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Reviews

Album Review: Lori McKenna–The Tree

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Rating: 10/10

We can debate all day long about the styles and sounds of country music, whether it needs fiddle and steel to fit in the genre, and which modern artists are carrying the sound forward in progressive ways rather than just killing it on the vine. But one thing we can probably all agree on, and the thing that I’ve heard most from people on all sides of the genre debate, is that country music is real. It’s about life, and life is not always happy. IN fact, life is incredibly hard, and country music is important to so many because it embodies that spirit, telling the stories of real people and situations, and providing an empathy in the midst of our own struggles that works far better to heal the soul than songs of escape. That is not to discourage those songs either–in fact, brothers Osborne made a great record this year that works despite its lightweight lyrics and party themes because it provides a moment of peace and levity in the broken world in which we live. But there are also times when we need to know someone else has been through the same things and can understand our pain, and country music has a way unlike any other genre of capturing that truth and empathy and providing comfort to its listeners.

Lori McKenna is desperate to find that truth, stating in the opening lines of “Like Patsy would,” the closer to this album, “If it comes from the whiskey, then pour me a drink. If it comes from the heartache, let me feel the sting. If it comes from the spirits, set ’em loose in this room.” These words are the thesis of this whole project, as she sets out to carry on the traditions of country music by immortalizing the stories of real people. She’s an expert at this familiarity, taking the most mundane topics on the surface and then adding her unique, vivid details to make timeless stories that can relate to us all. Because of that, it’s imperative to give this album a few listens because every time, you will find new words and phrases that make these songs come alive. McKenna’s subtlety reminds me of the writing style of Jason Eady, for his turns of phrase are sneaky, and there’s always something hidden, waiting to be discovered and treasured. “A Mother Never Rests,” the simple opener and ode to motherhood, is elevated by the little details Lori throws in, like the nightlight being left on so that even the sun can set; the mother rarely sits down, but since she provided the light, even the sun can rest awhile. “The fixer” might not be a standout on your first couple listens because if you miss a phrase or two, the whole thing isn’t as poignant, but when you catch the lines about the “fixer” leaving ginger ale on the nightstand for his sick wife and then busying himself with some household project that he can control because he can’t fix her, and she’s too tired to even sip the drink, you can feel that pain. She’s referred to as “the fighter,” doing battle just to sit in her chair in the yard and praying for a miracle despite believing she can’t be fixed. And “The lot Behind St. Mary’s” becomes an incredibly special song of nostalgia and lost love when McKenna utters lines like, “I know you wonder why we can’t get back to When September was our only adversary.” On an album full of excellent songs, this one is definitely a highlight.

There’s the perfect amount of levity and hope sprinkled in as well, making this able to be replayed and keeping it from being a depressing listen despite the serious nature of most of these tracks. “Young and Angry Again” fits with the themes of nostalgia on the record, but it’s upbeat and catchy, and told in such a way that younger people can relate as well, not just people looking back on the good old days. As a 26-year-old, I appreciate when I can relate to a song like this because it shows Lori McKenna’s talent as a writer and an interpreter. “Happy People” was one of my least favorite songs on Little Big town’s last record, but Lori’s own version is more heartfelt and serves as a much-needed lighter moment on this project. “The Way Back Home” admittedly comes off as “Humble and Kind Part 2,” and I wanted to dislike it, but again, her details win out; when she sings about keeping a Bible by your bed like “headlights coming up the road” and getting back to whichever backyard you came from when you’re feeling lost, it’s impossible not to appreciate this song.

Dave Cobb did another fine job with this as well, neither overproducing McKenna and losing her lyrics in unnecessary arrangements like on Ashley Monroe’s album nor leaving Lori alone to hold our attention on her own. The lyrics are the main focus, and most of these songs are driven by acoustic guitar, but there’s always enough instrumentation to keep anything from being bare or minimalist. A producer shines when he or she enhances the artist and at the same time doesn’t draw attention to the production in lieu of that artist, and Cobb succeeds very well here.

