Kellie Pickler’s 100 Proof Best Mainstream Album in Years?

March 6, 2012 - By Trigger  //  Reviews  //  69 Comments

In this dirty business of monitoring the doings of Music Row, every once in a while you get these glimmers of hope that an album will slip through the mandibles of the money changers that actually has some class, and appeal beyond the easily-pliable masses. The Miranda Lambert’s of the world are not bad, but many times you still have to gerrymander your taste buds to consider where the music came from and what battles it probably took to get an album out that still sounds half way decent. In the end, the hype is usually just that.

Recently it appears Nashville has taken a cue from actors and pop stars and decided to “go country” itself. But just because an album is overtly “country” doesn’t necessarily mean it’s good. We’re all country fans, but we’re fans of good music first, and braying about how country you are and using steel and fiddle just to add a “country” taste to a song instead of employing them in tasteful instrumentation isn’t going to get you anywhere with the country fans who’ve long since strayed from the mainstream herd.

Enter Kellie Picker and her new album 100 Proof that for the last few months has been touted as her getting back to her roots and developing a hard country sound. Right out of the chute, with the first two songs “Where’s Tammy Wynette” and “Unlock That Honky Tonk” there’s no doubt this album is country, but one had to wonder if these were works of sincerity, or the female version of the overexposed “laundry list” song formula.

This whole “I’m a woman, hear me roar” bit is big right now in mainstream country, which is not necessarily a bad thing, unless it becomes overexposed. It makes a heavy appearance in the first two songs, and in the first single from the album, “Tough”. But after the album announces itself as unmistakably country, it begins to reveal itself as unmistakably good, and not just when considering it as Music Row fare from the modern era. No, this is good country music, period.

The song “Stop Cheatin’ On Me”, which initially seems burdened by the weak return of “..or I’ll start cheating on you” becomes a brilliant composition simply from it’s sonic construction; the way it builds out from the bass guitar, and modulates after the first verse. Listening to this song you can see yourself hearing it blaring from an old juke box in the corner of a bar. Same can be said for the very fun “Little House on the Highway.”

Songs like “Turn The Radio On and Dance” and “Rockaway” have this very sweet innocence to them. I’m not kidding. They harken back to the pre-Garth 80’s, when country had this simplicity to it that was sweet, when the one hit wonder model of music may have not lead to any major substance, but the songs nonetheless were just simply appealing, and seemed so easy to attach to memories.

Many of the songs on this album are not spectacular on the surface, it’s what’s going on behind-the-scenes that makes them special. Many pop country folks and “new Outlaws” are attempting to evoke Waylon Jennings these days by screaming his name alongside inane countryisms. Kellie instead understands that Waylon worked from the backbone of the music, a trick Waylon picked up on when crossing the tracks in Littlefield and Lubbock to hang out in the blues and jazz bars. The bass on this album, just like Jennings, creates a visceral bed for the music that allows it to shoot straight into your heart. This album should be listened to loud, on a good-booming system. The bigger the better.

And though I did not care for a few of the songs here, including the title track “100 Proof”, there’s some songs with undeniable soul. That’s right, “soul” from Music Row. The song “Mother’s Day” drops the Southern accent and is just Kellie singing straight from the heart, with her smooth and fiercely-feminine voice. The album concludes with “The Letter (To Daddy)” that could evoke tears from a rock.

What’s that you say? Kellie Pickler is an American Idol alum? You know what, I don’t even know that I care. And I’m not sure if Kellie Pickler herself is to blame for the beauty of this album, or if it’s the fault of producers and professional songwriters. All I know is that it’s damn good, and I don’t just mean good for the mainstream. It’s just good, period. Sure, there’s a few songs that are misses, every album has them, and the misses here you can easily label as pop country dribble. But I’d say 100 Proof will even smoke most of what’s coming out of the independent world these days.

If you are truly a fan of country music and have an open heart, you will like 100 Proof. In the Tammy Wynette, Loretta Lynn mold, 100 Proof revives the lost appreciation for the strong, yet sweet country woman, while staying away from the surface symbolism that erodes the substance from many of the other artists that attempt this difficult feat. This is one of the best albums to come off of Music Row in years, and may turn out to be one of the best in 2012, period–an opinion I fear we may see validated in lackluster sales and the absence of hit singles from it. The mainstream may not support in en masse, but I will.

Two guns up!

