Tag Archives: mainstream country

Reviews

Album Review: Florida Georgia Line–Can’t Say I Ain’t Country

1 Comment

Rating: 3.5/10

Florida Georgia Line, who have made a career out of rap verses, tired dirt road clichés, and unintelligible vocabulary, have decided to prove to us all on their fourth album that they are, in fact, undeniably and authentically country. The Apple Music description of this album actually says, in part, that they are making a case for themselves against the “self-anointed purists who don’t warm to their snap tracks or frequent collaborations across hip-hop and pop.” This whole record comes across as defensive, right down to the cover, as if walking out of a barn somehow gives them country cred. But it’s hard to be something you aren’t, and the result of their efforts is a walking identity crisis which, though not the worst thing they’ve ever released, is certainly the most awkward and unsure of itself. It’s like two warring personalities were fighting for control of this record, and neither one really prevailed, so we wound up with a cluttered, contradictory, defensive mess.

ON one side, we have the FGL that are desperate to prove to everyone that they’re still country. The title track actually does this sort of well, inserting humorous details like the fact that it’s easier to believe the moon landing was fake than to declare that these guys aren’t country. It’s pretty decent on its own, but in the context of the whole album, it loses some of its merit. “Can’t Hide Red” is the darker, edgier version of this, featuring Jason Aldean and boasting about the dumb reasons they’re still rednecks even though they live in the city and play hip-hop. The darker, heavier production here is actually quite good; in fact, the instrumentation and production of a nice portion of this album is good, and certainly a huge improvement for Florida Georgia Line. It’s the lyrics, much like most of the duo’s output, where this song really fails, citing stupid reasons like smoking and drinking as evidence of their country cred and rhyming “twang” with “sing” because Tyler Hubbard intentionally pronounces it “sang” in a horribly exaggerated Southern drawl.

But it’s on this more country side of the record that we find the brighter spots. “Speed of Love” is just fun, and instead of rapping, it feels like the second verse is more of a spoken word thing that’s always been a part of country music. It’s nice to hear a prominent steel guitar in a Florida Georgia Line song as well. “Colorado,” one of the pre-released tracks that made the idea of this album interesting, is still one of the highlights, and yes, also sounds like modern pop country. “Simple” is still a fun track as well, although it’s a bit worse in light of the whole album, as the references to the simple life and flying down back roads feel more pandering in context.

By the same token, this attempt to cement their country status resulted in one of the worst things you’ll hear on any 2019 release: four useless skits featuring some redneck pastor named Brother Jervel. How anyone thought these would actually contribute to any of us taking Florida Georgia Line seriously is beyond me. I could go on, but these speak for themselves, and you have to hear them to fully appreciate their awfulness.

But even while trying to be as country as possible, they’ve somehow managed to also be less country than they’ve ever been on this album. WE have “Women,” featuring Jason Derulo, because you know, the presence of Jason Derulo is vital to any truly country record. The song itself is a lame attempt to do what Keith Urban attempted with “Female,” but it just fails spectacularly. “Talk You Out of It” is the first of several sex songs and the least offensive, as the production sort of works, and the lyrics aren’t completely cringe-worthy. It’s forgettable fluff on its own, but then, near the end of the record, we have the completely self-absorbed “Like You Never Had It,” a waste of three minutes where Tyler Hubbard tries to be charming by declaring that he’ll be the best sex this woman has ever had and that she’ll be calling her friends to brag about it. It’s followed up by “Swerve,” which, if possible, is even more God-awful. The hook of this is literally, “you’re makin’ me swerve.” Aside from the fact that that doesn’t really even make any sense, it’s filled with “Sun Daze” style innuendos and backed by horrifyingly bad production. And all of this begs the question: how can you call yourselves country in the same breath as giving us this crap?

What a confusing record. The dual personalities make this album a jarring, random, messy listen. On one hand, Florida Georgia Line seem hell-bent on proving that they’re still country and still fit in with their critics. ON the other hand, they’re stretching boundaries on some of these tracks further than they ever have, releasing some of the least country material of their careers. It’s obvious they don’t have a clue about their identity, and it’s a shame because behind all of the marketing and bullshit, there are a few really good selections here, bright spots on a strange album and in the duo’s career as a whole. Maybe they can’t say they aren’t country, but this record makes it clear that they can’t tell us who they are either.

