What a great little record to lounge around the house or on the back porch with, or listen to while scuttlebutting around knocking out chores, or when rolling down the highway pretending it’s 1940 and you’re cruising on Route 66. But it’s also a resounding introduction to two titan women.
John R. Miller’s music, used cars, and auto repair is officially open for business coast to coast, specializing in swapping out starters and alternators, rebuilding carburetors, selling used tour vans, and peddling songs about hard-hearted women, and a hand-to-mouth subsistence.
The fundamental reason “Am I the Only One” is resonating so widely is because it’s tapping into an unfulfilled and voraciously hungry desire for counterpoints in popular American culture. In a very granular and passionate manner, Aaron Lewis captures this fomenting frustration.
Great songwriters know how be both a reflector of our current times, and a beacon to our better angels. Tylor takes a keen awareness to the challenges this past year has presented, and instead of adding to the noise, attempts to offer a roadmap through it, or antidotes to it all.
“Patterns” is a patently traditional country record that immediately impresses with the first few songs that rear back and try to knock the wind out of you with an emotional wallop, and then shows off its depth of knowledge and acumen with a quality run through some country classics.
Starting with his hit “I Wish Grandpas Never Died,” Riley Green has delivered one song after another that labors and often achieves to touch something deeper in the listener than just their vapid, passive-listening pleasure zone placed in the bullseye of the likes of 101.1 FM.
With his place secured as a Telecaster-slinging and leathery kicker of the country music haunts, and just like so many musicians last summer sequestered from the rest of the world, it was the perfect opportunity for J. P. Harris to reconnect with his deep history in old-time.
Welcome to Countryland is a worthy introduction and a resounding pronouncement for an important band coming into their own. It’s a step up, a stepping out, and an effort worthy of the buzz and adulation Flatland has been garnering for five years now. Well-written and executed, heartfelt…
It’s not that ‘Ruthless’ is terrible or anything. And if you’re a hardcore Gary Allan fan—of which there are a few—you will probably find enough to enjoy to think of the effort as satisfactory. Still, ‘Ruthless’ is full of compromises and half measures, and it’s only country in spurts.
This new album is a combination of simple compositions that convey sweet little vignettes from Texas life, and deep reverberative works and leave one shaken to the core from the impact of their stories. This combination makes Vincent Neil Emerson easy to warm to, but lasting in effect.
It’s the utilization of space that has worked to Lord Huron’s advantage over the last nearly 10 years. But on Long Lost, they also add the much deeper dimension of time, sending you not just up, but also away, facilitating that fully immersive experience only the best of music can.
“Javelina” is still graced by the presence of the grit-edged cowboy poetry that was so emblematic of his earlier records. But the music comes blazing out of your speakers, alive and enthused until you catch all those feels that only the old iconic classic rock albums gave you.
Horse racing and country music are two occupations where pedigree can often be a strong predictor of talent and skill. So word coming down that traditional country legend Mark Chesnutt’s son is leaning hard into making country music is a plenty good excuse to perk your ears up and pay attention.
Like Colter Wall, Corb Lund and others, Bo DePeña’s looking to keep the traditions of Western music alive, not just by singing them, but by living them out, so he can sing them with truth and authenticity. You hear that on his new album “It’s About to Get Western.”
Similar to a band like Lucero or maybe even some eras of American Aquarium, the music of the Michigan Rattlers is guilty of being country or roots only by association. But you’re not reluctant to embrace them because just like the rest of us, they’re refugees of the era.
20 years in, Blackberry Smoke isn’t showing their rust. They’re hitting their stride, understanding their species is slowly becoming endangered, taking that prognosis personally, and doing what they can to keep the torch burning, and the memories of the sounds of the South alive.
Yes, it’s the fact that a woman is singing these songs is what makes this exercise so interesting, and more than just an average tribute record. Without really rearranging much of anything, the songs take on an entirely different though paradoxically similar inverted meaning.
Here comes this surprise EP from upstart country artist Brock Gonyea that will deliver you and your country-loving heart smack dab into 1950’s country music bliss, warming your cockles about the prospects for the future of the country genre.
The Shootouts are Ohio’s preeminent throwback Golden-era classic country band that looks to put a smile on your face, a rhythm to your step, and a fullness in your heart with their well-written original songs rendered in a vintage style, backed by slick country instrumentation.
Where many have dipped their toes into the Kentucky experience with their music, Cole Chaney wades in up to the neck, hollering and wailing about coal mines, flooding catastrophes, dreams cauterized in their infancy due to fleeting opportunities, and other conflagrations…
Just the sound of his voice, just the image he displays, just the shadow that he casts is enough to stir something deep inside of us that’s warm and favorable from all the memories made that Alan Jackson has been a part of. He has reached that level reserved for only a select few artists.
“All of Your Stones” symbolizes a triumph of spirit, and a realization of a dream. Whether Jason “Rowdy” Cope knew in some cosmic way that his time was limited, or the words and real-life circumstances intersected solely due to coincidence, he made this record like it could be his last.
If it wasn’t Miranda, would we be making such a big of a fuss about this? Of course not. But here we are. And a big fuss has been deserved to be made about Jack Ingram and Jon Randall in the mainstream for years and never really was, but now here it is.
“Set In Stone” feels like a really solid and inspired mid career selection from Tritt, well-produced by Cobb, with some great instrumental performances, and no signs of rust or heavy wear from the time away. Undoubtedly though, this is a Boomer record, and in more ways than one.