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Preview & Purchase Tracks from 100 Proof


69 Comments to “Kellie Pickler’s 100 Proof Best Mainstream Album in Years?”

  • I swear you write these articles just to fire up your readers.

    • I wrote this review because I think it’s a great album people should pay attention to. If it “fires people up” one way or the other, that’s out of my control. People will be mad at me no matter what I do. I make a good boogie man. So instead of trying to please folks, I just try to be honest.

  • Best in years? Depends. Are we not counting George Strait’s “Here For A Good Time” as mainstream, because that’s better than this. If it doesn’t count, then this is maybe the best in the past two years (since Dierks Bentley’s “Up On The Ridge”). This may end up being the best mainstream album of the year, depending on Alan Jackson’s upcoming release, but “best in years” is a bit much.

    • Hence the question mark. It’ll probably be years before we can make that judgement. I guess my point is it is good enough to be in the discussion. I think it is better than Dierks “Up On The Ridge”, and certainly more country.

  • This album will get Album of the Year nominations come CMA’s in November. I’m with you word for word with this album. I grew up with true country & would love for radio to get back there at least somewhat. Most of what’s on radio now is not “country”, just artists unable to make it in other genres. Unfortunately this album will not see the sales it deserves or radio hits, but at least I can play it when I want to & not have to listen to the garbage on radio.

  • Listened to as many of the previews as I could, but I just couldn’t get into it. To each his own I guess…

  • I was curious about this album since I read some article about her doing a more rootsy countrier album. Thanks for the review. I’ll have to check it out.

  • You are correct. This is a vintage female country album. It is done in classy fashion.

  • But hey man, are you gonna write up the Wrinkle Neck Mules new album? It is by far and wide, the best country/Americana/whatever its called this week album of the past few years.

    • Well I’ll sure try, but someone has to get me a copy first. There’s a dozen country albums released every day. Can’t review them all. And just because I don’t review something doesn’t mean I don’t like it.

      • Hmmm, how are you writing a blog about saving country music but not know who the Wrinkle Neck Mules are? You’re kidding right?

        And isn’t best mainstream album is something akin to winning the best tasting cow pie contest?

        • No, I’m not kidding. What I have done is sent them a request for their music, and if I hear a review for it, I’ll post one. I’m sure there’s dozens of bands I’ve written about over the years that you’ve never heard of as well. That doesn’t mean you’re ignorant, it speaks to the sheer volume of bands and content right now. I get dozens of submissions every week, and so far not one has been from the Wrinkle Neck Mules. Can’t review them all. I’m only one person. Saving Country Music is not me deeming what deserves coverage, it is a community, and I always listen to requests and suggestions. If there’s something you see that needs coverage, don’t jump down my throat, help me, leave me a suggestions, get me the music, reach out to the band.

          And as for the mainstream being a cow pie tasting contest, I have been making similar comparisons for years. However I feel this particular album is an exception. You don’t think there’s fans in the mainstream that mischaracterize “all” independent, underground country as bad as well without first giving it a taste? There are exceptions to every rule, and I firmly believe that people should attempt to break down their musical prejudices, on both sides. If this album isn’t your speed, it’s understandable. But if you discount it immediately just because it’s mainstream, you’re being no better than them. And we have to be better. If we judge music on merit and merit only, that is the only way bands like The Wrinkle Neck Mules will ever get a fair shot and an equal playing field.

          • Fair enough. Thanks for the reply.

          • I’m gonna throw in with trigg on this one… Personally I have never heard of them either. But thats why I frequent this site. So I can learn about new bands and music. I will check them out and I hope they are as good as you say they are. I’m excited to give them a listen.

        • If you’ve hung around this blog for more than, say, 30 seconds, you will notice it focuses on mainstream country music and the Nashville sound. I could bitch that he hasn’t reviewed the Lost Immigrants’ Pasaporte, but it would be rather nearsighted of me.

          • I came to this blog because it has articles linked to performers like the 357 String Band (RIP), Willie Tea Taylor, Tom VanAdenavond, and the like. I think that’s where the “salvation” of country music lies. So while I understand the labor of love it must take to write about mainstream country it just seems like SCM energy would be better spent focusing on performers who aren’t part of some corporate hit making machine. But if that’s what is going on here then perhaps 30 seconds was too long. Thanks.

          • This is crazy talk.

          • You’re one unpleasant individual, aren’t you?

