“Parallel Line” could have been cut by Ed Sheeran, Keith Urban, The Weeknd, Justin Bieber, or whomever. It doesn’t really matter who sung it; it would have sounded almost exactly the same. That’s why so many immediately identified this as an Ed Sheeran song. Popular music is just numerous pop franchises with many different faces.
Nobody really wants to be an Outlaw. They just think they do. All that black leather and badass attitude, booze and women, it looks like the essence of cool from afar. But it’s a lot easier to admire the Outlaw life from a distance than it is to actually live it yourself.
Context is everything here, and it’s critically-important we regard what the end game with this song is. The impetus for Carrie Underwood’s “The Champion” is to be a TV theme song for the Super Bowl on NBC. But I don’t know folks. As was expressed recently, we need Carrie Underwood in country right now, but not necessarily this version.
What’s the value in late career success when you sell out to attain it like David Lee Murphy has done here? You can forgive the lightness in the writing. You can even excuse the cavorting with Kenny Chesney. But that stupid electronic drum beat is the type of thing David Lee Murphy should be railing against.
The sincere love of authentic country music is something that a genuine country artist cannot be swayed from. It’s a bond, almost like an oath or affirmation, that becomes affixed to the soul, and grounded so deeply with penetrating roots, it is impossible to snap or even strain them, regardless of the allure.
The new Urban Pioneers album ‘Hillbilly Swing Music’ is true to the title, filled with fun ditties and infectious reels that reawaken the simple joy of primitive American string music in a way that is invigorating and fun, yet still enriching with intelligent turns and deceptively-smart songwriting.
Quietly, the Brothers Osborne have deposed the terrible Florida Georgia Line as the biggest duo in country music, at least when it comes to peer recognition and appreciation by the industry. Florida Georgia Line is still a juggernaut in radio play mind you, but that appears to be slipping from their grasp too.
Gregg Allman’s legacy was well secured before even a note was sung or played on Southern Blood. He didn’t owe us anything more. But like he did for half a century, Gregg Allman delivered, and not just for himself, but for one final hurrah of The Allman Brothers legacy that now has a life of its own.
If you’re one who finds yourself enamored with the Texoma music scene, then you most certainly have an opinion on Koe Wetzel, one way or the other. And that opinion is also probably pretty fiery, no matter how it falls. And if you don’t have an opinion or don’t even know who he is yet, then you soon will, because he’s not going anywhere.
When the topic of discussion turns to legacy alt-country bands, it’s easy for the Old 97’s to get left out of the mix, and unfairly so. Since their epicenter revolves around Dallas, and not Austin, Nashville, or Los Angeles, it seems like they’re always a little more out-of-sight, out-of-mind than their mammoth output and legacy deserves.
Luke Bryan is the Ronald McDonald of country music. Millions and millions served, even if the fare is nothing more than palatable. So many paychecks and livelihoods beyond Bryan’s own inner circle depend on him taking center stage and shaking his ass for the amusement of millions each year.
When you come across someone making traditional country music for a living, you know they’re not focused on fame and treasure. If anything they must be a glutton for punishment. But when you have a passion that can’t be quenched by compromise, it’s better to scrape by doing what you love than succeeding at what you hate.
You get what you expect from this record, which is good, and bad. If it feels like we were just here a few months ago, it’s because we were. You could call Chris Stapleton’s latest release, and his second one in 2017 “From A Room: Vol. 2,” or perhaps you could call it “Traveller #3.”
The problem with Margo Price’s ‘All American Made’ is the same as her first record, ‘Midwest Farmer’s Daughter.’ Though the songwriting is strong in segments, the recordings themselves are lifeless, the playing and mixing is unimaginative, at times Margo’s otherwise strong voice is exposed and naked-feeling in the mix.
The record that most explains why Cody Jinks has been able to build up such a big following, and such a deep connection with those fans is arguably his 2010 effort ‘Less Wise.’ It was recently re-released in a remixed and remastered form called ‘Less Wise Modified.’
This new album Black and White and Blue isn’t just about Eric Strickland making a bluegrass record, it is about Eric exerting his desire to not be pigeon holed, and pulling away from the whole “Outlaw” moniker that has become so compromised in recent years.
Look, I see what they were going for here. The problem is what they were going for was just not very good. This album is a concert play; not your typical studio record. Tim McGraw and Faith Hill are on this massive “Soul2Soul” tour together, and when folks have been to the concert, they want to buy Tim and Faith the home game.
Strikingly brilliant of composition, richly diverse, both progressive and traditional, a tour de force of songwriting, and incredibly textured with strong instrumentation, Probably Wrong has just about everything you could want from any record, whether you count yourself a country fan, more of an Americana type, or a country rocker.
It’s an interesting case study to track the career trajectory of a prodigy musician. Often times they take a terrible spill that is impossible to recover from when they go from the cute kid who can sing well or play fast, and attempt to transition to a full-time career. In fact, that’s the most common […]
Blake Shelton’s latest record ‘Texoma Shore’ is not really that great, and it would be a stretch to even call it good. Yet as enjoyable as it might be to trash this effort for all the ills Mr. “Old Farts and Jackasses” has sowed over the years, the truth is this might be Blake Shelton’s best album since he uttered those now notorious words in 2013.