rasp in “If You were a cowboy” and “Cheat on Me,” but I’d like to see her develop it more. That quality in her voice is really unique and would serve her well if she used it to her full advantage.

There isn’t a bad moment on the album, and nothing feels like filler, but the weakest point does come in the heart of the album, with “I Can’t be Lonely” and “Graffiti.” These are both breakup songs, and both are fine, but neither really has a strong hook like the rest of the tracks. Bri Bagwell’s vocals make these songs better, but neither of them are very memorable. You won’t skip them, but they won’t be the ones you keep getting stuck in your head either.

This is just a really solid, well-written, wonderfully sung album. The hooks are smart, the melodies are memorable and engaging, and Bri Bagwell is a strong vocalist with range and power. This is exactly the kind of record I would love to see in the mainstream in 2018. A nice slice of modern country for those who appreciate a good lyric but still like a more contemporary sound. Go check this album out, and get to know Bri Bagwell.

Buy the Album

Reviews

Song Reviews: The Three New Pistol Annies Tracks

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I think I speak for all Pistol Annies fans out there when I say that new music from them has been long overdue. We’ve been waiting anxiously while the group hinted for months about a new album. Finally, they’ve given us three new songs at once, and their third album, Interstate Gospel, will grace our presence on November 2nd. I will say that while country radio is inevitably going to ignore whichever song they ultimately choose as a single–because let’s face it, it’s three women singing country which doesn’t belong anywhere near mainstream country radio–it would be nice if the label actually did choose a dedicated single and at least give it a shot and adequate promotion. But let’s get to the music.

All three tracks were written by Miranda Lambert, Ashley Monroe, and Angaleena Presley.

“Got My Name Changed Back”

This is just great, a fun, catchy song about freedom after getting divorced. It’s refreshing to hear a song like this where the result of the divorce is happiness, as opposed to loneliness and regret. There’s a stigma surrounding failed marriages, and it’s nice to hear Miranda Lambert singing about it positively. She leads this track, with some backing “yeah yeahs” by her fellow Annies. That part can be a bit overdone, but equally, it will add to this live, and it makes this one probably the most likely to have any semblance of a shot at radio.

The best thing about this one is the sound. The annies simultaneously display more of a rock edge and more twang than on their previous efforts. We have solos for the dobro and the electric guitar, showcasing more of a rootsy sound while also embracing a rougher quality. Their sound, on this one as well as the others, appears more defined and unique. It seems to take away a little of the underlying polish from their last two records, leaving the instrumentation more uninhibited.

Probably my favorite of the three, but maybe not the best one to make new Annies fans, as it’s thematically much like a Miranda solo song and features her primarily vocally.

Rating: 8/10

“Interstate Gospel”

The title track primarily features Ashley Monroe and Angaleena Presley. This provides a nice contrast to the Miranda Lambert led “Name Changed Back,” and it was a smart decision to release both of them, giving listeners a taste of all three singers’ voices. This one again showcases that raw, rootsy sound, with prominent acoustic guitar and twangy piano. It’s also excellent to hear Ashley Monroe not sounding so polished and proper after her last solo album; this is the sound that suits her voice, and it further proves the point that most of Sparrow wasn’t flattering to her traditional country voice.

Lyrically, this is the most lightweight of the three; most of the story here is in the instrumentation and mood. It’s just a rambling song infused with the spirit of the highway, and it will probably be better judged in the context of the album. Personally, I would not choose it as a lead single because there’s not really a strong hook. It’s fun and catchy like “Name Changed Back,” but it will shine better in album context than it does on its own.

Solid track, but the least impressive of the three.

Rating: hesitant 7/10

“Best Years of my Life”

Here, we have a lovely ballad, a good contrast thematically and lyrically to the attitude in the first two songs. This one features all three Annies prominently, and for me, this is when the group is at their best vocally, something independent from any of their solo work and special for its own reasons. The narrator here is a bored housewife, typical of many Pistol Annies songs; this woman is taking pills and getting high to pass the time, staying married to a man whom she says “don’t love me, but he ain’t gone yet.” she calls her mom to say she’s all right, and ironically says, “these are the best years of my life.” The subtlety in that irony is unique to country music and a great example of clever songwriting.

Speaking of songwriting, there’s a weird line at the beginning of this song where basically, Ashley Monroe tries to squeeze in as many syllables as possible with: “I picked a good day for a recreational Percocet.” When I first heard it, I was a bit annoyed and thrown off by the rhythm and pentameter, and then the weird lines continued in Presley’s and Lambert’s verses, and by the time I’d heard it three times, I got used to it, and it became part of the song’s charm. but I’ve noticed that people either tend to love or hate this little quirk, as it can be quite distracting.

