Reviews

Album Review: Vince Gill–Down to my Last Bad Habit

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Rating: 7.5/10

Vince Gill has had one of the most successful careers in country music history, earning numerous awards, as well as inductions into the Country Music Hall of Fame, the Nashville Songwriters Hall of Fame, and the Grand Ole Opry. Unlike other artists his age, he is aging gracefully. He isn’t pulling an Alabama and releasing a “Southern Drawl” in misguided hopes for radio play. He is still making the records he wants to make, and his signature tenor voice has been unaffected–if anything, it has only grown stronger on this record. Even if you don’t like Vince Gill’s discography, you probably like Vince Gill himself; he seems to be one of the most respected and well-liked people in the business. In fact, it took me some time to review this record because I am an unashamed Vince Gill fan. But I have finally hit on the problem with this album–it’s not a bad album by any stretch, and there are a few songs you will keep coming back to, which I will point out. If you aren’t a Vince Gill fan, you may really enjoy this album–but if you are familiar with his work, this will mostly just make you want to listen to better Vince Gill material.

As I said earlier, Vince is making the albums he wants to make; he has a songwriting credit on every track and was a producer. It is for this reason that I can’t immediately dismiss the production on this record, but I do want to address it now, lest I should have to on every song–the production is heavily influenced by r&b, although not the trend-chasing r&b of Thomas Rhett, more like an age-appropriate version. I might call this 80’s R&b country, and since this was obviously Vince’s decision, I won’t critique it, except where it especially helps or hinders certain songs.

“Reasons for the Tears I Cry,” the album’s opener, is a heartbreak song. Vince Gill’s voice is as strong as ever as he sings, “I got reasons, reasons for the tears I cry.” This immediately introduces the adult comtemporary/r&b country production which sets the stage for much of the record. This production works really well for the title track, another heartbreak song in which Vince says that he gave up smoking and drinking and his old friends for a woman–all the things she’d left him for. But, “the one thing that I’ll always be addicted to, oh I’m down to my last bad habit, you.” This is one of the standout songs that works because of its slow-burning, bluesy production. “Me and my Girl” is more country-influenced, and is just an easygoing love song that is pleasant to listen to; this one gets better with more listens and is another one you will find yourself taking away from the album.

“Like my Daddy Did” is a song about a man asking a woman to marry him–but she’s afraid that he will walk out on her like her father did. This is one case where I love Vince’s voice and the songwriting, but I think it would have made a great country song; it makes a pretty good adult contemporary song. “Make You Feel Real Good” is one of the fun, upbeat songs signature of Vince Gill; this one is about a man attempting to seduce a woman. “Baby doll, you know I would make you feel real good.” This one is more country and just suits Vince Gill; it’s just fun. “I Can’t Do This” is a beautifully written song about a man watching his ex with another man; Vince’s voice delivers the emotion wonderfully, but it’s another moment where I wish for more country production. We’re all aware of what kind of emotion Vince Gill can evoke in a guitar, but this song features piano. Songs like this make a review difficult, because there’s nothing wrong with it–it’s just not what Vince Gill is capable of.

“My Favorite Movie” is one of the weaker love songs, this one about a love that is real but it is better than anything on Hollywood screens. It’s easier to dismiss a song like this than “I Can’t Do This,” because here the lyrics aren’t great either. “One More Mistake I Made” is the most adult contemporary of the bunch, even featuring a trumpet. If this entire album hadn’t been such a sonic shift for Gill, this song might have been an interesting experiment–as it is, it’s a piece of great songwriting that is made completely bland by production. “Take Me Down” features Little Big Town and is about a woman who can “take me down every time you come around and make me surrender for you.” The driving production fits this perfectly; this song reminds me of something Fleetwood Mac might have recorded. Good to see Little Big Town contributing to something worthwhile, after their wasted collaboration with Miranda Lambert on “Smokin’ and Drinkin’.” This is what they should be doing.