As I said on Twitter, this album gets better and better like a fine wine. The Tree wasn’t a 10/10 for me on first listen, and I encourage you to give this several spins. The writing of Lori McKenna is subtle, and it’s absolutely full of hidden little details. But it’s those details which set her apart as a writer and emotive interpreter, and the more you uncover, the more there is to love about this record. It’s simple and relatable, taking real life and turning it into something magical and poetic. It’s everything that country music stands for, and a mark of the best songwriters.

Three chords and the truth. Fantastic record.

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Reviews

Album Review: Liz Rose–Swimming Alone

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Rating: 6/10

If you listened to the first two Taylor Swift albums–you know, back when she did sound rather country–you’ve heard a Liz Rose song. Liz Rose is most famous for having co-written most of the songs on Swift’s first two albums and helping to make her career, lending the skill of a professional songwriter to stories from a girl over thirty years younger and somehow making the partnership work to perfection. Liz Rose also has a songwriting credit on Little Big Town’s “Girl crush,” as well as many other mainstream hits, always seeming to find that balance between commercial success and critical acclaim. So when news came that she was releasing an album, that couldn’t be taken lightly; rather, it was like hearing about Natalie Hemby, Lori McKenna, and Brandy Clark before her, definitely something to be excited and intrigued about.

The difference? Liz Rose didn’t want to make this record “pitchable.” She didn’t come into it looking for subsequent records or tour dates–in fact, she said that after she wrote the album closer, “My Apology,” she felt like the story had ended, and this might be the only Liz rose record to ever grace our presence. Also, she’s not a performer, though her vocal talent here would counter that notion. Still, you have to come into this record knowing what it is to fully get it; it’s just a little story of Rose’s life told in song, and she just happened to have Nashville connections and a publishing company, so you stumbled upon a copy.

That’s the cool thing about this record. It’s dated, but not in the timeless, throwback way of Colter wall, more like in the way of your mom or aunt or grandma telling their stories about growing up in the 50’s and 60’s. It’s trapped there in that time period, and that’s why it’s crucial to understand where Liz Rose is coming from lest it just be an out-of-date, old-fashioned affair. One of the best songs here is the opener, “Grocery Money,” where Rose tells of her mother’s sacrifice and shares the details about growing up with little but somehow always having enough to get by. You’ll hear in “Five ‘n’ Dime” how she worked with her family at one of these stores, in “Woodstock” that she was pissed off to be too young in 1969 to go, and in “Tulsa” about an adventure with her best friend when she was thirteen and ran away from home to “God knows where, Oklahoma.” You’ll get a sense of her fearlessness and motivation to carve out a career for herself in the songwriting industry, an industry she entered at the age of thirty-seven, when you hear “Swimming Alone” and learn that she’s used to finding her own way. You’ll get a glimpse into her love life with “Letters From Prison,” telling the story of a teenage boyfriend who later sent letters to her office and wanted autographs of country stars to distract him from his “personal hell,” and “Ex-Husbands,” the humorous tale of her marriage history that is the highlight of this record and has the potential to get cut despite Rose writing the album to be “unpitchable.” There are also more touching moments, like the aforementioned “My Apology,” where Liz Rose apologizes to her parents, old lovers, and even herself for her mistakes, and “Yellow Room,” where she’s missing and saying goodbye to her father. all in all, it’s a very personal, very unique reflection of her life, much like a snapshot into the life of a relative or a friend, only told in musical form.

AT the same time, that’s also the thing that holds this record back. It’s very personal and cool, but in many places so much so that it won’t be relatable to many. That’s not what Liz rose was going for here, though; she just wanted to make a record for herself. I think people who grew up in these same times will find much to relate to and to love about this album anyway, and this is why I featured it. Personally, although it’s a really cool album and idea, and although the production makes it much more catchy and less boring than these types of singer-songwriter albums generally are, it doesn’t hold up for me beyond the initial interesting glimpse into the life of Liz Rose. The songs “Grocery Money,” “ex-Husbands,” and “Woodstock” stand out above the others, and as a fan, I would pick them off the record; indeed, that’s almost what I did in order to feature Liz rose and this album. I wanted to enjoy this more, particularly as someone who respects the songwriting of Rose, but at the end of the day, a lot of it just isn’t for me, and that directly speaks to the fact that I can’t really relate to these stories and times. But it’s a record that will be for a lot of people despite, or perhaps even because of, its personal nature. People from Rose’s generation especially will connect to this album, and in light of Liz Rose’s intent with this project, the result was a cool listen if nothing else.

