Monthly Archives: April 2017

Reviews

Album Review: Sam Outlaw–Tenderheart

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Rating: 8/10

If you’re unfamiliar with Sam Outlaw, you’re missing out on some great and frankly just cool, unique music. He calls his music SoCal country, and it’s got a smooth, clean feel that’s just pleasant and soothing to hear. It reminds you that polish doesn’t always remove emotion, and a record doesn’t need grit to convey something real. His debut album, 2015’s Angeleno, was one of the few projects that came out prior to Country Exclusive’s birth that I felt I had to go back and cover because the record just deserved it.

Read: album Review: Sam Outlaw–Angeleno

With all that said, this was definitely a 2017 release I was looking forward to. and after a couple listens, it’s not quite blowing me away on the level of Angeleno, but it’s another great album from Outlaw.

Tenderheart hones in on that unique style Sam Outlaw introduced with his debut record. It’s just so clean and pleasant. At times, I was reminded sonically of Jim Croce in “Time in a Bottle” or “Walking Back to Georgia.” This album has a mellow feel like those songs as well as some quietly great songwriting. The front half is particularly strong, featuring the deceivingly reflective “Bottomless Mimosas,” the bittersweet title track, and the beautifully written and achingly true “everyone’s Looking For Home.” This, I might add, was a very nice album opener and set the tone of the whole record well. The sparse arrangements throughout the album really allow the lyrics and Outlaw’s vocals to shine and bring emotion to the stories. IN many cases, it’s a matter of less is more, and that’s the reason you won’t find me explaining too many of these songs. Many of them are quite simple yet elevated by the arrangements, the clean production, and the vocal delivery. Breaking down the tracks would take away some of that beauty and experience you get just by listening to Sam Outlaw’s music.

One exception I feel I should highlight is “Two broken Hearts,” a song depicting the fate of two missing broken hearts after two people found each other one night. Another exception is “She’s Playing Hard to Get (Rid of),” which gets points for the originality in the title and hook even if the songwriting here doesn’t quite live up to it. Still, it’s the mood of the record that really brings it to life and makes tracks like the previously mentioned “Bottomless Mimosas” stand out.

If I have anything to say against this album, it’s that nothing really blew me away like “Ghost Town” on Angeleno. Some of this record is better than that album as a whole, so that’s not entirely a fair criticism, but I kept waiting for that one moment where I would just sit back and be blown away by musical greatness. admittedly, I might be grading Sam Outlaw a little too harshly because the main reason I feel this way stems from the fact that I’ve seen what he is capable of. “Ghost Town” was one of the best songs of 2015. I don’t think you’ll find a song of the Year contender here, but this album is stronger in places than Outlaw’s first. Having said that, the back half does start to run together a little, and I don’t think the last few songs will hold up like the first seven. For me, the shining exception to this is “All my Life,” where the narrator is explaining to a woman in his hometown that even though he has the rest of his life to find a wife, he’d rather spend it with her. It’s a nice twist on a love song, and it’s also one of the only upbeat moments on a mostly mid-tempo album, so it certainly stands out.

Overall, this album is another great one from Sam Outlaw. He continues to do what he does best, perfecting his so-called SoCal country sound into something unique and cool, a modern take on the Nashville sound that suits his voice and these songs excellently well. As I said, it shows that it doesn’t take grit to be authentic. Although there isn’t a “Ghost Town” moment on Tenderheart, it’s a really nice, solid album most of the way through, and there’s a lot about it to enjoy.

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Reviews

Single Review: Kelleigh Bannen’s “Church Clothes”

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Rating: 10/10

I’ll admit right up front this struck a deeply personal chord with me, and maybe I can’t separate that to fairly judge this, but in the spirit of Leon of Country Music Minds, music is all subjective, and this is just my opinion. And when I went out to find the new Chris Stapleton song today to review it, I found this instead, and listening to the song I had a connection with it that is so unique to music and so rare nowadays in the mainstream. It just made me want to share this.

So, with that said, what makes “Church Clothes” special? Well, it’s a story of a troubled relationship, told from the point of view of the woman as the couple get ready for and attend church. every detail is mentioned, from the curl in her hair to the way he shakes the keys to the five they slip in the Bible for the offering. everything they do is rehearsed and perfect, and the lyrics paint a great picture. But even though they hold hands “like we’re supposed to,” their church friends don’t know there’s trouble in their marriage. They never speak, and ultimately there is nothing left between them, but they worry about what people would say if they give up. It’s a great picture of hiding ourselves from the public and especially from the church. People assume that all those around them in the pews on Sunday are living a perfect life, but this story and others like it are more common than we might think, and this song illustrates that truth beautifully.