Next is another collaboration, this one with Cam on a song called “I’ll be Waiting For You.” This is another standout of the record; their voices blend flawlessly, and a song like this reminds you of Vince Gill’s skill at love songs. This one is also very country. Definitely listen to this song. I am pleased that both of the collaborations were highlights of this record. “When it’s Love” is a solid song about, well, knowing when it is love–“When it’s love, it’s like a wild raging river, when it’s love, feel like you’ve been delivered. You might as well just surrender when it’s love.” This song could have been helped by different production, but it’s still solid. Then the album closes with the stunning “I Feel a Sad One Comin’ On (a Song for George Jones),” and here is the Vince Gill I’ve been waiting for. Here is his guitar crying, and the sadness of “Go Rest High on That Mountain” and “I Call Your Name.”

It’s this song at the end that ultimately brings down the record; there were great songs on it, but now they pale in comparison when you hear the potential of Vince Gill. And as a Vince Gill fan, every time I get to this point, all the goodwill I felt toward this record is replaced by desire to listen to other Vince Gill work. However, as a reviewer, I cannot deny that this album is actually quite good in and of itself. Regardless of the r&b influence, it features excellent vocals throughout and great songwriting throughout a good portion of it. The collaborations are standouts, as is the title track. It’s almost unfortunate the Jones tribute is at the end, cheapening the rest of the album–but that’s exactly what it does. Give these songs a listen. As a collection of songs, they ar quite good. But as an album, Vince Gill can deliver much better.

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Reviews

Album Review: Dori Freeman Impresses With her Self-Titled Debut

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Rating: 10/10

Sometimes, when I listen to albums for review, it takes a few listens to form an overall opinion. Often, this serves the music well and allows me to appreciate things I had not first noticed, usually leading to better reviews. Often, on the first listen, certain songs stand out immediately; some above the rest, some that could have been left off the entire project. And then there are rare occasions when an album hits me on that first listen–these are the albums which deserve the highest praise because they take me out of a place of critical review altogether and leave me just enjoying the music. This is connection, and relatability, and it is at the heart of all music. I speak about production and instrumentation and songwriting, but at the end of the day, music is meant to make the listener feel something. With that in mind, meet Dori Freeman, a 24-year-old singer-songwriter from the Appalachian Mountains of Galax, Virginia, who brings us an album influenced by classic country, bluegrass, folk, and the Appalachian sound. You will certainly feel something when you hear this album–and it excels in production, instrumentation, and songwriting as well.

We are introduced to Dori Freeman with only her guitar and her voice, unheard of on any album in 2016, much less a debut. “You Say,” the opener, immediately hooks me with its first lines–“You say you can’t save me, but I never asked you to. Can’t you just believe that I only wanted to lie there with you.” In Dori’s voice, I hear the Appalachian sound that has long been lost in country music. It’s raw and honest, and makes you want to keep listening, accomplishing everything an opener should. It also tells me Dori Freeman is willing to take risks. “Where I Stood” is still just Dori and her guitar, although hear there are harmonies. This is a song about two people in a relationship who are reflecting that their love has died and that if they could do it again, they would not have chosen each other–“What happened to your dreams, what happened to mine? You’re wasting my love, and I’m wasting your time. I know you’d go back if you could, and you’d leave me standing right there where I stood.” “Go on Lovin'” is a classic country heartbreak song, with plenty of fiddle and steel, and more simple, honest lyrics–“How am I supposed to go on lovin’ when you left me feelin’ like I don’t know how.” Dori Freeman has a cry in her voice common to the Appalachian sound that really fits this song.

“Tell Me” is a pop-influenced track, but it’s not the pop country of 2016; it’s the vintage pop sound of Lynn Anderson and reminds me of something Whitney Rose might record today. Here, Dori is trying to convince a man to admit he wants her; it seems to be apparent to her that he does. The production actually really fits this, and if anything adds to the album as a whole–it proves that Dori Freeman knows how to interpret a lyric. Vintage pop worked better here than traditional country, and this speaks to Dori’s understanding of music in general. “Fine Fine Fine” is an upbeat song about catching a man cheating, but it’s “fine, fine, fine, if you wanna walk that line, but you’ll be leavin’ me behind if you do.” This one is also reminiscent of a Whitney Rose track, although with more country than “Tell Me.” There is some enjoyable piano on this track; we need more country piano playing. “Any Wonder” again carries the Whitney Rose-like influence of vintage pop and traditional country, although this is more country than the last. This is about two people falling for each other, and all the emotions that come with it–happiness and fear and anticipation. It’s a more complex song than the rest, capturing the various emotions perfectly.