        • I smell a hipster…

          • Stop sticking your fingers in your butt and then blowing your nose then.

          • Alright folks, let’s please stay on topic, or I’m gonna start deleting comments!

  • Huh… whaddaya know- I listened to the previews, and while as a whole I’m probably 50/50 on what I heard, the 50% that did appeal to me right away REALLY grabbed me. That’s quite a surprise. I never would have given this album a thought or a listen at all, because I would have just assumed it was going to suck. Hey, maybe there’s hope for modern country music after all…

    • I laughed at this article, but with the mention of it again on the main page this past week, I decided to at least go preview it on Amazon.

      I’m amazed.

      I hear stuff that reminds me of Connie Smith, LeeAnn Womack, Pam Tillis, and even Loretta Lynn, and only one song that sounds mainstream, and even it isn’t arranged like modern mainstream country.

      This might be the first Kellie Pickler album I’ll ever buy. I’m just not sure if I can bring myself to do it or not considering her past portfolio of music being so horrible… but then again, if we/I don’t support this beautiful piece of art she recorded, how will she ever get a studio to let her do another?

  • I love your review and agree with most of it. But I disagree about the song 100 Proof. I think it is beautiful in words as well as musically and I hope it will be a hit for Kellie. It is not my favorite song on the album but I do think its a good one. I did not grow up on country music and have only been into it since Carrie Underwood won AI, but I sure do love it now ( some of it) and I think that Kellie Pickler is the real deal!

    • There’s nothing wrong with the song “100 Proof”, it’s just probably more a taste thing. Kellie fans should appreciate just how hard I normally am on music, and on mainstream country music specifically. This is probably the first mainstream album I’ve ever given a full two guns up. That speaks to the quality here.

  • Great Country Album by Kellie Pickler. Best Country Album I have heard in many years. They probably will not play her songs on the radio, but look out for Country Album of the Year, 100 Proof, Kellie Pickler!

  • I’ve read a few reviews saying this album is (one of) the best in years including Billboard, so the reviewer here is not alone. Some of the best Country isn’t heard on radio nowadays, which tends to be dominated by the Industry dragging certain people, rather than songs – and not necessarily good Country songs, or even good songs period, up the chart.

  • I think it’s very strong. I haven’t decided if it’s going to stick with me, but I do like it quite a bit.

  • This is a truly great record… never liked her on American Idol lol. Really hard to believe this came off Music Row. I hope more albums are made like this.

  • pretty good album but i think it’s only a one time deal.(i’d say strait’s new album and easton corbin *backs out of the article* are the best mainstream albums)

  • “Mother’s Day” & “The Letter (to Daddy)”, two standout songs. Truly honest.

  • i listened to the samples and i won’t be buying the LP. musically ok in spots. i just can’t get past her voice.

    • Yup. Has some great music tracks and background tracks and she has learned to sing on pitch since Idol, but starts to sound monotone. It’s probably “her turn” this year.

  • Not getting how this is any different from just about anything else out there right now. Lots of yelling and fake levels of emotion, too much drum and cymbals and that weird “something” that producers are doing to the vocals.

    Since Triggerman holds the rights on “guns up” I’ll just say “Two Sausages DOWN!”

    • two over produced down, works for me.

      • The production is what makes this album, and specifically the drums. I hate drums, and I hate drummers even more, that’s why I became one. A general rule of thumb for drummers is they overplay. However I think on this album they work magnificently. The way everything works out from the bass drum is exactly how Waylon’s drummer Ritchie Albright did it. I’ve always said Ritchie was more responsible for Waylon’s sound than Waylon, when he said to Waylon, “There’s another way to do this, and it’s called rock n’ roll” and told the bass player to only play two notes every phrase. And the songs that don’t have loud drums, don’t have any drums at all, which makes them great.

        As for the singing, I agree on some of the songs there’s that typical close modulating harmonies that is the bane of modern mainstream country, and I can’t disagree with anyone being turned off from that. However, I unfortunately have to listen to tons of mainstream country, and I’ll tell you, that overproduced vocal arrangement is showcased SIGNIFICANTLY less on this album than most, even on a Miranda Lambert or Pistol Annies album.

        • well, that’s fine, trig. though i’m still not buying this one or either of the ones you mentioned above. i can’t listen to any of that stuff. the music has to say something to me. nothing there for me. different strokes.

