Tag Archives: Travis Tritt

Album Review: Josh Ward–More Than I Deserve

Rating: 7/10

For a long time, I couldn’t think of how to write about this album. It’s not a masterpiece lyrically, and it’s not reinventing the wheel sonically. But like Randall King and Shotgun Rider have already done this year, Josh Ward delivers a solid, lighthearted album that calls to a specific time period in country music. It took me awhile to put my finger on why I enjoy this record so much, and the answer is astonishingly simple: it’s the sound that I love, the 90’s country where many like me find their nostalgia. We’ve got people like Joshua Hedley and Zephaniah Ohora trying to recreate and, in the case of Ohora, modernize the 50’s and 60’s styles, bringing the countrypolitan sound to the modern ear. We’ve got countless people trying to keep the 70’s outlaw era alive, to the point the term “outlaw” has been run through the ringer, and the music is often almost a parody of itself, and we’ve got others pushing the envelope in modern country in order to create something forward-thinking that still respects the roots of the genre. But until recently, there haven’t been many people embracing the 90’s neotraditional sound, and that’s ironic and unfortunate when you take into consideration that so many of the listeners and fans who loved that style are the ones who divorced themselves from the mainstream in the last decade because they miss those country sounds. The 90’s and early 00’s are when so many of us came to country music in the first place, and it’s a shame that more people haven’t been carrying this sound forward into the present.

I am certainly one of these people who grew up on 90’s country, and I miss that style more than I can say. Brianna heard this album before me, and she said that I’d like it because Josh ward sounded like a “twangy Travis Tritt.” I’d heard ward before but hadn’t made that connection, and she was right. And maybe that explains my enjoyment of this album–it’s so refreshing to see this sound being embraced in 2018 and not forgotten or relegated to the realm of nostalgia. You have no idea how much you’re missing this style of country, or how much it’s needed in modern music, until you hear it come through your speakers like a long-lost friend.

It’s not just that it’s embraced by Ward, though, it’s that he interprets this sound so well and makes it sound fresh and natural in 2018. It’s impossible not to smile at “Home Away From Home,” a fun little ode to his favorite bar that would have been a radio hit in 1996. “Another Heartache” features some lovely piano as Ward sings of not wanting to complicate things with the woman he met tonight on the dance floor and wants to make sure they’re on the same page about where this is going–“I don’t need another heartache, so baby, let’s don’t fall in love.” “Say Hello to Goodbye” is another in a long line of country heartbreak songs, but it’s also a reminder that some of them don’t need any analyzing and are just simply good songs. The same goes for the steel-soaked “One More shot of Whiskey.” As mentioned, you aren’t going to be blown away by the lyrics of this project, but it’s just so solid and comforting. I said this about shotgun Rider’s Palo Duro, and the same thing applies here–it’s not a record for thinking but rather a record for drinking, and we absolutely need both.

There’s one lyrical exception, though, which offers some real depth, and that comes in the album’s crown jewel, “The devil Don’t Scare Me.” This one is also a heartbreak song, but it’s told from the angle of the narrator having once been scared of God and petrified in church pews as he heard about hell and fire and brimstone, but now that she’s left, nothing, not even the devil or death, can get to him. “I ain’t afraid of dyin’ ’cause I lost the one thing I was livin’ for, the devil don’t scare me anymore.” This one is certainly the highlight of More Than I Deserve and is the one you should check out if you only pick a single track. This one’s also featured on our May playlist.

This is not some groundbreaking masterpiece, but it’s not a groundbreaking masterpiece you want playing while you sit around drinking with friends on a Saturday night. It’s a record like this one, and this is why we do need both, and why not everything has to be a piece of musical genius. Josh Ward brings us a solid, uncomplicated slice of 90’s style country music, and if you need that sound in your life, definitely check this out. Good, comforting, refreshingly country record.

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Travis Tritt Endorses Chris Stapleton and “Honest to God Country Music” in Live Show

First, let me say that you need to make it a point to see Travis Tritt live if you get the opportunity. I got the chance Friday (7/14), and it’s an incredible experience. You’ll get country, Southern rock, and even some blues, and you’ll leave amazed at the vocal ability and range of styles covered by Tritt, not to mention impressed by his own guitar picking and the talent of his whole band and drawn in by his infectious attitude onstage.