And then there is “Ain’t Nobody.” I said that Dori is not afraid to take risks–and here is a song with only her voice and her snapping fingers. This is an Appalachian-influenced song if ever there was one; it’s an ode to the workers in the Appalachian coal mines, the farmers, the mothers, and the prisoners–“I work all night, I work all day, well, I work all night, I work all day. I said, I work all night, I work all day, cause ain’t nobody gonna pay my way.” Dori Freeman’s voice is raw, honest, and incredible, and it is absolutely remarkable that this is a cappella. If you choose one Dori Freeman song to listen to, pick this one, because it will make you a believer, and you will have to listen to all the others. It is one I will post here. “Lullaby” is another classic heartbreak song, this one about a woman who is up at night thinking of a man who is with someone else. This song brings back the country piano playing, and it fits the song perfectly. In fact, I cannot readily think of an album I have reviewed here where every song was so well-produced, with the possible exception of Kasey Chambers’s Bittersweet. “Song for Paul” returns to simply Dori, her guitar, and harmonies. This is another heartbreak song, and once again the lyrics are wonderful; Dori is telling Paul that whenever he should get lonely, “somewhere I’ll be thinking of you.” The album closes with “Still a Child,” a song about a man who won’t commit or grow up; “You say you need me, but I need a man, and you are still a child.” It’s an excellent way to close an incredible album.

If you haven’t figured it out, you need to hear this album if you consider yourself a fan of country, Americana, bluegrass, folk, or music. This is one of the best albums I have reviewed, and it makes me glad to help introduce the world to an unknown artist like this who deserves to be heard. This is an album of simple, tasteful production; every song is produced as it should be. The songwriting is excellent, and Dori Freeman has a unique and incredible voice carrying the nearly forgotten Appalachian sound. To add to all this, Dori took risks, like singing a cappella and with only a guitar–and this is her debut; she stands only to improve. But more than any of that, it’s a raw, honest album, that does everything music is supposed to; it evokes emotion in the listener, and it’s simply relatable and enjoyable music. Dori Freeman is a name you should know–and this is an album you should hear, and hear again.

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Commentary

The 51st Annual ACM Award Nominees, With Commentary

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This morning, (2/1), the nominees for the 2016 Academy of Country Music (ACM) Awards were revealed on CBS the Morning and ETOnline.com. The ACM Awards will take place on April 3rd at the MGM Grand Ballroom in Las Vegas and air on CBS. For the first time in several years, Blake Shelton will not be one of the hosts–this year it will be Blake’s former co-host, Luke Bryan, along with Dierks Bentley. This seems an unlikely pair to say the least, but we’ll see on April 3rd. Here are the nominees, along with predictions, preferences, and some personal commentary.

Video of the Year

“Biscuits”–Kacey Musgraves, directed by Mark Klausfeld, produced by Nicole Acacio
“Burning House”–Cam, directed by Trey Fanjoy, produced by Trent Hardville
“Girl Crush”–Little Big Town, directed by Karla Welch and Matthew Welch, produced by Amanda Prunesti
“Mr. Misunderstood”–Eric Church, directed by Reid Long and John Peets, produced by Megan Smith
“Riser”–Dierks Bentley, directed by Wes Edwards, produced by Jennifer Rothlein
Prediction: “Burning House” or “Riser”
Preference: none

New Male Vocalist of the Year

Good to see the ACM’s breaking down this category again, as for the past several years it has been simply “New Artist.”

Brett Eldredge [no]
Chris Janson [no]
Thomas Rhett [really?]
Chase Rice [hell no]
Chris Stapleton [thank God]
Prediction: Chris Stapleton
Preference: Chris Stapleton…I would prefer Chris Stapleton anyway, but out of these, do I really have a choice?
Note: When is Thomas Rhett going to stop getting nominated for New Artist awards?

