Apparently there is a hard and fast proviso in the mainstream country music bylaws stating that artists signed to major labels must release a torpid, moronic ode to coincide with the official observance of summer each calendar year. Over the years Luke Bryan has been one of the most steadfast observers of this natural summer phenomenon.
The music of Pharis and Jason Romero is stripped-down and rootsy, born from the traditions of country and folk similarly, and steeped in songwriting customs and the interplay of harmony. If you’re looking for an entry point into what Pharis and Jason Romero are capable of as a steadfast country fan or otherwise, ‘Sweet Old Religion’ is it.
Ahead of the July 27th release of Cody’s new album Lifers comes the debut track “Must Be The Whiskey” written by underground country artist Josh Morningstar. A bit more than just your average drinking ode, the song delves into the revolving door that hard alcohol can be—drinking to numb the pain of a broken heart…
There’s no mistaking Josh Ward as anything but country. We’re not talking about close approximations or the blending of styles in some way. When you think traditional country in the style of classic George Strait, this is Josh Ward. It’s steel guitar, it’s fiddle, it’s twangy lead guitar overlapping lyrics of heartache, sin, and redemption.
See, this is what they should have been doing with the Wal-Mart Yodeling Boy from the start, not sticking him in some studio with Joey Moi of Nickelback fame to record a song left on the cutting house floor after a Florida Georgia Line session. Mason Ramsey doesn’t even need to be singing original songs at this point.
Bentley’s new record The Mountain is not some dramatic return to his bluegrass roots, and it’s probably not even fair to call it rootsy aside from a few songs. But it is a return to Dierks Bentley doing what he does best, which is putting out good, quality, often inspiring songs that are raised in importance since they’re something you enjoy with others.
Now that we’re starting to see a lot of the 80’s and 90’s era traditional-style country starting to make a comeback, an artist like Tim Culpepper all of a sudden comes across as pretty damn cool, even though it’s more the listening trends shifting towards him, instead of vice versa.
For so many artists and fans, country music is their compass in life. It conveys a sense of home and comfort like nothing else can. No matter how crazy the world gets, no matter how far one strays from their roots—musically or otherwise—country music is always there to welcome them back with open arms.
American Aquarium should no longer be around. It was a marginal name to begin with, and for a band that was tough to define or find a home for, and that was built upon the concept of drugs, drinking, and the implosion of life before you’re 30. But frontman and songwriter BJ Barham was too stupid to quit.
Ragingly relevant to 2012, the latest Florida Georgia Line reboot goes full-blown Mumford & Sons on our asses as part of their big, multi-year rehabilitation campaign to save their skins from certain doom as a laughing stock of country music history. And when I say Mumford and Sons, I’m talking about the whole damn motif.
You think the reckless abandon of true rock and roll is dead, and to soak up whatever last dying vestiges are left you have to embed yourself within the fandom of Imagine Dragons, or pay $350 to see legacy acts in their 70’s from the nosebleeds? Well then you need to buy into the hype behind Courtney Barnett.
Shotgun Rider is a duo consisting of Logan Samford and Anthony Enriquez from two small Texas towns within short distances of Palo Duro Canyon. They have come together to share their stories of love and heartbreak that they hope resonate far beyond the Texas border, or the circuit of bars and clubs they play in the greater Texoma region.
The man who’s most responsible for keeping the traditional country backbone in Red Dirt music strong and rigid for many many years is probably not the one your would finger as being the most enigmatic of all the founding fathers. But that’s exactly what Jason Boland has become as his mane has gone silver.
The sound of Wes Youssi and his new album ‘Down Low’ is definitely a throwback, Golden Age, old-soul style of country, indicative of Hank Williams, Earnest Tubb, Jim Reeves, and early George Jones, even if a few of the themes in the songwriting are a bit more contemporary.
Barring a miracle from Country Music Jesus, Ashley Monroe will never see the kind of career recognition that her talents deserve, at least in the here and now. That’s just the unfortunate product of the era in which her music matured. These are the real world results of the lack of support for women in country music today.
“Beautiful Crazy” is much more similar to what we were hoping from Luke Combs when he first emerged on a major label. Full of steel guitar and fiddle, and ramping up to be a quality showcase for his barrel-chested country voice, “Beautiful Crazy” is easy to love regardless of your country music alignment.
Somewhere on the highways and byways of Heaven, Jerry Reed is driving a semi truck full of Coors on a delivery for Jesus, slapping the dashboard maniacally with a big ol’ Georgia peach-eatin’ grin screaming “Hot damn son, get after after it!” as the tunes of Brent Cobb’s new album ‘Providence Canyon’ come blaring out of the speakers.
It doesn’t matter if you’re playing your music with an acoustic or electric guitar. Are you testifying? Is it washed in the blood? Are you conveying your true emotions in all their ugliness? If the answer is “yes,” then it’s still roots, and righteous. And Other Arrangements is downright righteous, whatever you want to call it.
Country music in 2018: “Man Artist feat. Woman Artist.” Wash, rinse, repeat. This is one way to get Miranda Lambert back on the radio I guess, releasing Jason Aldean’s “Drowns The Whiskey” as a single. Too bad Jason Aldean has to be involved, and the only way virtually any woman gets on country radio these days is being “feat.”