The Good

The Awful

Reviews

Album Review: Cody Johnson–Ain’t Nothin’ to It

1 Comment

Rating: 8/10

When it comes to the world of Texas country and Red dirt, Cody Johnson won’t be the first name you turn to when recommending worthy artists in the scene. The first band many will point to is Turnpike Troubadours. The best live show might again be the Troubadours, or perhaps Koe Wetzel, or, on the more commercial side of Texas country, Aaron Watson. Even the first Cody many are likely to name-check is Jinks, though it can be argued Cody Jinks is quite independent from any scene and just out there doing his own thing. Still, it’s Jinks that many independent fans would like to see given an opportunity in Nashville, although Jinks himself might refuse that particular distinction. Cody Johnson is not the best artist in the Texas scene, but he’s solid, and country, and an excellent choice to walk through the door of a major record label and come out winning. That’s what this cover symbolizes–Cody Johnson has walked through the door separating Texas and Nashville and lived to tell the tale. He’s done it without compromise because he has the fan base to back him up, a voice that would sound ridiculous singing anything but country songs, and enough polish to appeal to some of the more traditionally and lyrically minded mainstream listeners.

That’s the cool thing about this album; this is now the record you can recommend to your friends when they ask why you don’t listen to the mainstream and why you enjoy traditional country. It’s a record for the country radio listeners who aren’t out there seeking the depth or sound of someone like Jason Isbell but who miss the sound of a fiddle and good country storytelling. It’s the album for George Strait and Alan Jackson fans who crave that traditional flavor in their music while also enjoying pragmatic lyrics and some modern sensibilities. It’s not the staunch throwback sound of Joshua Hedley or the typical outlaw country fare offered by so many these days, but a true example of how traditional-sounding country can still exist in the modern context. And perhaps most important of all, it’s a door through which other similar artists might be able to walk and find success now that Johnson has made a way for them.

As for the songs themselves, they’re solid and steady like Johnson himself. Cody hasn’t compromised his sound and style, and that’s one of the best attributes of the whole album, that every note and lyric still represent the Johnson his fans have come to know and love. There’s no running theme tying this record together, but most of these songs are good selections and earn their place on the album. “Dear Rodeo” is the highlight, with its heartfelt lyrics about his love/hate relationship with the rodeo and how much he misses it. The title track is another standout moment, as a father gives advice to his son on how to make love and marriage work. On the other side of the spectrum, there’s “Understand Why,” a clever breakup song detailing all the places he’d like to go to avoid his ex. Also, as a lover of the original and a skeptic about this version, I must say that the cover of “Long Haired Country boy” was a pleasant surprise. Johnson really pulls this off and makes it his own without taking anything away from the original. And if you can keep from singing along to “Honky Tonk Mood,” I really question your ability to have fun.

Even the lighter material is delivered with an infectious passion and energy. This element is so often lost in independent music, and it’s great to see this brought to the mainstream as proof that traditional country isn’t always dull or unhappy. The aforementioned “Honky Tonk Mood” is anchored by a healthy does of fiddle, a sound nearly forsaken by the majority of mainstream country artists. “Doubt Me Now” is admittedly cringe-worthy in some places lyrically, but I’d be lying if I said I didn’t enjoy this song. It’s because of the heart, passion, and personality Cody Johnson brings to each track, breathing life and vitality into every word. This will be very cool in a live setting. “Y’all People,” dedicated to Johnson’s fans, feels like a pandering misstep and could have been left off a fifteen-track record, but again, it will probably be great live, and it’s these kinds of songs that make Johnson the right person to bridge the gap between Texas and Nashville, mainstream and independent. Although the album does feel a bit long, this is the only track that really comes across as needless, and it’s harmless filler rather than a truly bad offering.

Cody Johnson is having success with this record for good reason. It’s traditional in sound and style while still offering modern textures and pragmatic songwriting. It’s the perfect balance between Texas and Nashville, offering enough substance and country instrumentation for independent fans while still being accessible and a fun listen. The lyrics are smart, and the melodies are engaging. Most importantly, this record is a significant step for independent artists, and hopefully, Cody Johnson’s success will pave the way for other artists to be given opportunities by major labels. Time will tell on that front, but for now, this is a great record and a solid bridge between the two worlds.

