- Charlie Daniels Releases New Album "Off The Grid: Doin' It Dylan"
- New Rodney Crowell Song "Fever on the Bayou"
- Martina McBride, 'Everlasting': Exclusive Album Premiere
- The Washington Post Features Sturgill Simpson
- Twitter's New Music Strategy: Vevo Music Videos, Beats Music Ads, SoundCloud Partnership
- NPR: Folk Singer Willie Watson Previews His New Album
- LA Times: Brandy Clark, who writes hits for others, tells her own '12 Stories'
- Parker Millsap Plays One for Relix Magazine
- Charlie Daniels sees differences vanish in music
- New Radney Foster "Who's Heart You Wreck"
- 20 Charges Added in South By Southwest Fatal Crash
- Leon Russell Shares His Favorite Musical Memories
- ASCAP and BMI enter first of its kind collaboration
- The New York Times Features Nickel Creek Reunion
- NPR Features new Chuck Mead "Serenade"
- The Infamous Stringdusters Release "Let It Go"
- Erin Enderlin, Tin Pan South and the off screen reality of the Nashville songwriter
- Jon Langford Releases New Album "Here Be Monsters"
- Facebook Launches Lab To Bring Internet Everywhere
- Not Sure I'd Call It a Tour, But the Cast of "Nashville" is Playing Some Live Dates
- Willie Watson Performs "Mexican Cowboy" on Prarie Home Companion
Eric Church has been stirring the pot quite a bit lately, calling out Blake Shelton & Miranda Lambert amongst others in a recent Rolling Stone article for their reality show past, before issuing an apology that was curiously devoid of an apology to Blake Shelton, the main protagonist of Church’s criticisms.
Now as Church continues to make the media rounds in support of his current tour with Brantley Gilbert, he stopped to talk to American Songwriter where the topic of being an “Outlaw” came up. Church is regularly lumped with the crop of “new Outlaws” that can include people as varying as Justin More and Gretchen Wilson, to Jamey Johnson.
Justin Moore famously proclaimed himself an “Outlaw” on his album Outlaws Like Me, to the chagrin of many. But Eric has been smart heretofore of straddling the Outlaw line, allowing others to use the term when referring to him, but stopping short of using the term on himself to be insulated from any backlash. For example, at the CMA awards in November, Brad Paisley introduced Eric as “country’s latest Outlaw” before his performance.
These award shows are so choreographed and exquisitely planned, it is ridiculous to think that Church’s management was not at least briefed on how he would be introduced. Church has certainly never refuted that term when it has been used to describe him. Until now:
American Songwriter: People have been calling you an outlaw. Is that an image you’ve tried to create for yourself?
Eric Church: Oh god. No! Not at all. I think we get thrown into that category because of our career path. For a long time, it wasn’t cool to play the kind of music we did. It wasn’t cool to talk about what we talked about. We were pariahs, and when we got fired from the Rascal Flatts tour, we were troublemakers. I think that’s where the outlaw name comes from, but I prefer to think there’s already been an outlaw movement, and I think we can leave it at that. I’m not into branding what we do, because that just sensationalizes things, when it should be about the music.
Yet as one Saving Country Music reader named Chris easily sniffed out, a quick check of Eric Church’s website finds a whole page dedicated to “Outlaw” branding, with “a brand new “Outlaw T-Shirt” now available for sale in the online store, which features Eric’s signature Skull logo. Be one of the first to own it!”
Ouch. Sucks to miss that one. And these products were added in July 2011, so there no back pedal of saying there was a breakdown in communication with his merch store.
But in classic Eric Church fashion, he keeps open the idea of plausible deniability by not directly calling himself an “Outlaw”. Or as I’ve said before Eric Church Wants It Both Ways.
Meanwhile the beautiful “Outlaw” term and how it pertains to country music continues to be besmirched where even the most loyal “Outlaw” fans want to take the term behind the barn and put it out of its misery like an old dog with cataracts and arthritis in its legs and a tumor the size of a tennis ball clogging its airway.
It’s a shame, because when it comes to country radio, there is much worse than Eric Church. But his continuing missteps and insistence on image, Outlaw or otherwise, continues to make him very hard to like.
There may be no artist people have requested more I review over the years than Jackson Taylor & The Sinners. But when I finally got around to opening a line of communication with the band I was told I would have to wait even longer; they had something special coming down the pike. Jackson Taylor had just jettisoned his management and stripped his band down to a 3 piece, and had something new and wild in store. That new, wild something turned out to be Bad Juju.