Well-written, sentimental track, and the best display of all three singers’ voices and harmonies.

Rating: 8/10

In short, all these tracks hold promise for the upcoming album. Now can November 2nd please get here so we can hear the rest?

Concerts

Some Thoughts from the 6th Annual Medicine Stone

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This is the third year in which I’ve had the privilege of attending Medicine Stone, a three-day live music festival on the Illinois River in Tahlequah, Oklahoma. In 2016, I gave a full concert review, and last year, I tried to highlight some of the unsung heroes of the event. This year, Medicine Stone took on a slightly different purpose for me in light of my ongoing goal of seeing live shows in 2018. The festival provided a nice contrast to all the indoor shows I’ve been covering, as well as just being the only festival I’ve covered so far on this journey.

Turnpike Troubadours made a triumphant return to the stage after having to cancel several shows recently due to various medical and personal issues. I’ve discussed Turnpike’s phenomenal live shows before, but it was especially good to see them return to form after their cancelled appearances. In addition, they weren’t as wonderful as they normally are last year; the sound quality made it difficult to hear Evan Felker over the the rest of the band. After having to move their set from Friday to Saturday due to rainy weather, they put on a great show and returned to themselves in fine fashion.

As mentioned, the rain was a major issue on Friday. NO sets were cancelled, but everything was moved inside a tent, the main stage being uncovered. It didn’t provide enough cover for everyone present, so many of us sat under canopies or just out in the rain for some of Friday night’s performances. Reckless Kelly’s lead singer called it the “cheeseburger tent” as they played their set. I’d been especially excited to see them, for they had been outstanding in 2016 and had not come to Medicine Stone in 2017.

As for performers I’d never seen live before, there were several standouts. Koe Wetzel may have his detractors, but the man puts on a ridiculously energetic live show. This was one of the highlights of the whole weekend. Wade Bowen immediately followed, and to the surprise of no one, he’s also fantastic live. He was the artist on the lineup that excited me most when I first learned which artists would be playing this year. John Fullbright played on a smaller stage–actually, he played in the cheeseburger tent–on Friday afternoon, and his set was also a highlight. This aspect of Medicine Stone, having performers play more intimate shows on smaller stages, is one of my favorite things about the experience and a great way to discover newer artists and enjoy those artists whose songs shine in quieter settings.

As for the returning artists, I was most impressed with Red Shahan. He blew me away last year and again this time. AS far as I’m concerned, he can come back every year. Flatland Cavalry also impressed me this year after not really standing out for me in 2017, again due to their sound quality. And everyone knows Turnpike and Boland and Randy rogers all put on a good show, making them staples at Medicine Stone.

One thing I found a bit discouraging was the lack of women on the bill. Only Jamie Lin Wilson and Kaitlin Butts were on the lineup; they’ve both been there each year, but in 2017, there were several more women booked. I specifically mentioned sunny Sweeney last year as being a standout and expressed hope that she would return. Suzanne Santo also put on a great performance. Both Jamie Lin and Kaitlin are great artists, and I recognize that there is a lot more involved in booking more women at festivals than just simply doing it, but I definitely would have appreciated more effort in this area.

That said, overall, I felt that this was the strongest lineup I’ve yet seen at Medicine Stone. In terms of sonic styles within Texas/Red Dirt music, it also felt like the most diverse. There was a good balance of established artists and new talent as well.

IN light of the ongoing commentary on live music, I also have to say there is nothing quite like the camaraderie of a festival experience. I’ve been championing Medicine Stone for three years now, but it can’t be stressed enough that the atmosphere is just special at a festival. I haven’t been to a bad show yet in 2018; I’ve enjoyed some more than others, but each has provided its own unique insight. With Medicine Stone, even though I’ve been there before, it still stands out among the other shows, and not just for the number of artists, or even just for the quality of the music. It’s the social aspect, the way you see faces from years past and recognize them, the way strangers offer you a canopy to sit under to take shelter from the rain. For those three days, you’re all united by this incredible thing we call music, and it proves more than ever that music can unite us even in this divisive world in which we find ourselves. When you spend three days together, you understand why Jamie Lin Wilson was inspired to pick up her pen and write “Oklahoma Stars” about the experience. It is irreplaceable, and I highly recommend this festival to any fan of Red dirt or of live music in general.

Best Live Performers: Koe Wetzel, Wade Bowen, Red Shahan, John Fullbright, Turnpike Troubadours

The Most Destructive Criticism is Indifference