New Female Vocalist of the Year

Kelsea Ballerini [no]
Cam [yes!]
Mickey Guyton [good]
RaeLynn [oh God no]
Prediction: Cam or Kelsea Ballerini
Preference: Cam
Note: Only four artists here…what happened to including more women? This is the only category to be missing an artist….and if we can nominate Thomas Rhett, surely we can nominate Ashley Monroe or Jana Kramer. Many more if they knew how to think outside the box…Jamie Lin Wilson anyone? Having said that, I’m impressed with the inclusion of Mickey Guyton, it is well deserved.

New Vocal Duo or Group of the Year

A Thousand Horses [ok]
Brothers Osborne [good]
Maddie & Tae [yes]
Old Dominion [please]
Parmalee [no]
Prediction: Maddie & Tae
Preference: Maddie & Tae
Note: I am sorry that Maddie & Tae and Brothers Osborne must be in the same category with the likes of Old Dominion. Maddie & Tae really deserve this award and should win it…they deserve to be the Duo of the Year, but this would involve de-throning Florida Georgia Line.

Vocal Event of the Year

“Hang Over Tonight”–Gary Allan featuring Chris Stapleton, produced by
Gary Allan and Greg Droman, MCA Nashville
“Home Alone Tonight”–Luke Bryan featuring Karen Fairchild, produced by Jeff Stevens and Jody Stephens, Capitol Nashville
“Raise ’em Up”–Keith Urban featuring Eric Church, produced by Nathan Chapman and Keith Urban, Hit Red Records/Capitol Nashville
“Smokin’ and Drinkin'”–Miranda Lambert featuring Little Big Town, produced by Frank Liddell, Chuck Anilay, and Glenn Worf, RCA Nashville
“Wild Child”–Kenny Chesney with Grace Potter, produced by Buddy Cannon and Kenny Chesney, Blue Chair Records/Columbia Nashville
Prediction: “Raise ’em Up”
Preference: “Wild Child” out of these, but there are better nominees by far.
Note: Why is “Hang Over Tonight” being nominated for anything? This was not successful commercially or critically, has stalled Gary Allan’s entire career, and cost him millions of fans…but let’s nominate it for an ACM, makes perfect sense. “Home Alone Tonight” is trash, “Smokin’ and Drinkin'” is just there, and the others are decent. Terrible list altogether. The CMA nominated Willie and Merle’s collaboration album at least.

Single Record of the Year

Interestingly, or stupidly, the Song of the Year and Songwriter of the Year nominees are not out yet and should be announced “in the coming weeks”…Song of the Year has traditionally been about critical acclaim, and Single Record was for commercial success, but lately they have become somewhat interchangeable.

“Burning House”–Cam, produced by Jeff Bhasker, Tyler Johnson, and Cameron Ochs, Arista Nashville/RCA Records/Kravenworks [excellent]
“Buy me a Boat”–Chris Janson, produced by Brent Anderson, Chris DuBois, and Chris Janson, Warner Music Nashville [no]
“Die a Happy Man”–Thomas Rhett, produced by Dan Huff and Jesse Frasur, The Vallory Music Co. [to be expected, but hell no]
“Girl Crush”–Little Big Town, produced by Jay Joyce, Capitol Records Nashville [yes]
“I’m Comin’ Over”–Chris Young, produced by Corey Crowder and Chris Young, RCA Nashville [decent]
Prediction: No idea…this could go to Cam, Thomas Rhett, or Little Big Town, if we’re talking commercial success. All three would deserve it based on this.
Preference: “Burning House” or “Girl Crush”
Note: The only thing I’m certain of here is that Chris Young has absolutely no chance.

Album of the Year

I’m Comin’ Over–Chris Young, produced by Corey Crowder and Chris Young, RCA Records [lol]
Montevallo–Sam Hunt, produced by Zach Crowell and Shane McAnally, MCA Nashville [never]
Mr. Misunderstood–Eric Church, produced by Jay Joyce, EMI Records Nashville [yes]
Tangled up–Thomas Rhett, produced by Dan Huff, Jesse Frasur, and Chris Destafano, The Vallory Music Co. [absolutely horrifying]
Traveller–Chris Stapleton, produced by Dave Cobb and Chris Stapleton, Mercury Records [yes]
Prediction: Traveller
Preference: Traveller
Note: Glad to see Eric Church with a nomination here, and disappointed in the lack of women. Thomas Rhett’s Tangled Up is even worse than Montevallo which is saying something…some good nominees, but a bad category overall. At least Stapleton is now a front runner, after his upsets at the CMA’s. But Kacey Musgraves should definitely have a nomination here. The fact that Chris Young’s boring effort is here is completely laughable.