Buy the Album

Reviews

Album Review: Pistol Annies–Interstate Gospel

1 Comment

Rating: 7/10

It’s been a long five years since the last Pistol Annies album, enough time for each of the Annies to record two solo projects of their own. The Annies are good for the mainstream, and it’s great to see them return, for country music in general as well as for the fans who have been starved for new material for so long. As for Interstate Gospel, it’s not as immediately or as inherently captivating as the group’s first two records, but these songs grow on you and get better with each new listen, revealing subtleties that weren’t as often present on their previous efforts.

The instrumentation is definitely better on this album. “Got my Name Changed Back” offers extended dobro and electric guitar solos, and “Sugar Daddy” takes a long time getting to the point with drums and bluesy guitar licks before Miranda Lambert ever sings the opening note. The title track is also a standout instrumentally, with the piano unleashed to add to the gospel feel of the song. It feels like some of the polish from their previous records was abandoned, and that really suits all of the Annies, especially Ashley Monroe, whose voice soars on these songs and reminds us again that much of the production of Sparrow just wasn’t flattering to her at all.

The songwriting is definitely a strength of this album. Sometimes it’s in a clever one-liner like “even old Moses was a basket case” or “Jesus is the bread of life, without Him you’re toast,” both in the title track. There’s the irony in “Best Years of my Life” which perfectly illustrates the plight of this character–these are supposed to be her best years, filled with love and happiness, but instead she spends her days bored and getting drunk or high to “try to drown this worthlessness.” And the honesty in the writing is unflinching, from the portrait of the character in “Cheyenne,” burned by love and coldhearted as a result, spending her nights in bars and casually breaking men’s hearts, to the grim self-reflection in “Milkman”–“If Mama would have loved the milkman, maybe she wouldn’t judge me.” “Masterpiece” is beautiful melodically and lyrically, and the Annies made a smart decision by having Miranda Lambert sing lead for the entire song, as her emotion is pouring out in every syllable. You can sense that this track, like several others on the record, is indeed very personal to Lambert.

It’s hard to say whether this is a feature or a flaw, but this album does feel more Lambert-influenced than their first two. It suits these songs, for this record feels very much like Miranda’s story, or at least a story that started as hers and became something relatable to the others as well. But there’s also something special about the songs where all three women sing a verse, where there’s no true lead, and the selections feel unlike anything we would get from any of their solo albums. If you were hoping for more from Presley or Monroe, you might be a little disappointed by Interstate Gospel. But it’s hard to second-guess the decisions when Miranda Lambert turns in performances like “Masterpiece” and “Cheyenne,” bearing her heart on her sleeve for us all to hear.

This showcasing of Lambert, however, can contribute to some vocal issues as well, particularly from Angaleena Presley. The harmonies are beautiful as always, but Presley sounds checked out on much of her solo parts, with the exception being her lovely performance of “5 Acres of Turnips.” This song doesn’t really feel like it fits the narrative of the album, but it’s a great track and certainly Presley’s strongest. Maybe it’s her strongest simply because it doesn’t fit the narrative and isn’t part of Lambert’s story first. Angaleena also sounds like she’s having fun on the title track, and this one is helped along by Monroe and mostly by the vibrant, energetic instrumentation behind them.

As for Ashley Monroe, the only song where she takes the lead is “Leavers Lullaby,” and honestly, I’m just not sure what to make of this. It’s overproduced and one instance where there’s definitely too much polish. That said, the songwriting is great, and she sings it beautifully; it’s just a shame that it ends so quickly. This is her only lead song, and it feels far too short. There certainly could have been another verse, and there absolutely could have been more Ashley Monroe on this album. That said, she shines on so many of her verses, perhaps most notably in “Best Years of my Life.”

This record doesn’t immediately grab you in the same way as the Annies’ first two, brimming with humor and fun and badass personas. That’s still a part of the record; in fact, “Sugar Daddy” is basically “Hell on Heels” 2.0. But this is a more mature, thoughtful album from the group, taking more time to reveal its beauty but offering some of the best material from the Annies so far. There are some vocal issues, and often, this album feels more like a Miranda Lambert breakup record helped along by her sisters than anything, but sometimes, that kind of kinship produces the best and most honest reflections. Not necessarily the album we may have been expecting from the Pistol Annies, but a strong one and a solid addition to their discography.