As far as the production, there is some really nice steel guitar here, but ultimately this would be pop country. Some may not like this, but I think this is a case of pop country being done right. This would have been a radio hit ten years ago. Credit to Kelleigh Bannen for releasing a great song with substance, even if it is modern-sounding. I haven’t been a huge fan of Bannen’s music in the past, but this really has me excited for a future album from her.

Written by: Liz Rose, Nicolle Galyon

Random Reflections

Reflecting on: Turnpike Troubadours– Diamonds and Gasoline

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When Megan and I began discussing this feature and how it’d be all about albums released prior to the birth of Country Exclusive, I knew I had to do an article on Turnpike Troubadours’ breakout album, Diamonds & Gasoline. The band have continued to gain in popularity and musical genius, but I figured why not talk about the album that really got things going for them? Plus, it’s where I first discovered the Turnpike Troubadours, and it’s become one of my favorite albums.

Release Date: 2010
Style: Red Dirt, Country
Who Might Like This Album: Fans of Jason Boland & the Stragglers, fans of traditional country music with lots of fiddle
Standout Tracks: “Every Girl,” “7 & 7,” “The Funeral,” “Diamonds and Gasoline,: “Long Hot Summer Day”
Reflections: If you haven’t heard this album, by the end of the first two songs, you’ll know what you’re in for. Lots of fiddle, some awesome guitar, and the thing that makes Turnpike Troubadours just so much more, outstanding lyrics. Evan Felker is an amazing songwriter, weaving alliteration and deeper thinking into songs that are also catchy, and that display the talent these guys have. You’d think “7 & 7” was just another drinking song, but it’s actually not. It’s based around the line “I had no clue I’d be the boy who your mama warned you about”. Stuff like that just shows off the greatness of the lyrics. “Every Girl” should have been a hit song outside of the Red Dirt and Texas country movement, because it’s just so upbeat and catchy, plus that fiddle play! Who can forget that fiddle? The title track proves that the band can do acoustic songs very well, too. All in all, this was an amazing release. The band hadn’t been together very long when this album came out, and I just find it pretty astounding that the songwriting was so deep, the playing so skilled, and how well it all came together. It’s a fantastic listen all the way through. In short, if you haven’t heard this album, you’re missing out on some amazing country music. If you’ve liked the newer albums by the Turnpike Troubadours and haven’t given this one a listen, what are you waiting for?

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Reviews

Album Review: The Mavericks–Brand New Day

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Rating: 8/10

Well, I don’t have much experience with the Mavericks prior to this album, but it’s made me go back and look through their extensive catalog, and I’ve found a lot to enjoy. I add this here because Brianna, who has had much more experience with the group, said that this album didn’t really live up to their last two. She couldn’t find much originality in it, and that seems to be sort of a consensus, even if her overall opinion isn’t; it seems the Mavericks didn’t really do anything groundbreaking despite the album title Brand New Day, but from where I’m sitting, that’s certainly not a bad thing, as what they do is pretty great.

The album opens with the infectious “Rolling Along,” a song about rolling on through life despite its worry and hardship. The accordion here caught my attention immediately, and that’s one of the best and most unique features of the whole album. You’ll find plenty of accordion and other great instrumentation sprinkled throughout. This opener is probably the best one I’ve heard so far in 2017, and it’s good because the next few songs didn’t blow me away like that, but the residual greatness of this one kept me listening. The lively, positive mood continues for the title track and “Easy as it seems,” and these two have grown on me after a couple listens. There’s some vagueness in the lyrics which holds them back a little, but the laidback, fun instrumentation permeating this record still holds my interest. “I Think of You” features some nice horns and sees the narrator thinking of and missing a former lover. It’s more introspection than heartbreak. The low point of the album for me is “Goodnight Waltz,” and it’s unfortunate that it’s the longest track because it just drags on. I just found this one very boring. All in all, the front half of the album is solid, but still nothing has blown me away like “Rolling Along.”

That all changes with “Damned, if You Do.” This one is more rock and features more great horns, saying that when it comes to taking chances on love, “You’re damned if you do and damned if you don’t.” This is a definite highlight of the record, and the back half is strong throughout. “I Will be Yours” is a great love song, and the lead singer, Raul Malo, really sells the emotion in this one, trying to convince a woman to take a chance with him. He says if she ever needs someone, he will always be there. “Ride with Me” is another upbeat, energetic track inviting us all to travel to various places across the country with them. It’s the fun, memorable version of Dailey & Vincent’s “America, we Love You.” You’ll find even more horns here, along with some nice guitar. “I Wish You Well” sees the main character lamenting the end of a relationship and hoping she’ll be happy. There’s more accordion here, and again, it’s more reflection than outright sadness. The Mavericks do a great job of keeping that laidback vie going even in more serious moments. The album closes with “For the Ages,” another nice love song that could have been a sequel to “I Will be Yours,” saying their love will last through the ages.

