Tag Archives: Colter Wall

My Top Ten Albums of 2017 so Far

Editor’s Note: Why didn’t I choose thirteen again? Actually, I was going to, but these ten just stand out above the ones I would pick for eleven, twelve, and thirteen, so they’ll just be in the Honorable Mentions. This has a little, but not much, to do with the original grades given to these albums; it’s more about music that holds up, so some of these might have lower ratings than you’d expect, and there are some that we rated higher that didn’t make this list because I simply don’t go back and listen to them, and for me, that’s what music is all about. It might be a 9 on paper, but if I’m not listening to it months later, that number is arbitrary, so don’t let the numbers factor into it too much at this point. Lastly, just like the songs, these are my picks, not necessarily those of Country exclusive as a whole, and these are, unlike the songs, in order for me.

#10: The Steel Woods–Straw in the Wind

Original Rating: 8/10
This honestly would be higher on the list right now because the first half is excellent, but it does drop off some for me in the back half. Still, it’s a very nice debut from The Steel Woods, tinged with Southern rock, blues, bluegrass, and country; in fact, I’d like to make the point that look how many of these entries are debuts, what a cool year for debut records.
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#9: Chris Stapleton–From a Room, Volume 1

Original Rating: 8/10
Some of you are going to hate me for ranking it this low, and others are going to hate me for saying it’s better than Traveller. But it’s a more consistent effort from Stapleton than his first record, and it’s still holding up nicely.
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#8: Shinyribs–I Got Your Medicine

Original Rating: 9/10
Yeah, okay, this ranks higher as an album than some others that will be higher on this list, and I still stand by that 9 too. It’s definitely the most fun album here. It doesn’t hold up quite as much as some lower-ranked albums coming up because you have to be in a certain mood to play it. But Shinyribs is the type of group you should just let yourself enjoy; they won’t be for everyone, but they should be.
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#7: Robyn Ludwick–This Tall to Ride

Original Rating: 7.5/10
All right, what is it about this one? Well, it just works its way in. It’s unique and cool, and no, the hookers and cocaine all over this record won’t be for everyone, but if you can get past the dark material Robyn writes and sings about, this is a great record. It’s definitely being underappreciated, and I underrated it, not necessarily because I undervalued the songs themselves but because I underestimated its mileage and ability to be replayed which it turns out has been great.
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#6: Jaime Wyatt–Felony Blues

Original Rating: 7.5/10
Yeah, I said this rating would be misleading when I reviewed it, and it turns out I was right. It’s hard to grade a seven-song project, and when four songs turn out to be excellent tracks, and the other three are good, it’s hard to question this. It’s short, sure, but there’s no filler like there has been on many albums this year. Jaime Wyatt’s is another debut record, and this is probably the most promising one I’ve heard all year. She’s someone you should definitely keep your eye on, and since February, this has gone from being a strong debut to one of the best albums of 2017.
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#5: Kasey Chambers–Dragonfly

Original Rating: 8/10
Please, stop caring that this is a double album, and do yourself a favor by listening to it. This has been massively underrated, both because Kasey is Australian and because it’s a double album, but it’s one of the most consistent and diverse releases of the year–there’s something here for everyone, from traditional to blues to folk rock to gospel to country pop. Go check it out.
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#4: Jason Eady (self-titled)

Original Rating: 9/10
This is going to be a dark horse for Album of the Year; Jason Eady is the only person who could make a completely stripped-back, acoustic record that could be played without electricity (except for some steel guitar) and have it compete with the best albums of the year based on his songwriting and melodies alone. This record grows on me every time I listen to it. Another somewhat underappreciated album, and definitely the best album to come out of the Texas/Red dirt scene thus far this year.
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#3: Angaleena Presley–Wrangled

