Tag Archives: John Moreland

Playlists

My Top Twenty-Five Albums of 2017

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And now for the list you’ve all been waiting for, for the one I’ve been preparing for all year, and for the one that represents the heart and soul of what we do here. I debated much on how far to extend this list…should it be ten, or twenty, or follow suit with several of my lists this year and be thirteen? IN the end, I found that after reviewing seventy-eight albums so far in 2017 and featuring twenty-seven so far in Memorable Songs, not to mention others I’ve heard and did not include in that feature, that eight stood out above everything else and should be considered most essential on this list. Another fifteen stood out a little under that, and then it became a question of whether to cut the list of twenty-three down to twenty or search for two deserving others to round it out to twenty-five. I opted for showcasing more music, but as you’ll see, I’ve separated the most essential from the rest because those eight still stand proudly above the rest and should be recognized as such. One more note for any of you who might be newer, this list reflects the evolving, changing nature of music and my reactions to it throughout the year, so rating should not be considered a huge factor at this point–a factor, yes, but second to how well the music has held up over time.

Essential Albums

25. Kody West–Green

Standout Tracks: “Green,” “Ledges,” “Ogygia”
This album starts off an exciting trend here–a good amount of debut albums making this list. It’s been a great year for debut records, and Kody West is certainly the most interesting thing to come out of the Texas/Red Dirt scene this year. Not the best album from that scene, but something new and refreshing, blending the traditional and the modern, the country and rock influences, into something cool and promising. Check this out while you can still say you were ahead of the curve with West.
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24. Nikki Lane–Highway Queen

Standout Tracks: “Jackpot,” “700,000 Rednecks,” “Highway Queen,” “Forever Lasts Forever”
So many boring, mid-tempo albums in the independent/Americana scene in 2017. This is fun and vibrant, a breath of fresh air and personality. This is an artist coming into her own and being herself in the best way possible. It stands out above many others simply for the jolt of energy and life it offers, proving that you can make a good album in this scene and write smart hooks without being so serious all the time.
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23. Robyn Ludwick–This Tall to Ride

Standout Tracks: “Freight Train,” “Texas Jesus,” “Bars Ain’t Closin’,” “Lie to Me”
I’ve been saying this since it came out, but if you can get past the hookers and cocaine all over this record, it’s a great listen. The melodies are engaging and the sentiments relatable, and credit to Robyn Ludwick for exploring these subjects, so often ignored in country, and giving a voice to these characters. Her knack for portraying people usually so ignored and misunderstood by society is remarkable, and though not as blatant a form of social commentary as say, the next album here, this one still has a lot to say and does it in a really interesting way.
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22. Rhiannon Giddens–Freedom Highway

Standout Tracks: “At the Purchaser’s Option,” “Julie,” “Better Get it right The First Time”
While we’re here, I’d like to say that not including “Better Get it Right the First Time” on my Spotify and Apple Music playlists was a complete oversight, and it should have been there, though I have no idea what it would have replaced. That said, this album is better all the way through, as a whole, as it tells the story of African-American history and heritage that is more story than song, more reflection than sermon, and teaches the past while still looking hopefully into the future. Some might wonder why it isn’t higher on this list, and that goes back to a rating thing–this album is not perfect, but it’s very good and received an 8.5 here. Yet it’s just something you respect more than you enjoy, and while it’s a great album, it’s not the album you’re going to pull out and listen to over that much. Still, it’s got something to say, and it does so in fine fashion.
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21. Turnpike Troubadours–A Long Way From Your Heart

Standout Tracks: “Pay no Rent,” “The winding Stair Mountain Blues,” “pipe Bomb Dream,” “A Tornado Warning”
I know, I know, it’s Album of the Year for a lot of people. Turnpike did receive Album of the Year here in 2015 for their excellent self-titled release, and while this is still a great album, in the spirit of honesty, I have to say it’s not the best of their material for me like it is for a lot of people. Brianna and I reviewed this together, and she’s got a considerably more favorable opinion of it than i do. That said, the songwriting here is in some places the best of the band’s career. They’re consistently churning out good quality country music, and you can’t go wrong with any of their albums.
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20. Shinyribs–I Got Your Medicine