This fiery, unfettered, full tilt assault on country music strikes that perfect chord of being both inescapably familiar yet remarkably fresh. Johnny Cash on cocaine may be the most appropriate description. More Memphis than Nashville, more madness than melancholy. But moreover, Bad Juju is just one hell of a good time.
This is fun music in the truest sense of the term. You don’t conjure up Bad Juju to commiserate with your pain, you conjure it up to forget about it. Jackson Taylor & The Sinners found their mojo by stripping it back to the simplest of lineups: Acoustic guitar and vocals, lead guitar, and drums. And when they found that mojo, they stuck with it, refined it, worked at it until it was perfect and its power both undeniable and universal on the human body.
The reason this album is so enjoyable is because the enjoyment Jackson Taylor & The Sinners have playing this music is so obvious and infectious. They recorded this album live in all of three short days, no overdubs, no over-thinking, boom! This is what you get, just what you’ll see live, no apologies, no over-production, just the raw Juju in your face and unapologetic.
And when they realized what magic they had found, they couldn’t help but give this stripped down treatment to other people’s songs. Frequent readers of Saving Country Music may know I care little for cover songs, especially familiar cover songs, and how much more familiar can you get than Elvis’s “That’s Alright Mama” or Johnny Cash’s “Stripes”? But where The Sinners’ sin is forgiven is in the amazing, energetic, and fun treatment they give these songs, and how they intermingle them with their originals with energy and attitude to their approach.
With such a stripped down lineup, dynamics were the key to making these song arrangements shine. Take Willie Nelson’s “It’s Not Supposed To Be That Way”. The sinners on this song go from barely even playing, to blazing out this sweet ballad like its hair was on fire. The dynamics they employ and the way each player is able to work in such unison with the feel of the song and each other is what makes this album something special.
Austin “Slate” Garret’s amazing guitar work is like the nose tackle in a 3/4 football defense charged with filling a tremendous gap in such a small lineup. He pulls it off brilliantly without overplaying or relying on tricks or effects. Jackson Taylor’s voice can go from screaming to sweet in a heartbeat, and gets your heart beating by the emotions he brings out in these songs. Brandon Burke may have the hardest task of all, keeping up with these two monsters and holding together compositions that sometimes go from genteel to explosive in a single phrase.
My concerns about this album are few. Could they put out half a dozen albums with this lineup and the approach hold up? Probably not. That’s what’s so great about this album though, it is absolutely perfect for this time in music, with this band, with these songs, right now. The whole Memphis/Cash thing continues to be hot, yet at the same time Jackson Taylor is able to clearly delineate himself from the herd with this approach and attitude.
Ideally I would want to see more depth from the songwriting. Amongst originals like “Cocaine”, “Whiskey”, “Humboldt County Grown”, there’s not many songs that speak deep to the cerebral cortex. But in the context of this approach, mushy crap would just be in the way, dragging down this album. Jackson Taylor and the Sinners get a pass from being branded with the “Whiskey, Devil, Cocaine” parody tag by simply having so much fun with this album. They never take themselves too seriously. In fact there’s some dialogue embedded in this album (I won’t give away the punch line) that as gratuitous and immature as it is, shows the light side and ribald sense of humor this music is approached with.
The last little nit pick is the lack of low end here without a bass guitar. It comes across as a little difficult on the ear, especially at first because you’re used to the bass notes being there in this style of music. Along those same lines, long-time fans of Jackson Taylor will notice that despite 7 of the 10 songs being originals, some of the songs have been previously released. So if you’re familiar with these songs, it may cause old version/new version conflict in your music brain. But in the end, no concerns I had for this album were able to mitigate any of its strengths.
Please understand, this is not a family album (despite what Jackson Taylor may say jokingly on one of the tracks), this is for mommy and daddy time, for the hellraisers and hellbillies out there. But the balls out approach is something everyone will find infectious, and just plain fun.
Two guns up!
- – - – - – - – - – - – - – - – - – - – - – - – -
Support SCM and start
your Amazon shopping here
- Matt on Song Review – “Medicine” by Shakira feat. Blake Shelton
- Toby in AK on 16 Great Sons & Daughters of Country Music Greats
- john becher on Song Review – “Medicine” by Shakira feat. Blake Shelton
- Barden on Garth Brooks Finally Coming to iTunes – Updated
- Jeff Long on Garth Brooks Finally Coming to iTunes – Updated