    • Not sure why you think they altered her voice. This album was recorded like they did back in the old days where everyone is in the recording room at the same time. Kellie sings live with all the musicians playing around her. Not sure how that can be altered but to each there own. I give Kellie props for having the guts to make great “real” country music.

      • Live recordings can easily be altered with overdubs. They can really be altered and added to easily if the live recording was done digitally.

        Live concert recordings are often times messed with. Concert’s are made to sound fuller, vocals are overdubbed, studio instruments are put on top of live instrumentation.

        • Are we so prejudice against mainstream acts that we can’t accept that one of them decided to take a heartfelt approach to an album to delineate themselves from the herd? I’m not going to try and convince anyone to like this music if they don’t. You can’t argue taste. But I believe in the purity of approach to this album, because on a basic sonic level, I can hear it in the music.

          • I’m not prejudice against mainstream acts I like a ton of mainstream stuff. Just pointing out alteration’s in live recordings can be easily done. I honestly think it sounds a little to perfect to be a 100% live style recorded album. If you want to hear what true live style recorded songs sound like check out Daytrotter Sessions those sound truly sound live recorded without much overdubbing or additions.

    • I agree Dan.There seems to be a lot of “weird something” going on in there.I keep hearing how this is the end all of country music albums, but as her former judge on AI Randy Jackson would say,”I ain’t feeling it dawg!”..Kudos to her for trying but you can tell her and/or her record company made sure to keep as many “weird somethings” as they could.But again,good for her for the effort.. And yes a bit over the top I think to ask if it’s the Best Mainstream Album in Years.’

      • Just to clarify, I’m personally not saying it is the “end all” of country albums. I do think it is an amazing achievement coming from the mainstream, and I can see where places like Billboard, and people like Chet Flippo are so high on it.

  • I think this album is ok but not great. Much of the songs sound to mainstream, except the one song “Stop Cheatin on Me” which reminds me of the old stuff like Porter Wagoner.

  • I’ll give Ms. Pickler an A for effort , but hang on to my $17.00 . Like you other guys , ” Stop Cheatin’ On Me ” is the only tune that spoke to me .

  • For some reason this didn’t post the first time (might have been the link I included. If this is a re-post sorry)

    Not a fan. Musically it’s fine and it sounds fine…it just doesn’t appeal to me. I don’t like the vocals at times. It sounds pretty standard to me. Nothing that special. I went into it with an open mind and it just didn’t work for me. I don’t mind things to be mainstream.

    I’m never a fan of the packaged stuff. I feel like this is packaged. Anything American Idol is always packaged. Even some of the stuff I can stand from their various winners or popular competitors. To me this is about as good as Scotty McCreery’s album. Musically fine, lyrically suspect, and just doesn’t feel authentic (IMO only).

    This to me feels packaged and handed to you in a way that just doesn’t sit on me right. Brad Paisley to me would be a better representation of good mainstream. I might even say Eric Church released a better mainstream album last year than this album (whatever the sound of the album alternative southern pop/rock haha). I almost feel like this is like the Gretchen Wilson kind of thing despite how it sounds it is just a package that industry people think will sale.

    When Gretchen’s album came out I read a lot of reviews claiming her authentic true country sound. That her album was for fans of true country, etc. Here’s one of the reviews (you can find the link to this review on wikipedia. Tried to post the link with original post but for some reason it didn’t post):

    “Gretchen Wilson has completed one heck of a debut album. Here For The Party will mostly appeal to traditional country music fans and modern fans alike.”

    I think the Pickler album won’t stand the test of time. Just like Wilson’s album has almost become laughable as years roll on. That’s just my opinion though.

    • Gretchen Wilson and her stinky vagina, and any album she has ever done does not deserve to be anywhere near this discussion whether you like this Kellie Pickler album or not. Gretchen is the male equivalent of Justin Moore, the worst of the wost of the “new Outlaws”. That’s great that some critic bit on one of her albums hook, line, and sinker, but I’ll stand firmly behind my opinions on “100 Proof”, and I feel very confident that like the music, they will hold up over the years. Nowhere on this album is Kellie trying to tell me how country she is, except for maybe the first two songs. She just “is” country. Gretchen Wilson was a bit right out of the box.

      • Dude, thats gross. Too far man.

        • I agree Dan. Trigger hate the ladies music if you want and insult it all you want (I mean I’m not a fan), but that first part seems a little uncalled for.

