Tag Archives: folk rock

Album Review: John Moreland–Big Bad Luv

Rating: 8/10

Yeah, it took me quite a long time, several listens, and a detour in between to discuss the music of Kody West and Colter Wall before I could accurately put into words how I feel about this album. And that’s due to the sheer talent of John Moreland, the fact that his lyrics are on quite another level and hard to digest, let alone put onto paper, and generally that I felt this album is very good and deserved better words, even if written later, rather than words which were forced out just after the release. It’s always good to see success and talent coming out of my home state, and Tulsa’s John Moreland definitely has the talent–and a portion of the success. But this record could, and should, be the one that brings him to a new level of success and prominence.

I’ll say first that this album isn’t really country, although you’ll hear some country touches, like the occasional steel in “It Don’t Suit Me (Like Before)” or the lively harmonica in the opener, “Sallisaw Blue.” It’s not really Red Dirt or country rock either, like so much music coming out of this region. It’s closer to Americana, with lots of nice piano and acoustic guitar brightening up the record, and actually the Apple Music description sums it up well: “Heartland folk rock, warm and tough like weathered denim.” “Warm” is the perfect word to describe the melodies; Moreland’s past work has been largely dark/depressing, but there’s definitely a happier tone to this album, perhaps due to Moreland’s recent marriage and current state of mind. regardless, the melodies will stick with you, and it’s that detail which elevates this record from something on the more boring singer-songwriter side to something more relatable because those melodies will get stuck in your head, and you’ll find yourself coming back and listening. It’s an album that works its way into your heart slowly, a bit like Jason Eady’s latest record. And credit to John Moreland for giving equal attention to his melodies–many Americana/folk projects suffer from the same problem of considering melody secondary to lyrics, and thus, while maybe telling a great story, often lose that story in a forgettable melody.

And speaking of those lyrics…I already said they’re on another level, and I can’t really put into words even now the poetry of John Moreland. As I say, you come back to this album for the melodies, but the more you listen, the more new things you unravel in the words, and you start to find lyrics that could rival the genius of even Jason Isbell–yes, that’s what I said. I’ll say that “Love is Not an answer,” accompanied by some of that beautiful piano I mentioned, and the acoustic “NO Glory in Regret” stand out as fantastic pieces of songwriting, but you just have to hear them to fully appreciate them, and that’s why I struggle to put the music of Moreland to paper; my words can’t do it justice, and it loses something in trying.

So after all this praise, why am I giving this album an 8? Well, it goes back to relatability. With all that deep songwriting, sometimes it’s just not accessible/relatable. It’s still hard to rate this because some people are going to absolutely love this album and call it a genius piece of art. Other people are going to hear it and say, “It’s good, but I can’t get into it.” Still others are probably still going to see it as boring despite its charming melodies and instrumentation. This is one of those times that I can see all angles, and this 8 is the best I can come up with as both a fair critic and an honest music fan. I do think it’s an album that grows on you, and people that buy it and listen to it multiple times will get more from it than people who stream it once and say it’s not for them. It took me lots of listens to fully appreciate it, and it’s still getting better. And that, as I say, speaks to the talent of Moreland, that his work improves with time.

So, would I recommend this? If you like older rock or folk rock or Americana, absolutely. There’s a beauty in these melodies and lyrics that is special. I’m not sure your average person looking for strictly country gets into this quite as much, but this is still real and raw and rootsy, so it just depends on your musical tastes. As I say, it won’t relate to everyone because of the sheer complexity with which John Moreland writes his songs, but it’s an album worth checking out, and it keeps getting better each time you hear it.

Standout Tracks: “Love is Not an Answer,” “It Don’t Suit Me (Like Before),” “Sallisaw Blue,” “NO Glory in Regret,” “Amen, So Be It,” “lies I Chose to Believe”

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Album Review: Courtney Marie Andrews–Honest Life

Rating: 10/10

Before I say anything, credit to trigger of Saving Country Music for bringing Courtney Marie Andrews into my life and now to my pen. There is a reason we do this–not to point out all the bad in the mainstream, but to introduce new and deserving artists to the world, to provide a platform for people seeking good music to find it. Enter Courtney Marie Andrews, a 25-year-old singer/songwriter from Phoenix, Arizona, and her latest album, Honest Life I will say two things about this record; firstly, it is not a country record, but more a folk record, with elements of country, rock, and pop mixed in, and secondly, it is the best album I have reviewed to date.