Buy the Album

Reviews

Amanda’s Radio Single Round-Up: Part 2

1 Comment

Rachel Wammack, “Damage”

The debut single from Sony Nashville powerhouse Rachel Wammack is a lyrical masterpiece. Wammack sounds a bit like Carrie Underwood, and her voice is one of the main assets that makes this song so great. Another exemplary facet of this song is how well she sells the emotion of the song and tells a riveting, compelling story. As someone who has had her fair share of experiences with love, I really connected to “Damage”, enough to where I was in tears by the end of the song. The only minor issue is the production, as I think a bit more steel guitar would be very beneficial. I doubt this will be a hit as country radio generally refuses female artists, actual country music or anything of remote substance, but I’m rooting for Rachel. This song deserves to be a hit. Rachel should be proud of herself for this song, as it is fantastic. In a just world, she’d be a star.
GRADE: 8.5/10

Carlton Anderson, “Drop Everything”

Speaking of a just world, Carlton Anderson should also be a star. The debut single from Anderson is the type of music that should be on country radio.  The song details the narrator approaching a girl at the bar who is having trouble with her boyfriend, when the narrator asks her to “drop everything” and come home with him.  Although a bit weak lyrically and thematically, as we’ve heard this story half a dozen times, what the song lacks, it more than makes up for in the other categories. Sonically, it’s awesome. For those of you who have been introduced to country music through Sam Hunt, Kane Brown, and FGL, that thing you’re hearing is called a fiddle, and it sounds amazing. The production sounds like something straight out of Jon Pardi’s playbook, and that’s a compliment coming from me considering that I am a huge fan of his. Carlton is an excellent vocalist; take Josh Turner’s voice and bump it up a few octaves, and you’ve got Carlton Anderson. On top of those strong points, I’m willing to argue that this is the most fun song that has hit mainstream country radio in months. It’s one of those infectious songs that will have you singing along in no time at all. Unfortunately, I don’t look for this to be a big hit, due to the people running that Mickey Mouse operation so affectionately called “country radio”, who don’t think the general listening public actually want to hear country music. Newsflash: we do. Since Carlton Anderson leans more squarely towards early-mid 2000’s neotraditional country goodness instead of pop bullshit, he will be one of the few male artists country radio will most likely ignore, and that fact really sucks, because in a just world, he would be a major star. While radio isn’t likely to eat this up, fans of Pardi, Turner, and actual country music in general will love this. Because THIS is what we should be hearing on country radio, not Kane Brown, Bebe Rexha, Sam Hunt, and the like.
GRADE: 7.5/10

Walker Hayes, “90’s Country”

Can we please trade this guy for the 2011 version of Walker Hayes? My personal hands-down winner of “Worst Album of 2017” (I dare you guys to listen to “Boom.” and tell me how far you get through it. Just kidding. But I am curious.) and runner-up of “Worst Song of 2017” (He would have won if not for the monster impact of Sam Hunt’s “Body Like a Back Road”; don’t get me wrong, Sam Hunt’s abomination is horrible, but what Hayes put out last year was one million times worse) for the god-awful “You Broke Up With Me”. After the seemingly commercial failure of “Boom.”, Hayes is back with a song about 90’s country music—which has absolutely fucking nothing to do with 90’s country music. It’s another mindless pop song with a ton of name drops. I can imagine Hayes and Shane McAnally’s meeting regarding this song went something like this:

Walker Hayes: Yo Shane!
Shane McAnally: What Walker?
WH: You know what would be a great idea for a country radio hit?
SM: Whatcha thinking about, Walker?
WH: A lot of people seem to be nostalgic for the country music of the 90s. I know! Let’s name drop a bunch of song titles and set them to a beat! It’ll be great, Shane! Just great!!
SM: *Sees dollar signs*
WH: *Googles “popular 90s country hits*
5 minutes later, this clusterfuck of a song is born.