      • Haha I know you’ve shown some dislike over Gretchen Wilson. I hate to bring it up but it just feels like the same packaged sentiment to me. You can’t say nowhere on the album then say: “except for maybe the first two songs” That’s the introduction of the album. Those first two songs introduce people to the album and possibly her. I don’t care if she’s tells me she’s country all over the place. I just care about authenticity and songs I like. Most of which I don’t think I find on this album. I’m not criticizing you for liking it. I’m just saying it isn’t for me.

        I’m also not saying you won’t still believe it to be good. Just in general I don’t believe it will be viewed that way in retrospect. I’m not saying the music is the same as Gretchen’s at all (it’s better IMO). It just feels fake to me in the same way her music does. Less like 100 Proof more like O’douls lite. That’s just my opinion though. So agree to disagree on the longevity of this album. I mean Kelly Pickler was on American Idol and her first two albums are a lot different than this music. So calling Gretchen a bit right out the door I think also applies to Pickler who started her career on a reality show, which she then followed by a couple terribly mediocre pop albums. I’ll give it to her that this album is better than her prior ones…but to me it just stinks of being put together and packaged as the real deal.

        Side-note I saw above where you said you played drums. Did you use to play drums in Justin Gordon’s backing band?

      • I wonder what it tastes like yeast, or decomposing fish? Could cleaning her rug cause food poisoning?

  • […] I only kinda liked it.   […]

  • Oh, Triggerman! I was wondering if you were going to review this album or had even heard of it. I love it! I hope Kellie continues to go this direction with her next albums. But I have a feeling she probably won’t get a shread of attention for it because her name isn’t Carrie, Taylor, or Miranda.

  • First of all it’s unfair to give Trig so much heat for reviewing this over some of the unheard stuff. Like I’ve said before, it’s gonna take more than independent acts to save country music. Anyway, as far as the album goes, I’ve listened to the previews on iTunes. It’s really too electric for my tastes, and I don’t know exactly whether to like her voice or not. People have to take this for what it is though. It’s like having a kid who brings home D’s every week. You should be thrilled when he manages to scrape out a C+

  • I appreciate the review of a more mainstream act, such as this. It’s really hard to get a decent taste of what it’s like from those piddly samples on Amazon, but I certainly don’t hate it and it certainly does evoke some ’70s Loretta. I’ve always been a bit fascinated by Kellie since she was on Idol as I remember seeing her on a show after she’d attained some success. Ryan Seacrest asked her if she’d made any recent purchases … in reference to her hugely expanded bosom! Pretty funny.

    Don’t mind this album at all, however think I’ll stick to Rachel Brooke.

  • I’ve listened to this album numerous times, and I fully agree. ‘Stop Cheatin’ On Me’ is may be the one of the best, both mainstream and not, songs I’ve heard in years.

  • Great review of an amazing album! Just the fact that a non-mainstream website reviewed it is impressive. 100 Proof is definitely 1 of the best albums in years and probably the best to be released this and next year, maybe longer. I love Kellie’s voice and songs and the (actual country) music. I also agree with what Shooter Jennings said in his interview:

    Nash: Is there anybody on modern country radio who impresses you with what they’re doing and is getting some airplay?

    Shooter: As far as older artists, I’m a big Alan Jackson fan. He just writes his music and is keepin’ it real. And George Strait. And I thought Ronnie Dunn’s album was really good. Some of the stuff on that album was just heartbreaking. And in terms of younger artists, I’m really happy with Kellie Pickler, I’m really happy that Jamey Johnson is still kickin’. And Josh Thompson really shocked me at the Waylon tribute thing we did (for Sirius Radio). He came in and really held his own and did a great version of “Amanda.” So I think there are people out there who are true believers and I really respect anyone who’s sticking with doing what they want to do and doing it because they care, and not letting anybody push them around. You can tell the ones who care. And Chris Young has a really good voice. I love his “I Hear Voices.” It’s a great song. And Brad Paisley. In addition to being an insane guitar player, he’s created a sound. And he’s drivin’ that train. That’s what I like.

    • I agree with almost everything you said. Great post! Ronnie Dunns song about the goodyear plant is simply heartbreaking. It seems as though there are a lot of people that frequent this site will not even give any mainstream guys a chance. Even if they do, they will force themselves not to like it because it’s not underground enough. I’ve never understood it with the ‘hipter rockers’ and I still don’t understand it with the “Real Country can be only underground crowd.