Standout Tracks: “I Gave up All I Had,” “Trouble Trouble,” “I Don’t Give a Shit,” “Tub Gut Stomp & Red-Eyed Soul”
This is the exact opposite of Rhiannon Giddens’ album before it–it’s the antithesis because it’s bright and fun, and you’ve got to be in a certain mood to appreciate it. It doesn’t take itself too seriously, and it’s nearly perfect for what they’re trying to accomplish here. I hold back slightly because again, you aren’t going to pull this out quite as much as some others, and also there’s only really a smattering of country here, but this is just warm, infectious music that puts a smile on your face, something we all need these days. Give this a chance.
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19. Steve Earle & the Dukes–So You Wannabe an Outlaw

Standout Tracks: “Walkin’ in L.A,” “Fixin’ to Die,” “This is How it Ends” (ft. Miranda Lambert)
I’ve had a strange relationship with this record–at first I loved it, then several people pointed out the pretty much sloppy production on the album, and I grew to not like it as much despite not being able to hear all the production issues myself. When reviewing albums I loved this year, I went back to this and found what I loved again–so I get it if you don’t like this album because of the production, but honestly, I enjoy the hell out of this and think it’s one of Steve Earle’s best in a good long while.
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18. Dori Freeman–Letters Never Read

Standout Tracks: “Cold Waves,” “If I Could Make You My Own,” “over There,” “That’s All Right”
The album to check out for that long-lost Appalachian sound. For me, not quite as good as her outstanding debut–tied for unofficial Album of the Year in 2016–but still a solid collection of tunes. Dori didn’t change much, or anything really, with this approach, but why should you when it worked so perfectly the first time?
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17. John Moreland–Big Bad Luv

Standout Tracks: “Love is Not an Answer,” “No Glory in Regret,” “Sallisaw Blue,” “It Don’t Suit Me (Like Before”)
Some of this is the best songwriting of the year. And it’s not just his lyrics, it’s the production and, most of all, the warm, engaging melodies that keep you coming back and listening. In fact, a lack of accessibility may be this record’s only flaw, as it’s almost too deep, and he’s almost writing too much on another level. That said, this is poetry at its finest and set to melodies that really allow it to shine and grow over time.
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16. Jaime Wyatt–Felony Blues

Standout Tracks: “Wishing Well,” “Wasco,” “Stone Hotel”
Another debut record, and one of the most exciting of the year. This is easily the project that has grown the most for me throughout the year, as Jaime’s music only continues to get better. A nice little album that draws on her own experience in the best way possible to tell a story of second chances and starting over, and to actually create something I’d call outlaw country, if that were a style.
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15. Jason Isbell and the 400 Unit–The Nashville Sound

Standout Tracks: “Last of my Kind,” “Tupelo,” “If we Were Vampires,” “Something to Love”
And here it is, the album that produced the 2017 Song of the Year. Once again, Jason Isbell delivers with a slice of that incredible songwriting, and on this album, it also gets backed up by more interesting and diverse production. Not a perfect album, and I still don’t know what the hell “Chaos and Clothes” is supposed to be, but this is his best and most accessible album to date.
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14. Kasey Chambers–Dragonfly

Standout Tracks: “Ain’t NO Little Girl,” “Jonestown,” “Shackle and Chain,” “Talkin’ Baby Blues,” “Summer Pillow,” “Golden Rails”
More standouts here because we’ve got a double album on our hands. Much like Dori Freeman, Kasey Chambers isn’t necessarily breaking any new ground here, and this isn’t quite on the level of her excellent 2015 record Bittersweet, but this is an expansive showcasing of all her styles, from more traditional to rock to bluegrass to pop. She can do it all very well, and it continues to baffle me how little love we give her in the States.
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13. Travis Meadows–First Cigarette

Standout Tracks: “McDowell Road,” “Sideways,” “First Cigarette,” “Pray for Jungleland”
This album has to get Production of the Year, not necessarily because it’s the most impressive display, but because it is the album where the production contributes most to the overall story and general enjoyment of this record. It’s a little journey through his life, nostalgic for the past but content with the present, and the extra care taken to do things like make all of the songs flow into each other so that it’s as if you’re taking the trip right along with Travis, makes this a special listen.
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12. The Infamous Stringdusters–Laws of Gravity

