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Reviews

Album Review: Kody West Shows Promise on Debut Album Green

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Rating: 8/10

Sometimes, all of us get sick of this whole drama-infused reviewing music thing. There’s pressure from other critics, publicists, readers…it’s hard to find words for each new album, to express your opinion when you know it’s heavily in the minority, to stand out in the crowd of other people trying to stand out doing the same thing, and it’s understandable why lots of blogs have shut down or gone on hiatus recently. And then, out of the blue, you find some new, cool music from a guy like Texas country artist Kody West, and you remember the reason you do this in the first place–to bring people’s attention to artists like this, and maybe help to give them the same cool discovery you just experienced. It’s a joy like no other, and for me, there’s a certain, more specific joy when it comes to the Texas and Red Dirt music running through this region I call home, and when I get to present new and promising artists rising up in this scene. And “promising” is perhaps the best word to describe the debut album by Kody West. Green.

One of the definite high points on this record is the instrumentation. Sonically, it’s much like the early records of the Eli Young Band, flawlessly merging country and rock, traditional and contemporary, into something real and raw, yet still quite new and refreshing, that indefinable thing that seems to be the hallmark of Texas and Red Dirt music. This record sets itself above many other similar-sounding ones, however, in that there is a variety. “The Prayer” is straight-up country, and there’s lots of steel guitar in “IN the Morning” as well. Then there are more rock-leaning songs like the ever-building “Million Miles” and the title track, which except for its heartbroken lyrics about a couple whose love has burned out over the years, is really anything but country. The variety in instrumentation throughout the album speaks to West’s desire to correctly interpret the songs and the lyrics, and for the most part, that works very well. It also serves to provide something for everyone, from those who like the more country side of Texas music, to those who prefer it to sound like hard rock with honest lyrics.

Speaking of lyrics, there are some strong standouts here too. I mentioned “Green,” the title track, and it is probably the most well-written song here, belying Kody’s twenty-one years as it paints a picture of a couple sleeping in different rooms and miserable after many years together–“it takes a long time to forget what caused a lifetime of regret, and the days slip slowly by, we can run, but we can’t hide.” “Ledges” immediately follows this, as West tries to be a better man; his vocals work well with the instrumentation and lyrics to capture the desperation in both these songs. Another place where the instrumentation and lyrics match perfectly is the dark, slightly sinister “Ogygia,”–the imagery in this one is just great, as West sings about the shadow that follows him around and haunts him. It’s a little hard to explain this in writing, as it relies on metaphors and that dark vibe; it’s really just one you should hear because it’s one of the best on the record. “Million Miles” merges the instrumentation and lyrics well also, although after all that building, when the electric guitars finally do come bursting forth, you wish the solo had gone on longer. One of the more country moments that stands out is “Love me Too,” where West wonders if a woman would return his love–there’s more of that excellent steel guitar here as well.

This is a debut, and it does suffer a little from some of the same things that often plague debut records–you can tell Kody West is still trying to develop his sound and stand out in the ever-growing Texas scene. I think he’s well on his way to doing that with the interesting melodies and variety in instrumentation, but tracks like “For the Last Time” and “IN The Morning” feel more like representations of the style, as opposed to representations of West–I actually quite enjoy the former despite this, but I don’t hear the same passion in these that I do on other tracks. The latter also feels a little underdeveloped lyrically, even though it’s got a lot of that aforementioned steel guitar. “Melody,” the album closer, also feels somewhat out of place, as if it were thrown in as an afterthought. Again, I enjoy this song and its message of faith, but it really doesn’t go with the rest of the album or add much to it.

If you were looking for something new and fresh in Texas country, I suggest starting with Kody West. If you like more country rock instrumentation, this album is definitely a great place to start. There are some nice lyrical moments too, especially on the title track, “Ledges,” and “Ogygia.” This record shows a lot of promise for Kody West–it’s not perfect, but it’s a debut, and Kody West is a name you should keep your eye on.