Vocal Duo of the Year

Brothers Osborne [good]
Dan + Shay [no]
Maddie & Tae [yes]
Joey + Rory [good]
Florida Georgia Line[no]
Prediction: Maddie & Tae…going out on a limb.
Preference: Maddie & Tae
Note: I don’t think Florida Georgia Line will do it again…they’ve slipped in popularity. Also, never underestimate the power of the sympathy vote for Joey + Rory, cancer is a powerful thing. I’m glad to see Joey + Rory with a nomination too, but they shouldn’t get the win…that right belongs to Maddie & Tae, and enough splitting of the votes may happen here that we will see them take it.

Vocal Group of the Year

Wow, what an awful category.

Eli Young Band [no]
Little Big Town [yes]
Old Dominion [for the love of God]
Rascal Flatts [no]
Zac Brown Band [not after this year….”Beautiful Drug” is not worth any recognition, even if the group is]
Prediction: Little Big Town…they’ve become the Miranda Lambert of the Vocal Group category.
Preference: Little Big Town
Note: Can we give it to Turnpike Troubadours?

Male Vocalist of the Year

Jason Aldean [no]
Dierks Bentley [good]
Eric Church [yes]
Brett Eldredge [lol]
Chris Stapleton [yes]
Prediction: Eric Church or Chris Stapleton
Preference: Chris Stapleton, but I’d be happy with Eric.
Note: No Blake Shelton…interestingly, Blake Shelton was shut out entirely from this extravaganza.

Female Vocalist of the Year

Kelsea Ballerini [no]
Jana Kramer [good]
Miranda Lambert [duh]
Kacey Musgraves [good]
Carrie Underwood [good]
Prediction: Miranda Lambert–like with the CMA’s, I’m not an idiot.
Preference: Carrie Underwood
Note: Glad to see Jana Kramer with a nomination…if we could have replaced Kelsea with Ashley Monroe, this would have been a pretty fair list.

Entertainer of the Year

Jason Aldean [no]
Garth Brooks [good]
Luke Bryan [duh but no]
Eric Church [good]
Miranda Lambert [good]
Prediction: Luke Bryan, with an outside chance of Garth Brooks
Preference: Garth Brooks

Reviews

Album Review: Aubrie Sellers–New City Blues

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Rating: 8.5/10

Often, we traditionalists are labeled by the mainstream as close-minded purists living in the past, wanting everything to sound like Hank Williams and Waylon Jennings. We can’t embrace anything new and forward-thinking. Well, sit back and listen, because I am a traditionalist reviewer about to embrace something quite new and different. Meet Aubrie Sellers, the daughter of the brilliant singer Lee Ann Womack and songwriter Jason Sellers. Aubrie comes onto the scene in a time when country music is desperate for women, for substance, and yes, for originality. She brings us a style she calls “garage country”–a blend of country, Americana, and garage rock. Much like Whitney Rose’s 2015 Heartbreaker of the Year, with its blend of traditional country and vintage pop, Aubrie’s New City Blues introduces something new to country music that you won’t have heard before–something not every listener will embrace, and something that is at times overdone and forced on this record, but something for which Aubrie Sellers will stand out and for which she should be commended.