Basically, Walker Hayes just name-drops a bunch of country hits from the 90s, and some of the lyrics are just so cringe-worthy (girl, you know you think my tractor’s sexy). However, kudos to Hayes for referencing “Jukebox Junkie” (a semi-obscure Ken Mellons hit) and for the song being catchy. With that being said, “90’s Country” still sucks.
GRADE: 1/10

RaeLynn, “Tailgate”

I would love to live in a world in which we can enjoy female voices on country radio. Carrie, Miranda, Ashley Monroe, Kacey Musgraves, Aubrie Sellers, Ashley McBryde, Sunny Sweeney, Margo Price, Angaleena Presley, Brandy Clark, Lori McKenna, Ashley Campbell, Lee Ann Womack, Sara Evans, Reba, Cam, Carly Pearce, Rachel Wammack, Tenille Arts, Tenille Townes, Mickey Guyton, Maren Morris (arguably), Maddie and Tae, and Runaway June are all awesome, unique, and should have a place on country radio. We need to hear more from the strong female perspective on country radio, and the ladies I just listed would be the ones to deliver on that promise. RaeLynn could be a great addition to these ladies, as she did give us the awesome “Love Triangle” in 2017. However, this perspective shown to us in “Tailgate” is exactly what we don’t need. In short, this is just female bro-country (and to mention, “Tailgate” was written by one of the ever-so-lovely founders of bro-country, Tyler Hubbard himself, and bro-country has-been Canaan Smith as well). (The extent of female bro-country is demonstrated even further with the video, which will most likely make your blood boil, fair warning). Honestly, RaeLynn, bro-country is so 2013. This shit should have gone away at least four years ago. RaeLynn is talented, but you sure wouldn’t know it from this offering. “Tailgate” is absolutely terrible and immature, and is honestly not even worth your time.
GRADE: 0/10

Lauren Alaina, “Ladies in the 90’s”

Guys, this is it. We have officially hit below rock bottom in mainstream country music. This right here is one of the worst songs you will hear all year, right next to Bebe Rexha and FGL’s “Meant to Be”, Morgan Wallen/FGL’s “Up Down”, and Kassi Ashton’s “Taxidermy”. This is the kind of shit that makes Walker Hayes listenable, and makes Sam Hunt sound like George Strait. And what a damn shame this is, because last year, Lauren Alaina delivered one of my favorite albums of 2017 with Road Less Traveled. This is nothing short of horrid and embarrassing, and is sure to piss off any true fan of country music. I would rather listen to “Body Like a Back Road” on repeat for an entire month than to ever here this clusterfuck again. The lyrics and production of this thing are bottom of the barrel. “So I can sing all night long, acting like I’m Britney”? Really, Lauren? Girl, have some pride. Referencing Britney Spears in a country song just shouldn’t happen. Like Walker Hayes, Alaina references and name-drops some of the most cliché songs of the 90’s (although Cowboy Take Me Away is amazing and Fancy isn’t half bad either). But unlike Hayes, she doesn’t stick to just country—she references straight up pop songs—in what is supposed to be a country song. Also unlike Hayes, this isn’t catchy at all. It’s flat-out horrible on all ends. The production sounds like a cross between some song you’d hear on a Disney Channel tween program and the annoying background music at Chuck E. Cheese, when you’re stuck at your little cousin’s birthday party with a horde of sugar-crazed, pizza-stuffing, screaming, bouncing off the walls six-year-olds. Lauren, if your heart will always be stuck in the 90’s, why don’t you build yourself a time machine and take yourself back. Maybe Lee Ann Womack, Trisha Yearwood, and Patty Loveless will teach you how to make some quality country music. I was previously a fan of Alaina’s before this and her duet with the scourge of 2018 mainstream country, Kane Brown, and I am extremely disappointed. Look, I’m all for more women on country radio. I’d love that. I’d love if country radio was dominated by women. But I’m begging you, people on social media and people on country radio, for the love of God, Please. Stop. Trying. To. Make. “Ladies. In. The. 90’s”. A. Thing. Instead of rallying around this steaming heap of trash, we should be rallying around the Pistol Annies and their great new single, “Got My Name Changed Back”. This song is absolutely horrible, and Lauren Alaina is much better than this. Hopefully, the album will be much better, but when this is what you’ve got to work with for a lead single…and you say yourself that it is your “favorite single you’ve ever done”…it doesn’t look too promising.
GRADE: 0/10