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Reviews

Album Review: Jason Eady (self-titled)

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Rating: 9/10

If there is one album I regret not being able to discuss from this platform, it is Jason Eady’s 2014 masterpiece Daylight and Dark. That year, everyone everywhere was giving sturgill Simpson album of the Year awards, but if Country Exclusive had existed, that distinction would have belonged to Eady and without question. I know this is quite an endorsement, but that record was better than any ten I have reviewed here to date, and if you haven’t listened to it, you are doing only yourself a disservice at the amount of stellar songwriting and true country music you’re missing. All that to say, how do you follow something like Daylight and Dark, and then, how do you give it a fair rating? Well, Jason Eady’s answer was this–to strip everything down and make an album that, aside from some steel guitar, could be played entirely without electricity. My answer was not so easy, but as I’ve listened, the beauty in these songs has spoken for itself in a way that does indeed follow Daylight and dark nicely, even if I couldn’t quite see it at first.

“Barabbas” may be one of the most brilliant instances of songwriting we’ve seen yet in 2017, and Jason eady opens the album with this. Of course it’s stripped down, but since the whole record is, this feels like a redundant point to continue making throughout the rest of the record. As for the lyrics, Eady tells the story of the pardoned man freed by the crucifixion of Jesus yet, aside from the title, never mentions Barabbas, Jesus, or anything religious, thereby making the song relatable and universal, a story for all but still holding a deeper connection for those of faith. “drive” was previously performed by the Trishas and written by Eady, Jamie Lin Wilson and Kelley Micwee, but this is an entirely different, more upbeat track; the song tells the story of someone driving away from an ex and letting go of the pain, “looking for a lighter shade of blue.” “Black Jesus” tells of the friendship formed long ago between a white man and a black man; the black man taught the white man the blues, and the white man taught him Hank and Willie Nelson. Now, years later, the white man sings about their friendship and how one day, they will meet again. The song does a good job explaining the message without being preachy; you get the point that we’re all the same in the eyes of God without it being spelled out, and the story told is better than sermon. We need stories like this more, especially in today’s culture. “NO genie in This Bottle” is your typical classic country drinking song, as Eady searches for answers to his life in a bottle. The steel guitar I mentioned before makes this song–oh yeah, that’s Lloyd Maines playing it, and also, that’s Vince Gill adding harmony. This song is very much a case of less is more, and hearing it will do much more than reading my words. “Why I Left Atlanta,” the lead single, is quite similar thematically to Drive.” If I had to pick a song on this record that didn’t stand out in the context of the album, it would ironically be this one, but that’s not much of a criticism when the rest of the album is this great.

“Rain” is a simple, upbeat little song; again, it could be religiously minded but isn’t necessarily, inviting the rain to come and cleanse him. Eady has a talent for calling to mind religious symbolism and imagery in a way that draws parallels for so many without alienating others. It’s good songwriting because so much more comes across in these words–again, less is more. Next, we have Eady’s version of “Where I’ve Been.” My favorite is still the duet from Something Together, but since Eady wrote this, a recording of it from him was long overdue. Credit to Eady and Courtney Patton for making each version quite unique, and credit to Eady for writing a song worthy of three separate versions because it’s just that damn special. “Waiting to Shine” is probably the most lighthearted moment on the record–I already reviewed this song, but basically it’s a song comparing words to diamonds “buried in the bottom of the coal just waiting to shine.” Jason states that “finders are keepers, and I’ll take all the keepers I can find.” For what it’s worth, that strategy paid off in spades on this album. The album closes with two personal songs for Eady; the first is “Not Too Loud,” a song about his daughter and watching her grow up, and the second about all the things he has learned after forty years. The beauty in both of these songs is twofold; they are obviously deeply personal and real for Jason Eady, and yet people everywhere will be able to relate to them both.

This record is one of those that jumps out on the first listen as a good, solid album. But then, as you dig deeper, and the songs begin to speak, and each unique, hidden, sneaky turn of phrase starts to hit you, the greatness of this album starts to shine through. And the fact that the record is stripped down, allowing for this kind of reflection and introspection, is part of the genius that allows these songs to grow. It’s a songwriter’s album, and yet it’s simple and relatable throughout. Add to all this, it’s nothing but country from start to finish, and you have another excellent album from Jason Eady.