The album opens with guitar licks, introducing us to garage country long before we meet Aubrie. This album is unapologetic in what it wants to be, unlike Cam’s recent effort, Untamed, which, though it showed Cam’s potential, struggled to say anything and find an identity. “Light of Day,” the first track, tells me two more things–I quite like garage country, and Aubrie Sellers sounds remarkably like her mother, which is an absolutely wonderful thing. “Light of Day” is infectious, the perfect way of introducing us to Aubrie Sellers and to the style. “Sit Here and Cry” is an upbeat heartbreak song, which I find quite intriguing. It features some great harmonica play, but the lyrics are nothing special, and the garage country is a bit overdone here. “Paper Doll” is a moment of complete rock–and on this song of frustration with girls acting like “paper dolls” with their “fake makeup,” this approach works. More songs like this would bring the album down, but “Paper Doll” stands out as a highlight, an experiment.

“Losing Ground” slows the album down–here, Aubrie sings of a woman who is going through a difficult time; “But I’m not crazy, I’m just losing ground,” she sings. The heartfelt honesty in this song really sells it, and I am glad this song was more strip-back, allowing Aubrie’s voice to shine, along with the lyrics. It should be noted that this is one of two songs on New City Blues solely written by Aubrie Sellers, which makes me excited for her future as a songwriter. Next is “Magazines”–a full garage country rant about the lies magazines tell women, from weight loss plans to how to get a man. It’s something that Kacey Musgraves or Brandy Clark would sing, and I am not surprised that Brandy Clark was a writer. “Magazines” seems a little overproduced; it feels like the garage country is a bit forced. “Dreaming in the Day” gets everything right–the production and the lyrics and Aubrie’s vocals go together perfectly. Here, the narrator sings of “sitting at a green light,” still thinking of the night before with her man. “Liar Liar” is another one where the production fits perfectly, telling the story of a man in a bar who is good at lying to women. “Humming Song” is the other song written solely by Sellers; it’s another strip-back moment that might sound happy and pleasant if the lyrics weren’t so sad. The woman here is heartbroken over her man falling for someone else, and writing this new woman love letters. It’s the slow, stripped-down counterpart to “Sit Here and Cry”–both are lighthearted songs on the surface, but the lyrics are actually quite dark.

“Just to be With You” returns to Aubrie’s signature garage country, complete with distortions–here, a woman is quitting her job, stealing a car, and generally being reckless in order to be with a man who lives far away. The production fits here; it is just as reckless as the lyrics. Love will make us do bizarre things, and this song does a good job of expressing that desperation. “People Talking” tells of the things people say behind our backs–Aubrie sings, “My ears only burn when they’re not around. Go on believe them, what am I to do? It’s only people talking, it’s not true.” This feels like an honest moment on the album, and because of that, I feel it is slightly overproduced. Here, the style doesn’t add to the song, it distracts from Aubrie’s voice and the lyrics.

The next three songs get the production absolutely right. “Something Special” is about a woman asking her man to do “something special, something we don’t do all the time.” It’s one of the better songs on the album, and one I keep coming back to. “Loveless Rolling Stone” is about a rambling woman who seems to be missing someone–“They say home is where the heart is, and if that’s so, I must be a loveless rolling stone”–what a line. “Like the Rain” is the most country moment on the album; it’s a song about a man who “floods my heart, then leaves it desert dry.” I am glad this song lets Aubrie’s voice shine and tell us the story. She really conveys the sadness of the woman in this song well. The album closes with the full garage country “Living is Killing Me.” Honestly, I’ve listened to this song four times, and I can’t quote a line. It’s not bad, it’s just unnecessary. Fourteen songs is generally too many for an album, and this one feels like filler, and further forces the style.

Overall, this is a great album. Aubrie Sellers has a remarkable voice, and her unique garage country style is original and suits her. Still, there are moments of overproduction, where the style is simply overdone. Having said that, this is, for the most part, an excellent debut. New City Blues brings something new to the table, and it’s definitely worth checking out.

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Reviews

Album Review: Randy Rogers Band–Nothing Shines Like Neon

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Rating: 9/10

Following the excellent 2015 collaboration with Wade Bowen, Hold my Beer, Volume 1, Randy Rogers is back with his band for Nothing Shines Like Neon. This album marks the return of the Randy Rogers Band to Texas after some albums in Nashville, and it was preceeded with news that it would be an album of traditional country, complete with appearances by Alison Krauss and Jerry Jeff Walker. Well, the album is available today, and I can safely say it lived up to its expectations, and it is the first great album of 2016.