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Commentary

Artists I Wish Would Take a Hint From Brad Paisley

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Brad Paisley was one of the first artists that got me into country music. He may not be your favorite–and that’s okay–but you can’t argue with songs like “Who Needs Pictures,” “we Danced,” and certainly “Whiskey Lullaby.” He was one of the people that I heard on the radio in the late 90’s and early 2000’s that made me fall in love with this genre. He really disappointed me on his last two albums; they weren’t terrible, but they just weren’t Brad Paisley. You could tell he was trying to be something he was not. His guitar play was noticeably lacking, and he seemed to be veering toward chasing radio success. On his latest album, Love and War, he has gone back to being himself, and that’s just refreshing. There was a discussion on SCM about whether or not Brad will make it into the Hall of Fame, and all that remains to be seen, but he can’t do anything better than be himself, and that’s what he has done on his latest record. It got me thinking and talking about a lot of the artists that got me into country in the first place. A lot of them made some fine music earlier in their careers but have since started to kill their legacies by chasing short-term success and promoting mindless singles to radio. They could learn from Paisley, as well as Tim McGraw, who has also returned to form recently. Zac Brown Band could easily be talked about on either side of the conversation here, but I’ll reserve judgment until May 12th and hope I can include them in with Paisley and McGraw. Anyway, let me know if there are any artists you’d add to this list, as these are just the ones whose decline in quality over the years has personally bother me the most.

Dierks Bentley

Why, why can’t we get back the Dierks Bentley of “Up on the ridge” and “Riser?” Yep, “riser” was released in 2015; even then, he hadn’t sold out. There’s not even any point in him selling out this way–he was getting airplay anyway. Black is certainly not the most terrible album I’ve heard in recent memory, but it’s one of the most disappointing because I really thought we could count on Dierks Bentley. This is what he is capable of.

Blake Shelton

I own a Blake Shelton album called Loaded: the Best of Blake Shelton. Ironically, that album was released just prior to the beginning of his stint on The Voice, and so, essentially, it really is the best of Blake. Anyway, that record is great. But people won’t remember that; he’s done his best to eradicate all that in the past five years with the majority of his singles. I remember when I first heard “Austin,” and it blew me away. Same goes for “Don’t Make Me.” Blake does a lot for traditional country and music of substance from his chair on The Voice, and I just wish he’d take his own advice because if he did, I think he could be remembered for more than his reality show and his obnoxious tweets.

Keith Urban

Those of you that are shocked I own a Blake Shelton album, brace yourselves for this…I own no less than six–yep six–Keith Urban records…I’ll give you a moment to digest the fact that I’m not a Sturgill apologist, yet I own six Keith Urban records…now then. Keith Urban was a prime example of what good pop country is supposed to be–right up till the single “Little Bit of Everything” and his American Idol run (coincidence, Blake?). He used to write much of his material as well, and whether you enjoyed it or not, he was real. Keith Urban might be the most disappointing artist in the mainstream for me because he is just simply better than the crap he is releasing to radio–and it’s not as if he was ever especially traditional in the first place, so I don’t exactly see radio not playing him if he went back to more meaningful material. It literally boils down to laziness in his case, and that’s unfortunate.

Kenny Chesney

He is better than this too, even if you’re sick of beach music. His last record was absolutely boring and lifeless. Even Chesney sounds bored. I miss the days of “There Goes my Life” and “Old Blue chair.” Like Brad and Keith, even if Kenny isn’t your favorite, he used to at least be himself.