Standout Tracks: “Freedom,” “Black Elk,” “This ‘ol Building,” “Maxwell”
Well, I didn’t get to nearly as much bluegrass as I’d have liked this year, but this is one badass bluegrass record and the best one I’ve heard in 2017. It’s got all the wonderful instrumentation we expect from this genre, but it’s also got great storytelling, not to mention a youthfulness and vibrancy permeating the whole thing. This is the album to send people’s way who think bluegrass is stuffy and boring and old-fashioned, trust me.
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11. Crystal Bowersox–Alive

Standout Tracks: “A Broken Wing,” “The Ride,” “Marlboro Man,” “Let me Walk Away,” “NO Mistake,” “Mine all Mine”
I don’t know why more people didn’t pay attention to this throughout the year, but now’s your chance. This is a live album, but it’s not your typical one recorded for a huge audience and just providing live versions of previously released material. This was recorded in an intimate setting for sixty people over the course of three shows and features mostly new songs. It’s a unique album about being alive that captures perfectly her current state of mind and explores all the joy and pain that being alive has to offer. And this is, without question, the best album vocally of the year.
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10. John Baumann–Proving Grounds

Standout Tracks: “Old Stone Church,” “When Ophelia Comes to Town,” “Here I Come,” “Holding it Down,” “The Trouble With Drinkin'”
This album is the perfect balance between both sides of the Texas scene–the side with more depth and incredible songwriting, and the side with cool, vibrant songs that would sound awesome in a live setting. And if you wonder why only one of these songs made my Apple Music and Spotify playlists, it’s honestly because I could have picked almost the entire album and decided to limit myself.
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9. Justin Payne–Coal Camp (EP)

Standout Tracks: “Miner’s Soul,” “Piece of my Life,” but it’s better as a whole
Yes, I know, an EP actually made it this high on the list. It’s because Justin Payne’s very special love letter to the coal region of West Virginia is just right at six songs. Plus, it’s got the added awesomeness of actually being delivered by a coal miner. This blew me away the first time I heard it, and it still does.
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Most Essential Albums

8. Zephaniah Ohora–This Highway

Standout Tracks: “Way Down in my Soul,” “High Class City Girl From the Country,” “She’s Leaving in the Morning,” “I Do Believe I’ve Had Enough”
And now for the eight that were impossibly hard to rank. This one is certainly the most country and is a near flawless representation of the countrypolitan sound. And it’s by some guy from New York City, thoroughly walking all over the stereotype that you have to be “authentic” to make good country music. The sheer genius of this is that he doesn’t try to hide anything or be something he isn’t, and that in turn makes it authentic. Also, this is another debut, so imagining where Zephaniah Ohora can go from here is pretty exciting.
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7. Jason Eady (self-titled)

Standout Tracks: “Barabbas,” “Black Jesus,” “NO Genie in This Bottle”
So, Jason Eady produced two of my top five songs of the year which is pretty impressive and insane. It’s also pretty insane that in a year of mid-tempo, boring country/Americana releases, Jason released a completely stripped-back, acoustic affair, and yet because of the sheer beauty in the songwriting and the warmth of the melodies, it manages to rise above everything else and be one of the best albums of the year.
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6. Tyler Childers–Purgatory

Standout Tracks: “Whitehouse Road,” “Lady May,” “Honky Tonk flame,” “I swear (to God),” “Tattoos”
This is my most played album of 2017, and it gets better each time. I wrote all these standouts here, but this one, like some others here, is better as a full listen, as you go on Tyler’s journey of finding love, screwing it up, and turning to vices. And although this isn’t a debut, this is his second album and his first major moment, and it’s a moment that has been very well deserved.
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5. Suzanne Santo–Ruby Red