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Reviews

EP Review – Kimberly Dunn – New Smoke Show Vol. 1

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Rating: 7/10

I’ve liked Kimberly Dunn since her last album, Forever on the Run, came out some years ago. I like how her songs aren’t always super-deep and sad. Which is why I don’t know why it’s taken me so many weeks since this EP came out to have a listen, but now that I’ve done so? I’m even more sad I waited.
Things kick off with “High Horse”. It’s a song about someone who thinks they’re better than everyone else, and Kimberly is saying how she can’t be glad for them when good things happen. They take from everyone else just to get what they want. It’s a nice way to open the album, because it’s not a slow song. Plus, there’s a nice guitar solo in it, too. I just wish her vocals had been performed better. This is because at the end of some words and phrases, her voice sounds pretty strained. It seems to break a bit, which is something I noticed on her last album too.
Next is “Traffic”. It’s one of my favorites off of this EP. The song talks about how she’s in traffic, and that time spent waiting gave her some perspective on her current relationship. He’s no good for her, and she just needs to get rid of him and stop taking him back. It’s catchy, fun, and has great subject matter.
“Stand on It” is yet another lighter song. It’s all about how she doesn’t follow convention. Not being able to be put into a box, she stands on that box instead. It’s a fast song with nice guitar work, and I’m definitely a fan. “Until We Never Meet Again” is a breakup song. She owes a lot of bills, and is sick of being hurt by her boyfriend. Therefore, she kicks him out, burns all of his stuff, and sends him back to his mom’s basement. It’s a slower song and shows off her vulnerability to great effect.
“You Belong With Her” is a really good song, because she’s sending her cheating boyfriend back to the woman he cheated on her with. I’m definitely a fan of this, because she’s not crying or sad he cheated. She just kicks him out, and says he got what he deserved, and that that woman is perfect for him. I have to add here that the fiddle in this song is awesome.
The last song on here, “Lonestar” is my favorite. When I first saw the title, I was a little nervous. I thought it was just another song about Texas. It turns out that I thought wrong. What “Lonestar” is actually about is her being a wanderer. She’s with a man who just wants to be with her, put down roots, and build a life. Instead, she’s a singer and a dreamer, and always has to be on the road. While this can admittedly be an overdone theme, I just found it very well-done in this song. Her voice really shines here, and it’s one to check out.
This EP is one I knew I had to cover when I heard it. I just loved some of these songs too much. I had to talk about them. In some places, Kimberly Dunn’s voice is weaker than it should be, but in others, that’s more than made up for. There are only six songs and they’re pretty short, but I’m a fan of that. She says what needs saying, and that’s that. I think you should check out this EP if any of these songs sound good to you. It’s not the most amazing piece of music, but you don’t feel put through the wringer upon listening to it either, and that’s quite refreshing.

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Reviews

Song Review: Jason Eady’s “Waiting to Shine”

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Rating: 9/10

Texas/traditional country artist Jason Eady has released a third song from his upcoming self-titled album, due out April 21st. “Why I Left Atlanta” was good and “Barabbas” was excellent, so I was really eager to see another one ahead of the record.
“Waiting to shine” is a more upbeat track than the previous two, and the instrumentation is fun and catchy. It’s brighter than most of what we got on the outstanding Daylight and Dark, and that’s refreshing to hear from Eady. However, the lyrics are really thought-provoking and still display the great songwriting present in much of his prior work. This song is about words: “words are like diamonds, the best ones are the hardest to find.” In reference to words in songs, Jason states that “finders are keepers, and I’ll take all the keepers I can find.” It’s a really interesting and true assessment of the power of words and music. But the right words in speech can also be powerful too, as the second verse illustrates. Sometimes words can make all the difference, and Eady notes that the best ones are out there somewhere just “waiting to shine.” This is another great track from Jason Eady, and this album is looking very promising so far.