Eli Young Band

I remember when Eli Young Band were a cool Texas band releasing equally cool new music instead of shit like “Turn it On.” Yeah, that is basically all.

Honorable Mentions

  • Josh Turner–His last album wasn’t quite disappointing enough to piss me off on this level, it was mainly just boring, but if he releases more like this, he’ll make the list.
  • Little big town–I wish they’d get back to themselves, but I didn’t enjoy them enough when they were themselves to be as annoyed by them now. Also, The Breaker was a small step in the right direction.
  • the Band Perry–I don’t think them coming back to themselves is even possible at this point, so I don’t see the point listing them here.
Memorable Songs

Memorable Songs From forgettable Albums: March 22nd

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So, I honestly just thought of the idea for this feature while I was sitting here for what has to be at least the fifth time trying to articulate something intelligent to say about Josh Turner’s latest album, Deep South. That album is not really a bad record, but fell short of the expectations of a lot of Josh Turner fans, including myself, and honestly, after this review, the only song I’m probably ever going to listen to again is “Lay Low.” It’s very hard to sit down and write about an album like this because it’s not bad enough to warrant a rant but it’s not good enough to praise and if it’s not worth my time to listen to, it’s difficult to make it worth my time and energy to write about. The same is true for Little Big town’s latest effort because, while it’s definitely a step in the right direction after Painkiller, it’s not something I want to listen to again. The problem is that the good songs on these albums get overlooked when the records don’t get reviewed. So I think I’ve found a way to highlight standout songs on less than stellar albums in a way that benefits the artists and better serves the music, all while saving myself and you the time of discussing mediocre music. You can expect these features whenever, well, I feel that there have been enough songs sliding through the cracks to warrant one. 🙂 let me know what you guys think!

Natalie Hemby: “Cairo, IL”

Yes, I know, this album came out in January, and I should have talked about it then, but I couldn’t think of anything to say. The overall album has a very sleepy feel to it, and I didn’t have much to put to paper. But this is one of the best songs of the year, and it’s better to recognize it late than never. It’s a beautiful, stripped-back song about a Mississippi river town, now a shell of what it once was. If you haven’t heard it yet, do it now. You will fall in love with it.

Natalie Hemby: “Time Honored Tradition”

The other standout of Puxico that shouldn’t go overlooked. Just an easygoing, nostalgic track where once again, the production and lyrics really work.

Little Big Town: “Better Man”

I will go right ahead and say strict traditionalists aren’t going to like this because it’s way more pop than country. It’s the songwriting that got to me on this, and it’s no surprise that Taylor swift wrote it. That’s going to immediately turn some people off and immediately make others hit play. I almost didn’t even include it because most have already heard it since it was a radio hit, but it did stand out for me on their album, so here it is.

Little Big Town: “Beat UP Bible”

This one is the most country on their otherwise pop/adult contemporary album and tells the story of a Bible that’s been in the family for generations. It’s also one of the most interesting moments on The Breaker. Kimberly Schlapman can’t be anything but country, and if they’d give her the lead on more songs, they’d be going in a much better direction.

https://www.youtube.com/watch?v=OVedBJ-6msE&list=RDOVedBJ-6msE

Alison Krauss: “You Don’t Know Me”

Alison Krauss’s classic covers album Windy City is an interesting one. There’s nothing wrong with it at all, and by placing this song here, I’m really kind of calling the album forgettable. It’s really quite good but sleepy. It’s not really for me, and it’s something I respect more than I enjoy. I thought there were some good covers, especially “Gentle on my Mind.” However, this one really stood out above the others and stood out more than as a great cover, it stood out as a great Alison Krauss song.

Josh Turner: “Lay Low”

Well, you probably all know this one too, as this came out ahead of an album meant to be released in March 2015, but as it was the very song that inspired this feature in the first place, I thought it deserved to be here. As far as Josh turner’s album, there are probably Josh fans who are going to get behind it more than I did, but basically it was just underwhelming and lackluster, and then you had this great song “Lay Low” sticking out like a sore thumb to remind you of better days.

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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