Standout Tracks: “Best out of Me,” “Better Than That,” (ft. Butch Walker), “Ghost in my Bed,” “Love Fucked UP”
Another solo debut. This, although it’s certainly got some acoustic, country-leaning moments, tilts more toward the rock side of things, and I debated whether to include it this high on a country list for that very reason. But I’d be lying if I said it wasn’t one of the best records of the year for me and another one of the few that blew me away from the very beginning. A hard-edged album that talks of drinking and sex and vices, it’s definitely got something to say. Probably not for everyone, but definitely for me.
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4. Ags Connolly–Nothin’ Unexpected

Standout Tracks: “Haunts Like This,” “Do You realize That Now?”, “Neon Jail”
My only regret here is that I wish it hadn’t taken me till July to hear this because I could have been enjoying it since February. This is nothing flashy, or “unexpected,” but it’s a case of everything just working–the extra touches of instrumentation like the piano and accordion, the wonderful melodies, the lyrics that sink in more and more each time you hear it. This is another one I’ve loved from the start. The definition of a nice, easy listen. And to top it all off, this guy’s British, so he joins Zephaniah Ohora in proving that just being yourself and singing in your own accent about your own stuff can produce the best music.
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3. Angaleena Presley–Wrangled

Standout Tracks: “Dreams Don’t Come True,” “Wrangled,” “Good Girl Down,” “Mama I Tried”
Yep, another one that had me on first listen. This is Angaleena Presley’s self-proclaimed “f you” record to the industry, and in candid, sometimes subtle, often angry and inappropriate, ways, she delivers just that. She addresses her struggles in the business and the discrimination against women, and does so in engaging and entertaining ways that keep this album playable and interesting despite the importance of the messages being conveyed.
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2. Colter Wall (self-titled)

Standout Tracks: literally everything here except “You Look to Yours”
Another debut, another one that throws the authenticity debate out the window, as Colter’s from Canada, and another one that absolutely blew me away from the beginning. Colter Wall and his astounding, throwback country voice have a ridiculously bright future ahead of them, and when you combine that voice with tales like these, of hopping trains and sleeping in lonely hotels, of murdering your girlfriend and spending your days in prison for it, this record captures another time and place in a way that makes it, well, timeless.
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Album of the Year

1. Marty Stuart and his Fabulous Superlatives–Way Out West

Standout Tracks: “Please Don’t Say Goodbye,” “Way Out West,” “Air Mail Special,” but really, it’s about the album as a whole
And speaking of capturing another time and place, enter Marty Stuart and this album…only instead of capturing it in the throwback way of Colter Wall, this is done in a vibrant, fresh, forward-thinking manner. It’s an almost psychedelic record, an exact representation of country evolving in 2017 in a way that still respects the roots of the genre. I’ve said this before, but in a genre of lyrics and stories, the risk that Marty Stuart took by delivering this in a thematic way that connected the songs by their music and mood should be commended. It’s almost cinematic, and in an era where the album concept is being lost in the mainstream, and in the independent scene where it’s thriving, the albums are still basically just collections of good songs, this record literally has to be played all the way through to be fully understood and appreciated. A concept record and a fine one, the most impressive one of 2017.
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P.S. Honorable Mention to Kesha, who couldn’t qualify for this list because of genre, and her album Rainbow for being far and away the best non-country album I’ve heard in 2017.

Commentary

Melody: The Most Forgotten and Forsaken Element in Music

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“Nobody even attempts to write a melody.”

These were some of the infamous words of Merle Haggard when he gave his opinion on modern mainstream country back in 2015. Interesting words because while you can find plenty of people harping on the lack of lyrical content and substance in the mainstream, or bitching about the encroachment of other genres and electronic beats into their beloved country music, not many people have commented on what may be the most rampant problem running through modern American music: the consistent lack of memorable and engaging melodies.

But even though we don’t mention it, this makes sense in the mainstream. Much of the stuff coming from Music Row is unimaginative and forgettable, and the lack of melody is only one small problem. So yeah, maybe we don’t criticize it often enough, but it’s not a stretch to see the undeniable lack of care for this crucial element in mainstream country.

But I’d argue it’s an even bigger problem in the world of Americana and independent music; yep, you know, that world where everything is good, and we can’t criticize anything. IN fact, I’d say that the mainstream is maybe the best place to find entertaining melodies these days–and no, that’s not saying a lot because so much mainstream music is just downright boring, but the majority of the songs we call “guilty pleasures” that come out of the mainstream stick with us because they’re catchy. They get stuck in our heads. Sure, we know the lyrics are stupid, maybe even at times misogynistic. But it’s the melody, and/or that lively, infectious instrumentation that keeps us liking the song despite how our mind tells us we should feel about it.