  • I bought a couple of these songs just to see if Trig was smoking somethin a little funny when listening to this album. He’s right on with how the music builds from the bass drum backbone. But, I can’t stand her voice. Never liked it, probably never will. Not to mention the first thing that comes to mind when you say Kellie Pickler to me, is a blonde with fake tits. I know I’m judging strictly on appearance hear but I’ve never seen a girl winning rodeo buckles, or driving a pick up(, or whatever country kind of image you wish to conjur up) that looked like that. The image in combination with the voice just doesn’t make me feel like the music is authentic so it’s hard to enjoy her music. But in case I’m just an ignorant asshole, I give her props on trying. At least she isn’t singing about badokadonks!

    • It is confusing to me that many that rip someone like Pickler want/demand “real” and “authentic” but then they judge them on everything that has nothing to do with “real” and “authentic”. Looks. Blond hair. Fake boobs.

      Who gives a shit about that. Some pretty people (girls and guys) can actually be good looking (maybe they had a boob job, big fucking deal) but they can play music they feel and is real to them.

      This album is good. Maybe not your speed musically, but sad you can’t get past a pretty girl.

  • Another American Idol personality dabbled at country in the form of Kelly Clarkson. She released a “country” version of her pop hit “Mr. Know-It-All”. I’m getting cynical about this.

  • Articles like this are why I respect this site. He’s got the balls to post stuff he knows will be unpopular with the hardcore country crowd, but he’s honest and doesn’t pander. Even if I don’t always agree. Good article, Triggerman.

  • After sampling all the previews on Amazon yesterday, my curiosity was definitely getting the better of me. I asked my sister if she had this album (she’s a pop-country fanatic, makes me sick, I’d disown her if we didn’t look alike), and she said that she did, and that she didn’t like it (surprising to me, she’s got every album Kellie’s ever put out, and has even tortured my eardrums with them on occaision!), and that I could borrow it if I wanted. So I popped it in the computer and listened to it as I played Star Trek Online last night…

    I’m hooked. This is a fantastic album. I’m going to buy my own copy of it. It might be the only Kellie Pickler album I ever own, but it’s beautiful, well-written, and full of the old-fashioned “story” songs that once made country great. The fact that she co-wrote half the songs on it makes it even better. There was only one song I didn’t like on the whole album, (Long As I Never See You Again) and even that one’s not “bad”, it’s just not the kind of song I like.

    My music world just got turned upside down, an American Idol contestant just put out an album that was actually good, and actually country…

    • I’m really glad you gave it a chance and I’m really glad you enjoyed it. Life’s too short to let our prejudices get in the way of good music!

  • This album has still gotten ZERO radio play in my area to my knowledge (not surprised, they’re all Clearchannel-owned around here), but there’s hope.

    At the car dealership I work at, they switched our Muzak from the rock channel (which I loved, good 70s and 80s rock) to the country channel the other day, and I’ll be damned if “Tough” from this album isn’t part of the rotation!

    It may be a small victory for Kellie, but still, to have one of the songs from this album out there “somewhere” that audiences might hear it has to be a good thing. I actually like the country channel Muzak has for the most part, it’s mostly hat-act country from the 90s with a few more recent songs mixed in, and is light on the “pop crap”.

    • This is the fault of Kellie Pickler’s former label, Sony. The reason that the songs from “100 Proof” haven’t gotten radio play is because Sony released only 2 songs from the album and kept the best songs unreleased. Songs like “Little House on the Highway”, “Turn on the Radio and Dance”, “Rockaway”, and “Stop Cheatin on Me” could have easily gotten radio play even in pop country radio. Furthermore, “Mother’s Day” could have also instantly elevated the quality of country radio due to its beauty (in my opinion, it was one of the best songs of 2012).

      Sony, however, mishandled both the promotion of the album and the single release schedule. That’s probably why Kellie left the label.

  • I’ve visited your site on and off over the last year and I love it. This review and some of the subsequent discussion got me thinking: You frequently have great lists; have you considered doing a list of, say, the top mainstream albums and/or songs of the last decade? Or have you already done this and I’ve some how missed it?

    I know that would be a hard list to make, but I for one would enjoy taking a look at it. I’m open to and interested in finding artists who, despite the abysmal state of the radio, got on there anyway (I just can’t listen to those stations for long enough to figure out if they’re there).

    • We’ll consider it!

      • Great! Thanks for the reply!

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