Original Rating: 10/10
I know, some of you that know how I felt about this record are falling out of your chairs right now that this is #3. I still love it, and these top three are all excellent. The reason this has slid momentarily to #3 is that I come back to it all the time, but not as much to the entire album as to specific songs. But like I said, these top three are all almost interchangeable, and some of the songwriting here is the best of 2017 so far.
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#2: Colter Wall (self-titled)

Original Rating: 9/10
All right, so yeah, this has passed Angaleena. There are still a couple of boring songs, so I wouldn’t give it a 10–although I might change angallena’s to a 9 or 9.5 if I were reviewing her today–but man, what a timeless album. This pretty much blew me away on the first listen–which is the case with all the top three–and just like Jason’s, it’s very minimal, and all you need is Colter’s throwback voice and his stories and melodies. Excellent record. Another debut, by the way.
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#1: Marty Stuart & His Fabulous Superlatives–Way out West

Original Rating: 10/10
Back in March, nothing had blown me away in 2017. I remember talking about the fact that there had been some good albums, but not great ones. I was a little discouraged–and then this came along and blew everything out of the water, and I’m still waiting for something to top it. It’s been a much better year since, and 2017 will be an entertaining year waiting to see if an album can possibly top the musical genius Marty Stuart put into this album and depiction of the West. It’s not a lyrical masterpiece; in fact, none of its songs made yesterday’s list. But that’s what makes it even more special; Marty went into a genre that is lyrically focused and made a western album based purely off the musical styles and mood. It’s, at least for me, a flawless record.
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Honorable Mentions

  • Sam Outlaw–Tenderheart (would have been #11)
  • Kody West–Green (would have been #12, another debut)
  • Aaron Watson–Vaquero (would have been #13)
  • Nikki Lane–Highway Queen
  • Rhiannon Giddens–Freedom Highway
  • Sunny Sweeney–Trophy
  • The Mavericks–Brand New Day
  • Zephaniah Ohora–This Highway (this will probably make future lists, but I need more listens

Albums on the Radar, With Potential to be Reviewed

Being listed here does not mean Brianna or I will review these, it just means we’re aware, and they may be considered, but have not been reviewed yet.

  • The Infamous Stringdusters–Laws of Gravity
  • Lauren Alaina–Road Less Traveled
  • The Secret Sisters–You Don’t Own Me Anymore
  • Ray Scott–Guitar for Sale
  • Glen Campbell–Adios
  • Shannon McNally–Black Irish
  • Joseph Huber–The Suffering Stage
  • Tony Jackson (self-titled)
  • John Baumann–Proving Grounds
  • Jake Worthington–Hell of a Highway
  • Ags Connolly–Nothin’ Unexpected

My Top 13 Songs of 2017 So Far

Editor’s Note: I wrote “my” instead of “Country Exclusive’s” for a reason; this does not necessarily reflect the views of our entire site. Also, these are not, and I repeat, not, in any order. Finally, with the exception of one song which I felt it would be idiotic to leave out, these are all from stuff we have covered in some fashion, either by a full-length review or perhaps through a feature in our “Memorable Songs from Overlooked Albums” pieces. Normally, I would restrict this to stuff one of us has actually written about, but that would leave out one song which, like I say, it would be a glaring sin not to bring up here. So take all this into consideration, and feel free to leave your own lists of songs and thoughts about these in the comments below!

Aaron Watson: “Clear Isabel”

From Vaquero
The first song to really blow my mind in 2017, this is a great and timely story about Isabel and her father, Mariano, who flee to America to escape the cartels of Mexico. Isabel ends up married to the narrator of the song, but her father is deported and later gunned down. It’s an honest and heartbreaking look at immigration, not to mention a brilliant song. Even better with the instrumental prelude, “Mariano’s Dream.”

Jaime Wyatt: “Wishing Well”

From Felony Blues
Jaime Wyatt is probably the name I’m most excited about breaking out in 2017. She has a way of singing about hardship that still manages to put a smile on your face, and this is just a stellar song that gets better every time I hear it.