Conversely, how many Americana projects have you listened to that while there weren’t any flaws per se, there was also nothing memorable whatsoever? Maybe you read reviews or heard from listeners how great a record was, how awesome the songwriting was, etc., and for whatever reason just could not get into the album. That’s not to take away from the special art of songwriting, and it’s also true music is by nature subjective, but sometimes, albums are ruined just by a lack of effort and care for the melodies. Ray Wylie Hubbard’s is a shining example of this and indeed the inspiration for this post; equally, John Moreland’s latest might well have been the most boring record of the year if not for those catchy hooks and enchanting melodies that kept you coming back enough times to really unwrap the brilliance in his lyrics.

This problem of forsaking melodies is no doubt directly related to the equally alarming lack of quality vocalists in the independent scenes, which is itself a topic worthy of an entire post. We question whether to criticize such things as a singer’s vocal ability, and indeed, things like tone can’t be helped, but the technical abilities of singers can also be improved. Shows like The Voice and American Idol have gone to the other extreme, painting a picture of vocal ability as everything without taking into account an artist’s ability to draw an audience in emotionally. This emotional connection is more vital than technical skill, But singing is also more than emotive interpreting; this is what makes it different from reading poetry. it’s also nice to hear a great vocalist sing the hell out of a song; that’s one of the reasons Lauren Alaina’s sophomore album was such a joy to listen to.

When singer-songwriters are writing songs to fit their increasingly limited vocal ranges and abilities, their melodies become limited as well and often become somewhat of an afterthought. The results are often good lyrics that were turned into boring, lifeless songs. I’ve heard numerous Americana albums like this in 2017, brimming with good songwriting but completely forgettable. A singer may indeed possess that special thing that connects them with an audience and allows them to draw emotion out of every word, but does that matter if those magical words are translated into boring, forgettable music? Melody is what brings the lyrics to life and makes the songs resonate with us and get stuck in our heads. A script is only as good as the actors who make it come alive onstage, and lyrics on a page are only as thoughtful and relatable as the vocalist who interprets them for the world and the melody to which the songwriter sets them.

We praise songwriters, and we say we’re living in the age of the song, but it’s more like the age of the lyric. These independent/Americana types are often so caught up in telling a story and/or being deep and thoughtful that they forget what makes music such a unique and treasured art form. It’s good to be artistic, but that artistry shouldn’t replace accessibility. Even our greatest songwriters like Jason Isbell are guilty of this; there’s some brilliant material on his latest album, but some of it is honestly just forgettable melodically. This is not to take away from Jason Isbell as an artist or a lyricist, more to paint a picture of just how deep the problem goes and to illustrate that even the greatest songwriters and albums suffer from this phenomenon in 2017.

There is a lot of talk these days, especially in this blogging world, about what, if any, of the music coming out currently will be remembered years from now. Not ten or twenty, but say, fifty years down the road. Will we be listening to any music from today like people still listen to Hank? That’s a whole different discussion, but I’d argue that it’s not just the lack of substance keeping songs from having that timeless quality. It’s not just shallow radio singles that will be forgotten, but many of our greatest songwriters in both mainstream and independent music will suffer the same fate if they continue to treat melody as some sort of secondary element. It’s that indefinable thing that keeps us coming back to a song years later, that recalls a memory, a specific place and time, and has us singing a chorus we haven’t heard in so long but to which we still can recite the words. It’s the melodies which linger on in our minds and stir our hearts, and I hate to see it becoming so marginalized, even by otherwise great musicians and lyricists. So songwriters, please don’t forget this crucial part of your craft, or treat it as somehow secondary to your lyrics. It’s the thing that holds them together and gives them character, taking those thoughts from your head and words on a page and turning them into timeless songs that we’ll sing for years to come.

Playlists

My Top 13 Songs of 2017 So Far

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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”
Reviews

Album Review: John Moreland–Big Bad Luv

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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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