This album reminds me a lot of the Shinyribs record; they are both fun records that get better with time, but whereas Shinyribs was loud and energetic and in your face, this one is laidback and easygoing and works its way in slowly. I have a feeling it’s one of the eights that will keep growing on me throughout the year. Some records don’t have the staying power that this one will have with me, and indeed has already been having. The instrumentation is just excellent, and their sound is quite unique. There are some outstanding tracks like ‘Rolling Along” and “Damned, if You Do.” The back half does hold up better than the front half, but overall, it’s a really nice listen and definitely a fun record. You should absolutely check out this album–and get to know the Mavericks as well.

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Reviews

Album Review: Patriots and Poets by Dailey & Vincent

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Rating: 7/10

Let me preface this by saying I have absolutely no authority on bluegrass; I can probably count the number of bluegrass albums I’ve ever even listened to on two hands, and that’s being generous. It’s something I want to rectify, but right now, I can’t tell you what makes good bluegrass music–so patience, bluegrass fans–but I know when I hear good music, and this album deserves my attention despite my ignorance. Besides, bluegrass doesn’t get talked about enough on these blogs, and that only furthers the ignorance of country listeners like myself. So with that in mind, I’d like to present my favorable, if somewhat clueless, thoughts on the new Dailey & Vincent record, Patriots and Poets.

As I probably say way too often, I place a great deal of importance on album openers. They can set the tone of the record and sometimes decide whether or not I’ll even listen. ‘this album opens with the energetic love song “Gimme All the Love You Got,” and it held my attention right away. That says even more considering my relationship with bluegrass. There are several other highlights on the front half of the record. “Baton Rouge” and “Until We’re Gone” seem to go together; the former is an upbeat track with some excellent fiddle where the narrator is driving from Baton Rouge to Birmingham to be with his lover. The latter, featuring Taranda Green, is about a couple who are still together after many years despite people telling them in the beginning that they were too young. The two songs are both standouts, but together, they tell an even better story. “Bill and Ole Elijah” is another great song, this one about two cell mates who become lifelong friends. Bill wants to escape, but Elijah convinces him it would be foolish. IN the end, Elijah escapes and leaves a note for Bill, telling him to run north because all the guards and dogs are headed south after Elijah. He says his life is through anyway, and he’d rather die this way than in the cell with Bill. It’s a really nice story with that great instrumentation only found in bluegrass. “Unsung Heros” is a nice ode to the people who don’t get recognized for their good deeds. It’s a little sappy, for lack of a better word, but it has a good message, and a lot of people will surely enjoy it. I mentioned instrumentation before, and I have to add that the album’s two instrumental tracks, “Spring Hill” and “255 North” are pretty great as well.

The back half of the record starts to drag on a little. This album is sixteen songs, and some of the back half could have been left off without effect. There’s nothing bad, but it’s not as memorable. One gigantic exception is “Here comes the Flood,” arguably the best song on the whole thing lyrically. It tells the story of a flood that wrecked a town and ruined a family farm; eventually, the narrator’s dad drinks himself to death. The lyrics combined with the vocal delivery make this one something you should absolutely hear. The other highlight of the back half is “That Feel Good Music,” a fiddle-driven track lamenting the disappearance of the music from the past. It follows “Here Comes the Flood” which really brightens up the album after the darkness of that track.

As I mentioned, the album tends to drag on some, especially in the back half. There are several religious songs which is by no means a bad thing, but with the exception of “Beautiful Scars” on the front half of the album, I didn’t find any of them especially memorable. “America, we Love You,” the last track with words, comes from an honest place, naming off different towns across the country and speaking of the group’s experiences, but it feels a little underdeveloped. It’s solid, as all these tracks are, but in an album of sixteen songs, it’s one that gets lost.

If it were up to me, I’d probably have cut this down to ten songs, and that would have made a killer album. As it is, it’s a sixteen-track album with many good songs and some filler. But the good is pretty great, and I definitely suggest checking this out. You won’t want for banjo and fiddle and lively, fun instrumentation. There is some really nice songwriting in places too, and the front half of the album is pretty great throughout. If you aren’t very familiar with bluegrass, this is a nice place to start. And if you’re a bluegrass fan, this is another good album for you to enjoy. It compelled me to do a bluegrass review, so that’s special in itself. Definitely give this a listen.

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