Natalie Hemby: “Cairo, IL”

This one comes off Puxico, which we didn’t review in full, but it was partly responsible for the “Memorable Songs” features because this track about the lonely, forgotten river town of Cairo, Illinois, is one of the best songs of the year and should by no means be overlooked.

Jason Eady: “Barabbas”

From Jason Eady’s self-titled album
Purely from a songwriting standpoint, this has to be the cleverest thing to come out this year, telling us the story of the man freed by the crucifixion of Jesus, yet never mentioning Jesus or religion, and instead allowing the song to be a timeless track for everyone, although connecting even more deeply with those of faith.

Angaleena Presley: “Dreams Don’t Come True

From Wrangled
This just blew me away on the first listen; who’s going to tell you, especially at the beginning of their record, that look, dreams don’t come true, and don’t believe anyone who says otherwise? But it’s Angaleena Presley’s reality, and credit her for confronting it head-on to deliver us something so powerfully painful and honest.

Angaleena Presley: “Wrangled”

Also from Wrangled
Angaleena Presley has the distinction of being the only one on the list with two entries, but this song is equally deserving. From the wonderful melody to the thought-provoking lyrics about being “wrangled” by her life and husband, this song stands out just as much as “Dreams Don’t Come True.”

Brad Paisley: “Gold All Over the Ground”

From Love and War
What, a mainstream name like Brad Paisley? Yes, that’s what I said. This is Paisley’s musical adaptation of a poem composed by Johnny Cash in the 1960’s, and they don’t make love songs like this anymore. Between the poetry of Cash and the arrangement of Paisley, it has definitely earned its place among the best songs so far in 2017.

Colter Wall: “Kate McCannon

From Colter Wall’s self-titled album
There were many outstanding songs on Colter Wall’s debut record, I just picked the one that shined a tiny bit brighter than the rest.

Chris Stapleton: “Either Way”

From From a Room, Volume 1
I didn’t always think Chris Stapleton showed emotion on his new album–sometimes he just belted songs, and they lost a little of the passion. But this is one moment where he absolutely killed it, and this version might be better than the original LeeAnn Womack version.

The Steel Woods: “Straw in the Wind”

From Straw in the Wind
What a dark, ominous tale–this one comes from one of our collaborative reviews, and Brianna and I both agreed that this story of a town where strangers “disappear like straw in the wind” is a standout of the record.

Jason Isbell and the 400 Unit: “If we Were Vampires”

Yeah, here’s the one I didn’t review, but this is one of the best songs of Isbell’s career, and when I said they don’t make love songs like that anymore about Paisley’s, I guess Isbell proved me wrong. He mentions all the details he loves about his wife, and more than that, he makes you think of death as a gift because it allows you to be a better lover and make the moments last. What a beautiful and morbid picture of love; I’ve never been sad, happy, and scared while listening to a love song before, but that’s what Jason Isbell does here.

Kasey Chambers: “Jonestown

From Dragonfly
The standout of Chambers’ recent double album, this one deals with hardship and discrimination and tells a great story. Probably the most underrated and least known one on the list.

Trisha Yearwood: “Maggie’s Dream”

This one is from the Gentle Giants album, and like I said before when I mentioned this song, I don’t care that it’s a cover, it’s still one of the best songs of the year. Trisha Yearwood delivered a better rendition of an already great song, and she’s earned her place on this list.