AT some point during many country shows lately, you’ll usually get some reference to the crappy state of modern mainstream music–Jason Eady made mention of this to considerable approval–and/or nods to older artists and perhaps covers of these artists’ songs–both Jason Eady and Dwight Yoakam covered Merle Haggard at recent events I attended. In these respects, Travis Tritt was no different; he asked us all if we were fans of “honest to God country music” and then quickly stipulated that he didn’t mean “a lot of what you hear today.” He went on to cite artists like Waylon Jennings, George Jones, and Loretta Lynn before introducing his song “Outlaws Like Us,” previously recorded with Hank Jr. and Waylon. He apparently doesn’t rate Luke Bryan too high on the list because after a couple minutes of downright impressive guitar picking, he finally broke into the song with a cheerful, “Eat your heart out, Luke Bryan!” to ridiculous applause.

But there is one new artist that Travis Tritt not only respects but actually covered later in the show. After remarking on the newer artists in country music and saying that it makes him feel good when they say he influenced them, he said, in order to honor that, he’d do a song from his favorite new country artist. That’s not something you see every day; it’s one thing for him to cover one of his own influences, but to pay respect to a younger, newer artist by covering their song at your show is the ultimate stamp of approval. And with that, he announced “a little Chris Stapleton song,” “Nobody to Blame.”

It’s not just that it’s Chris Stapleton he picked, although that’s certainly noteworthy in itself given Stapleton’s lack of radio support and traditional leanings. It’s that he’s showing leadership by choosing to cover a new artist’s song at all, especially one that doesn’t fit the mainstream mold. Like I say, it’s no small thing for an established artist to cover a newer one, even given the incredible streak Stapleton’s been on. And when he’s out there saying stuff like not all country that’s around today is real, and “eat your heart out, Luke Bryan,” he’s not just approving of Chris Stapleton, he’s setting Stapleton apart and saying that here’s an artist in 2017 who’s doing it right. That in turn sets Tritt apart from the “old farts and jackasses” who want country to stay in a box and never move forward. We all know Tritt has been vocal in the past about things like Beyoncé being booked on the CMA’s, but this support of an artist like Stapleton proves he’s not just here to complain. It’s a great way of doing his part to show leadership in the genre. Cool stuff, glad I got to witness it!

Reflecting on: Travis Tritt–It’s All About to Change

Well, from the day we started doing these, I always knew I would cover Travis Tritt on here, and now seems like the perfect time since I am going to see him Friday. I went back and forth for an inordinate amount of time on which album to cover, considering his originals and various compilations. Over the years, I’ve worn out the album The Very Best of Travis Tritt, so ultimately I decided to cover an album not as familiar to me. I chose the album that has my two favorite Tritt songs, It’s All About to Change, but really any place is okay to start with Travis and his music.

Release Date: 1991
Style: traditional country infused with Southern rock
People Who Might Like This Album: those who like their country mixed with rock and grit
Standout Tracks: “Here’s a Quarter (Call Someone who Cares),” “Anymore,” “Bible Belt,” “Nothing Short of Dying,” “If Hell Had a Jukebox,” “The Whiskey Ain’t Workin'”
Reflections: Travis Tritt said in one of the songs on his debut album that he vowed “I’d mix Southern rock and country, and that’s just what I did.” That’s really the best explanation of Tritt and his sound. He takes the best of both traditional country and Southern rock and blends them into a sound all his own, respecting country’s roots while being very modern and forward-thinking. Those that think country is boring, try saying that after “The Whiskey Ain’t Workin” or “Bible Belt.” Incidentally, the former features Marty Stuart which just adds to its overall coolness.

I mentioned this has my two favorite Travis Tritt songs. The first is “Here’s a Quarter (Call Someone Who Cares),” another country rock song where he tells his cheating ex who wants to come back home that she can call one of her “sordid affairs.” As the song says, he’s kind enough even to offer her a quarter. This song is probably the one he’s most known for, and it even made Saving Country Music’s Greatest songs of All Time which can’t be taken lightly. Incidentally,, it’s very much responsible for my current relationship too; it was a conversation about this song and Travis Tritt in general that started all of it. My other favorite is “Anymore,” where he’s telling a woman that even after much time has passed, he still loves her and he can’t keep pretending otherwise. It’s the first song of his I ever heard and one of the best examples of Travis doing more traditional country. It’s the marrying of country and rock that is his signature sound, but ballads like this and “Nothing Short of Dying” shouldn’t be overlooked either because he does these types of songs just as well. Actually, the video for “Anymore” was the first in a series of three about one character, and all three were ballads.

Like I say, there really isn’t a bad place to start with Travis Tritt, and he’s definitely an artist that you should know. From the more rock-leaning stuff to the traditional ballads, there’s something here for everyone, and this album is a good showcase of his variety in sound. So start here, and hopefully, this will make you a fan, and you will seek out more of his music.

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