Reviews

Album Review: Eric Church–Desperate Man

4 Comments

Rating: 9/10

At this point in his career, we all know that Eric Church isn’t really a country artist. His music is and always has been more correctly labeled as roots rock. But that’s not really the point anymore with Church, unless perhaps you’re a firm traditionalist who is only interested in music soaked with fiddle and steel. The bigger point with Eric Church is that in a mainstream full of compromise, he remains his own man, and in a world of drum machines and watered down lines, his records are organic sonically and intelligent lyrically. It may not be very country–although the songwriting on this record and even the instrumentation in a few places certainly can be argued as such–but Desperate Man is firmly and unashamedly roots music, with bluesy interludes and extended guitar solos, and radically different from the majority of major label albums, certainly different from those albums that are still somewhat radio-supported. Eric Church has not abandoned radio, or maybe it would be more accurate to say radio has not abandoned Eric Church, but you get the feeling listening to this album that airplay is a secondary concern, the primary ones being appealing to his fans, and most importantly, doing whatever he damned well pleases.

The rootsy, organic nature of this record is so refreshing. It’s not experimental to the point it loses sight of itself like much of The Outsiders, but the instruments are allowed to breathe more so than on Church’s last record, Mr. Misunderstood. Desperate Man balances the feel of those two albums well, finding and keeping the best elements from each of them. This record finds Church more sure of himself and his sound than ever before, and although there are varying influences, it feels less like the aimless wanderings of The Outsiders than just simply trying to correctly interpret each song and capture the right mood and style to fit the lyrics. He’s never in a hurry to get to the point, often meandering through various chords and guitar licks before settling into the groove of a song. The album opener, “The snake,” introduces the record with over a minute of bluesy guitar picking before any other instruments join the party. “Heart Like a Wheel” wanders through dissonant chords and arpeggios before sliding into its groove and selecting a key, and “Solid” features almost an instrumental prelude of drums and electric guitar flourishes ahead of the actual song. These are little things, but they really enhance the record, giving it a cohesive, continuing feel all the way through and further stressing the point that this isn’t your typical mainstream record full of artificial drumbeats and electronic sounds. These are actual musicians playing actual instruments and giving the album a bit of a live feel.

And you can say Eric Church isn’t country, but it’s hard to classify a song like “Jukebox and a Bar” as anything else. Sure, crying steel is replaced with electric guitar licks, but this is your classic country heartbreak song about drowning sorrows in a bottle. “Some of It” and “Hippie Radio” feature prominent acoustic guitar and country songwriting, the former detailing all the lessons life teaches you on the journey, and the latter being a story song revolving around the radio and how the different songs became the soundtrack of the narrator’s life, from driving around with his dad to starting a family of his own years later. Both of these could be accidental radio hits as well, fitting the format without compromising anything lyrically. “Solid” is another one that’s very country thematically; basically, think of a remake of Dierks Bentley’s “I Hold On.”

Vocally, Church just reaches a different level on this album. It’s like all the passion that we knew existed and which came out from time to time on his previous records finally reaches its full potential here. He slays the title track vocally, doing great justice to the songwriting of Ray Wylie Hubbard and singing with the same kind of fierceness and intensity that you can imagine Hubbard employing. This one is both better and worse in the context of the entire album–better because it fits the mood of the whole thing so well and worse because it’s not really a standout of the record. Church’s vocals are also on fine display in “Hangin’ Around,” the least country but also the most infectious tune on the album. He does a nice job building throughout “Heart Like a Wheel,” a song about opposites attracting that’s infused with some blues and soul. “Higher Wire” nearly stretches his range too far; it still works, but it admittedly may have worked better one key lower. Still, the strain goes well with the lyrics about this love that’s addicting and out of control.

Listening to this album, you keep waiting for that one obvious commercial single, but it doesn’t come. There’s no drop in quality lyrically and no compromise in the sound. Not every song is fantastic, but every song is good, and each belongs on the album. Desperate Man is eleven tracks and thirty-seven minutes long, with no filler and avoiding the mainstream trend to cram in as many songs as possible. Not only did Eric Church make the record he wanted to make, but the record he wanted to make was a damn good one. We should be both shocked and thrilled that this came out of the mainstream in 2018 and recognize it as a victory for artistic freedom and growth as well as one for organic roots music and quality songwriting. As for Church himself, this album signifies him finding his place vocally and sonically, releasing a record that not only stretches boundaries but also knows what it wants to be and carries out that vision well. This may not be for everyone, but again, that’s not really the point. It’s the album you want from Eric Church, the best of his career and certainly the strongest to come out of the mainstream this year.

Buy the Album