Honorable Mentions

  • Jason Eady: “Black Jesus”
  • John Moreland: “Love is Not an Answer”
  • Lauren Alaina: “Same Day, Different Bottle”
  • Zac Brown Band: “All the Best”
  • Kelleigh Bannen: “Church clothes”
  • Rhiannon Giddens: “Better Get it Right the First Time”
  • Sam Outlaw: “Everyone’s Looking For Home”

“It’s Always the Songs”–What we Should Learn From Steve Earle’s Recent Outbursts

Ahead of his new album So You Wannabe an Outlaw, Steve Earle has not been afraid to speak his mind. IN a recent interview with The Guardian, Earle calls out, among other things, the current state of pop country and says that the mainstream is nothing but “hip-hop for people who are afraid of black people.” He also says that “the best stuff coming out of Nashville is all by women except for Chris Stapleton.” I don’t want to focus too much on this interview since that’s not originally what this article was meant to be about, but it adds new light to it and strengthens the point I was originally going to make here–Steve Earle is not afraid to be honest and share his opinion. However, the thing is, although it’s not overly common, bashing pop country is certainly not uncommon, and we’ve seen our fair share of artists do so over the past several years. The thing that makes Earle’s recent statements different comes in light of another interview, which before today had been the main focus of this piece.

IN another interview in Canada, with The Globe and Mail, when asked about Canadian songwriters, Steve Earle mentioned Colter Wall, citing him as “the best singer-songwriter I’ve come across in years.” Here’s where the interview takes an interesting turn.

I haven’t heard his new album yet, but I heard him [Colter] described as “bad Richard Buckner.”
Richard Buckner sucks. Richard Buckner is the most overrated songwriter in the history of songwriting ever. Girls liked him, because he stared at his feet. He’s a neanderthal. I know Buckner.
I’m quite fond of Buckner’s music. Particularly, The Hill (2000).
He can’t write his way out of a wet paper bag. Richard Buckner was nothing but a painfully alternative hipster’s darling. But I hate a lot of things people think are brilliant. I will not read Cormac McCarthy again. Technically, he’s one of the best writers I’ve ever come across. But I don’t think his intentions are good. I don’t think he likes us. I don’t think he likes himself. Actually, I think he likes himself just fine. That’s what’s so disgusting about it. I think he thinks the rest of us are pieces of [garbage].
Painfully alternative hipster’s darling, you say about Buckner. Can you explain that?
I don’t want to be a part of a culture that defines itself by what it hates. I can’t stand alternativism. I mean, I hate disco, but I have to admit there’s been some great art coming out of dance music.
But out of hate and alternativism comes great art. Punk rock, as a reaction to disco, for example.
Sure. But the stuff that’s great in punk rock are the songs. The songs hold up. The stuff lasts. Nirvana’s not Nirvana because of punk rock. Nirvana’s not Nirvana because it was different than hair metal. Nirvana is Nirvana because Kurt Cobain was a world-class songwriter. It’s always the songs.

First of all, I had never heard the name Richard Buckner before this interview, and let me tell you, after getting acquainted, Steve Earle is entirely correct, Richard Buckner sucks–but that’s beside the point. The point is, and it’s been strengthened today by his criticism of the mainstream, that he’s not afraid to judge the independent/Americana/alternative in the same way as what is popular. We’re all pressured by that in this independent country scene, to like everything Americana just because it’s not on the radio or isn’t considered mainstream. But let me tell you, a lot of it bores the hell out of me, and Country Exclusive was founded on a principle of honesty. When I said that, I didn’t just mean bashing the mainstream, and I get that there’s a certain problem with spending too much time unnecessarily bashing the little guy, but there’s also this elitist attitude in the Americana world that makes it seem as if you can’t criticize anything about these artists. Hell, there are albums I enjoy but have slight criticisms about in Americana, but somehow, if we say that, it’s a horrific thing. Criticism is meant to be constructive, and to share an opinion–and if the artist deems it necessary to listen, perhaps to make that artist better, but again, it’s just someone’s opinion. WE all find it easy to bash Nashville and pop country, and we all rally behind people like Steve Earle when they do the same. So why do we attack him for saying something negative about an Americana artist? I love that last point–“It’s always the songs.” Let it always stay about the songs. That goes for you mainstream fans afraid to like Jason Isbell, and for you independent/alternative/Americana fans afraid to like Chris Stapleton because he wrote some mainstream hits. Just let it be about the songs. They should, and will, speak for themselves.