The album opens with “San Antone,” a nice ode to Texas that celebrates coming back after their years away. Songs about Texas are common in Texas country, but this one stands out after the band’s years in Nashville and works perfectly. It is a fitting opener for the album, and right away I can see that the promise of traditional country rings true. Fiddle, steel, and acoustic guitar are prominent here, and will continue to be throughout the album. “Rain and the Radio” is a catchy, upbeat song about a couple enjoying being with each other when the power is out. They don’t need anything but the rain and the radio; this doesn’t stand out as one of the best songs on the album, but it is a song that gets better with each listen and earns its place quietly. “Neon Blues,” the album’s first single, is a classic song about a woman in a bar drinking away the pain of a past relationship. Much like “Rain and the Radio,” this one is catchy and gets better with each listen. It is unclear here whether the narrator is the one who hurt her, the bartender, or just someone in the bar, but he has observed this woman and is advising someone else not to waste his time pursuing her. It was certainly a good single choice.

“Things I Need to Quit” sees a man listing all the habits he needs to rid himself of: alcohol, cigarettes, but most importantly, the woman who has him in this position. Randy Rogers sings of a girl who is getting dressed and waiting for a cab–“she looks a lot like you, ain’t that a shame. Girl, I’m all messed up, and you’re to blame.” It’s a very honest and relatable song that will connect with many. “Look Out Yonder” is one of the best songs on the album. Featuring Alison Krauss and Dan Tyminski, it tells the story from a brother’s point of view, as he looks out at the road and sees his wayward brother finally coming home, guitar strapped to his back. The instrumentation, lyrics, and harmonies blend beautifully in this song, and it is really one that you should hear. “Tequila Eyes” sees the narrator seeking out his friend, who is trying to find comfort in a bar. Apparently this is quite unlike her, and this narrator is broken, trying to tell her that tequila won’t hide the pain. Randy Rogers delivers the emotion in this song wonderfully, and the fiddle in this song is excellent. After the rawness of “Tequila Eyes” comes the expertly placed “Taking it as it Comes.” This is one of the most fun moments on the album, and the fiddles and rock guitars on this song remind me of a Turnpike Troubadours track. Jerry Jeff Walker is featured here, and basically this song is just about taking life as it comes and not letting life get to you; it’s just a fun song.

“Old Moon New” is probably the best song on Nothing Shines Like Neon. Here, a man sings about writing a woman clichéd love letters and giving her eleven roses “just to shake it up.” He says he knows that “there’s nothing new under that old moon” but “girl, you make that old moon new.” It’s a beautiful song and stands out in contrast to all the songs about back roads and moonlight we’ve been hearing from mainstream country music. “Meet Me Tonight” is another standout on this album; it reminds me of an earlier Randy Rogers Band song, “One More Goodbye.” Here, a man is asking an old love to meet up with him one last time; he knows it won’t last, but he still misses her. The Randy Rogers Band really seem to have a knack for capturing the emotion in these types of songs, and I think this is one that while having the unfortunate placement after “Old Moon New” will surpass it in quality with more listens.

“Actin’ Crazy” is an instant personal favorite. If “Old Moon New” is the best serious song, this song is the most witty. Featuring Jamey Johnson–has Jamey Johnson ever lent his voice to a bad song?–this song tells the story of a man writing a letter back home to Texas, presumably from L.A. or some other city. This man is living a life that is “one chaotic wreck” and knows he is getting nowhere. Some of my favorite lyrics are present here, among them “these folks make me proud to be from Texas” and “the rent’s as high as Willie.” This song also makes me ready for that Jamey Johnson album we’ve been hearing about forever. The album closes with “Pour one for the Poor One,” your classic country song about a man drinking away his troubles after his woman has left him. They promised traditional country, and this song is a perfect way to close an album of such music.

Overall, this is a truly enjoyable album. The Randy Rogers Band balance serious and fun songs well, and the light and dark material combine to make this an album that is not only critically great, but listenable and relatable as well. They promised an album of traditional country, and that is what this album delivers. Nothing Shines Like Neon is a great start to 2016 for country music.

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The Most Destructive Criticism is Indifference