The album opens with “Rookie dreaming,” and the first lines immediately hold my attention and introduce the great songwriting that will be present throughout this entire album. “I was singing with the choir on the train. I was a traveling man, I did not yet have a name. I was a 1960s movie, I was a one-night love story, I was a you’ll never see me again.” This song features nice piano and acoustic guitar, and Courtney’s voice reminds me of an excellent cross between Joni Mitchell and Linda Ronstadt. The style resembles Ronstadt too, with the blend of country, folk, and rock that was Linda’s signature. “Not the End” is a love song in which Andrews sings from a hotel bed where she is “dreaming up every memory” to feel closer to someone she loves. “I didn’t think it was possible to lose you again, so won’t you hold me and tell me that this is not the end.” If you didn’t hear Joni Mitchell in the opener, you certainly will here; the emotion and phrasing in Courtney’s voice is closer to Mitchell’s than anything I have heard.

“Irene” adopts a more folk/pop rock sound; here, Courtney gives advice to a woman named Irene, including “keep your grace” and “don’t go falling in love with yourself.” It is universal in that it is relatable to everyone, but also could be specific to anyone who hears it. “How Quickly Your Heart Mends” is the moment where you will recall Linda Ronstadt the most; here, a woman is “hiding out in the bathroom of this bar,” devastated that her ex is acting like they never met. She put on the dress he loved, and now she feels like a fool and can’t believe he is ignoring her–“go on, and leave with your new friends, how quickly your heart mends.” The piano and steel really stand out on this track. “Let the good One Go” is another heartbreak song, this one about a woman missing someone she apparently let go. She thinks about calling him and wonders if he thinks about her, saying, “Oh you will know, when you’ve let a good one go.” The light instrumentation on this song brings the emotion and lyrics to the forefront. “Honest Life,” the album’s title track, is another simple, acoustic song that feels very personal to Courtney. “All I’ve ever wanted is an honest life, to be the person that I really am inside, to tell you all the things that I did that night. Sometimes it just ain’t easy to live an honest life.” The songwriting is excellent on this whole album, but it may be the best here–ask me tomorrow, and I might change my mind.

The next three songs explore distance from those you love, similar to the theme introduced in “Not the End.” In “Table for One,” Courtney arrives in Ohio after a trip from Houston–the verses would suggest it might be on a tour–feeling lonely and ready to go home. “You don’t wanna be like me, this life, it ain’t free, always chained to when I leave.” This one is stripped down too and lets the lyrics and Courtney’s voice shine. “Put The Fire Out” brings back the piano and is closer to the sound of “How Quickly Your Heart Mends.” Here, Andrews sings from a plane, as she flies home to reunite with her loved ones and put her rambling life behind her. “I am ready to put the fire out. There’s a place for everything, and I think I know mine now.” This was the first one I heard from Courtney, and I’ll post it here because it should lead you to the rest of this record. “15 Highway Lines” is a similar song, but this one is focused on reuniting with the one you love after time apart;–“13 hours till I see you. Flying all around this world so you can see me too.” It really captures the love, pain, and hope unique to long-distance relationships. The album closes with “Only in my Mind,” another excellent song in which the narrator paints pictures of life with someone she loves, but these pictures are only in her mind, as the relationship has ended. It seems to be mainly her fault it is over, or at least she believes this. It’s another one that captures the emotion perfectly and closes the album brilliantly.

If you haven’t figured it out, this album is special. It isn’t strictly country; it’s a unique mix of folk, country, pop, and roc, with the perfect production for each track. It is one of those rare albums that defies and transcends genre lines and just speaks for itself. Courtney Marie Andrews has a voice you will not soon forget, recalling Joni Mitchell and Linda Ronstadt, yet still unique. The songwriting on this album is nothing short of brilliant. It’s simple and complex at once. This album is both the poetry of Jason Isbell and the relatability of Vince Gill. It is raw and honest and real, and everyone should absolutely hear it.

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