You Know What? I Couldn’t Care Less About the Production on Colter Wall’s Album

Recently, I reviewed Colter Wall’s self-titled debut album, and if you haven’t heard that record, you’re honestly depriving yourself for no good reason. It’s right up there with the best of 2017 so far; it got a 9/10 here, but only just, due to one song, “You Look to Yours,” which admittedly has gotten only slightly better and less boring since my initial thoughts…but I digress.
Many outlets had a common criticism, in varying degrees of intensity, of the production. Produced by Dave Cobb, this record was minimalist to say the least–in fact, Cobb did virtually nothing, letting Colter and his guitar speak for themselves on a good portion of the album. This was quite a contrast from Wall’s debut EP which featured more interesting instrumentation and sometimes lively fiddles. I wrote that I thought that might have worked in some places on this record, and that Dave Cobb was to blame. I was careful to add that I personally thought that on this particular album, Dave Cobb did a fantastic job, getting out of the way of Colter–but I added that Colter will have to expand his sound going forward, and I agreed that the concerns of production are valid, if perhaps a little early.
But now? After listening to this several more times, and as this record becomes one of my personal favorites of 2017, as well as one of the best from a critical standpoint, I have to take back those comments. I think the production here was fantastic, as I already said, and I do think Colter’s next album can’t be more of the same without running the risk of it feeling a little stale, a la Stapleton. However, Stapleton is an easy comparison because they used the same producer; the bigger problem with Stapleton wasn’t Dave Cobb’s production as much as a general lack of passion from Chris Stapleton himself, which stands out even more on a minimalist Dave Cobb project where there’s not much going on to distract you. Now, I do have a problem with some of the production on Stapleton’s album, but my point is that it made it easy at first for me to draw comparisons with Colter Wall and seek out problems with the minimalistic approach, especially one that differed so much from Colter’s previous output.
But that’s just it; Stapleton’s two albums sound exactly the same, whereas Colter’s album and EP sound nothing alike, so I believe this means that any concern we have about him sliding into a rut with production is completely unwarranted until his next project. That concern should have no bearing on this album, and when I listen to this album, I can find no flaw in the production. Colter Wall and his guitar are enough, and that is all the more reflective of his talent and of the strength of these songs. I’m actually glad Dave Cobb got out of the way of this and let Colter and his stories shine. I can still understand people who wanted more production wise, but it is no longer my criticism–and as for expanding his sound going forward, we’ve already seen two very different sounds from Colter Wall, so I’m no longer sure we have to worry about this either. Now seriously, go listen to this album, it’s still incredible.

Album Review: Colter Wall (self-titled)