Reviews

Album Review: Sunny Sweeney–Trophy

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Rating: 8.5/10

If Sunny Sweeney is a name you’ve never heard of, or maybe only know from that one top ten hit from a few years ago, “From a Table Away,” you should get to know her. Aside from that one hit, she has had little mainstream success but has gained significant recognition in the Texas scene, becoming the first woman to have back-to-back #1 singles on the Texas Music Chart in 2015.

Read: Female Fridays: featuring Sunny Sweeney

Having enjoyed all three of her previous albums and especially loving the last two, concrete and Provoked, this was one of the 2017 releases I was most anticipating. Well, after listening to it, I can say Sunny Sweeney has delivered us another great record.

The album opener, “Pass the Pain,” is a real, honest look at drinking to cope with heartbreak. The narrator knows the consequences but still tells the bartender to do their job and keep the drinks coming. That theme of knowing the consequences permeates the album, making the lighthearted “better Bad Idea” and “Pills” fun moments because the consequences can’t be ignored. “Better Bad Idea” is a complete acknowledgement that various things such as getting drunk and high aren’t the best ideas, but that isn’t stopping the people in the song. “Pills” sees the narrator confronting an old friend about their previous addictions to well, pills, and wondering if that friend is still addicted. She freely admits to thinking about it all the time even after having been clean for years. Sunny Sweeney has a knack for making songs like this fun and honest. That lighthearted honesty makes the title track a highlight of the record. I heard “Trophy” two years ago when Sunny opened for Miranda Lambert, and I’ve been eager to see it on an album ever since. It’s about the ex-wife of Sunny’s husband calling her a trophy wife, to which she responds, “He’s got a trophy now for putting up with you.” This is one you really need to listen to; case in point, it stuck with me for two years.

As I said, Sunny Sweeney is adept at being honest in her writing, and that comes through on serious tracks as well. An understated highlight of the album is “Grow old With Me,” a love song in which she states, “If I had one regret it’s that I didn’t find you sooner” but asserts that “Love don’t give a damn about time” and is content to grow old with her lover. Another highlight of the record is “Bottle by my Bed,” a heartbreaking song about how much Sweeney longs for a baby, and how even though her friends who have children are jealous of her lifestyle, she would give it all up to have a family. This is the kind of honesty that country music should be embracing. This is an artist being vulnerable and sharing a part of herself with listeners through her music. Another vulnerable moment is the album closer, “Unsaid.” Here, Sweeney sings of all the things left unsaid between her and someone who has just died. She wishes she could have apologized and regrets that there isn’t any time left for such things. The stripped-back instrumentation on this song really allows Sunny to bring out the raw emotion of the lyrics. She also conveys that emotion well on the cover of Jerry Jeff Walker’s “I Feel Like Hank Williams Tonight,” making it seem like her own.

Two songs that didn’t stand out for me as much are “Nothing Wrong with Texas” and “Why People Change.” The former has some nice fiddle and tells of all the great things about Texas. It’s elevated because it speaks of Sunny leaving before she realized how much she appreciated it, so it’s unique and once again honest, but even though it’s solid,, it’s another one of a thousand solid songs about Texas. I think this one will resonate with other listeners more than it did with me. The latter is another solid song about divorce and where the narrator and her ex are now, but again, it doesn’t stand out as much as some of the other tracks. Still, there’s not a bad song on this record, and none of it feels like filler either.

Once again, this is a great album from Sunny Sweeney. From the more traditional country tracks like “Pass the pain” to the more upbeat, Texas country offerings like “Pills,” production and instrumentation are definite high points of this record. Also, you will not want for fiddle and steel, so that is a bonus. Even more than that, though, the lyrics set this album apart. Trophy is filled with honest, clever songwriting, and it should be noted that Sweeney had a hand in writing eight of these ten tracks, an accomplishment that is refreshing in music today. Fans of traditional country, Texas country, or just honest songwriting, go check out this album and Sunny Sweeney.

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