Rating: 9/10

Eleven miles west of Dodge City, Kansas, on West Highway 50, otherwise in the middle of nowhere, there is a boardwalk and a historical marker to denote the place where over a century ago, wagons passed through on the Santa Fe Trail. If you stand there on that boardwalk in that relentless prairie wind and look out over the land, you can still see the ruts these wagons drove into the ground as countless people made their way to Santa Fe, and though so much time has passed, their stories are still etched into the prairie and echoing out of the past. Though you stand there in the 21st century, a piece of 1872 is still with you in those ruts, and there’s something about that that’s powerful and timeless.
It’s that same sort of feeling you get when you press play on this record, and Colter Wall starts to sing, with often little else but his guitar and some well-placed steel or drums to accompany a voice reminiscent of Johnny Cash and stories that seem to come pouring out of another place and time. From the opening words to “Thirteen silver dollars,” where we are invited in with, “It was a cold and cruel evening, sneaking up on speedy Creek, I found myself sleepin’ in the snow,” it’s an album of rambling and searching, more story than song, more folk than country, and more past than present. That remarkable voice will draw you in and remind you of earlier days in country, but it takes more than that to sell stories like these, especially in these modern days. It’s the conviction and emotion in these words that keeps you listening and makes it more than just a singer with a great, throwback voice, and rather a storyteller taking you on a journey. This particular journey includes hopping trains and sleeping in lonely motel rooms, and culminates in prison–and that’s just the front half. This half of the record ends in fine fashion with “Kate McCannon,” as Colter Wall sings from his prison cell about meeting “the prettiest girl in the whole damn holler” and then subsequently “courting” her and murdering her after finding her with someone else. This song builds and builds until the climactic line, “I put three rounds into Kate McCannon,” and you can feel all the pain and guilt of the song and whole first half of the album in that line.
I separate the album into halves because that’s exactly how Colter Wall presents it, and between the halves, there’s another slice of the past, as a DJ on the “Old Soul Radio show” is supposedly debuting Colter’s album, complete with static and background noise before he “flips the record over.” I can see how people would love or hate this moment, but it does serve to add another vintage element to the album, and it also breaks the record nicely into two parts, providing a break after the intensity of “Kate McCannon.”
The back half of the album is just slightly weaker, at least for me, as I’m still not really getting into the song “You Look To Yours.” If there’s any filler on this record, it would be this song. Here we have two nice covers, Townes Van Zandt’s “Snake Mountain Blues,” which serves nicely as the opener to the second half, as well as the excellent “Fraulein,”–originally done by Bobby Helms, but also previously performed by Townes–featuring Tyler Childers. These two are excellent together; Childers adds some high harmony and some great contrast to Wall’s bass, and they should sing together more. Townes Van Zandt is a fitting artist for Colter Wall to cover on this album because his songs work well with the images and stories portrayed here. Some of the best songwriting on the record can be found on “Transcendent Ramblin’ Railroad Blues” and “Bald Butte.” The former is more of, well, exactly what the title says, but this one stands out for its lines like, “If I don’t leave here tomorrow, I believe I’ll blow out my brains. But either way, there’ll be sorrow, you won’t be seeing me again.” The latter is a story straight out of the past, as we are told the tale of Henry, who had his horse and rifle stolen by some Southerners and sought revenge, only to be shot. The details and imagery in this one are impressive.
I mentioned before that there’s not much to accompany Colter Wall here usually except his guitar. Sometimes there’s some steel and sometimes some drums, which certainly do a lot for “Bald Butte.” For people that knew Colter wall before this and enjoyed his debut EP, Imaginary Appalachia, this could be a good or bad thing–that EP had much more interesting instrumentation and production, often with lively fiddles. I think some of that could have helped this record in places, and having Dave Cobb as the producer is certainly to blame for this. Having said that, personally, for this particular record, I think Dave Cobb handled it excellently, getting out of the way of Colter wall and his stories and letting them speak for themselves. I do think that going forward, Colter will have to expand his sound–we saw with Stapleton’s record that it wasn’t as interesting production wise as Traveller. But as far as this record goes, I don’t have any major complaints with the production. And for me, it’s actually quite an improvement from Imaginary Appalachia for Colter Wall himself, as on that EP, I felt he was singing too often in higher registers; this record shows off much of his lower range which suits his voice, as well as these songs. I would say that while he may be still developing his sound and style, he’s also come quite a long way in that aspect on this album. So I agree the concerns of production are valid, but something we should hold off on for the 21-year-old Wall until his next project.
There’s also the concern that by singing in this throwback, sometimes dated style that Colter Wall could develop into a niche performer, and that’s also something I’d argue it’s too early to speculate about. If it turns out to be the case, I’m proud to be one of the throwback types that enjoys this music. if not, I think there’s a conviction and heart in Colter that, combined with that kind of voice, can impact people on a much larger scale. I see a tremendous amount of potential in this 21-year-old Canadian folk singer, and only time will tell if he lives up to that potential. For now, this is a pretty incredible album, and rather than speculating on Colter’s future, we should all just go listen to it.

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