Some Favorite Songs From 2013 So Far (Part Two)

Holly Williams - "Gone Away From Me"
From The Highway
The most beautiful song on The Highway, Williams' anguished voice here is a force to be reckoned with, observant and detached one moment and emotionally wrought the next; she also employs her falsetto to nuanced and powerful effect. This is a terrifically sad story song about family, death, and the passing of time, sung by a woman who comes from a family who knows a thing or two about singing a good story (and death for that matter; Hank Jr.'s her father, Hank Sr.'s her grandfather). Little vignettes like this really push the song into the realm of great and timeless: "They always made us kneel by Grandpa's grave/ Mama was wailing asking God if he was saved/ I never liked to see my daddy cry/ I guess I'll never know how Grandpa died." (Jackson Browne contributes on vocals, too.)

City and Colour - "Two Coins"
From The Hurry and the Harm
I love everything about this song. The melody, the voice, the lyrics--especially the refrain: "I've always been dark/ with light somewhere in the distance." Dallas Green, the man behind the moniker, can damn well sing. If you've ever heard of every church youth group's former favorite Christian rock-pop-rap band DC Talk, his voice reminds me of Kevin Max. (The guitar sounds fantastic on the solo acoustic version below.)

Steve Martin & Edie Brickell - "Love Has Come For You"
From Love Has Come For You
I honestly didn't expect to enjoy this song (and the album) as much as I do. Steve Martin's banjo picking compliments rather than calls attention to itself. I'd never heard of Edie Brickell before but she has a great and unique voice. Nothing showy or flashy here, just beautiful, simple music. More albums please, you two.

Camera Obscura - "This Love (Feels Alright)"
The Scottish band creates a kind of pop that is ethereal and alive. The opening hook on this song instantly piqued my interest and pulled me in. I mean, it's cool to like Scottish pop, right?

Phosphorescent - "The Quotidian Beasts"
From Muchacho
I only discovered Phosphorescent and its sole member Matthew Houck's blending of atmospheric indie rock, country, and americana this year. Anyone who has the taste and appreciation to do a Willie Nelson covers album, as Houck did with 2009's To Willie, is worth considering by more than a select few "indie-only" music fans. Even those who may find some of the songs on this year's Muchacho too experimental, it's hard not get down with the melodies and Houck's downtrodden yet passionate voice on "Quotidian." And in general, it's hard not to get down with a song this catchy that uses the word "quotidian" in its title.

The Mavericks - "Lies"
From In Time
This jam just doesn't let up. "Let's do one more," says lead singer Raul Malo. Malo still has that soothing croon and The Mavericks can still hit those sweet harmonies and their songs still have that quality that almost makes you want to get up and do the twist. Just in case you were wondering. One more, indeed.

John Moreland - "Your Spell"
From In The Throes
Moreland's entire album is chock full of soul-baring, heart-on-sleeve, heartbroken, ruthless authenticity such as this. This lyric gets me: "You were the queen of my condition, I was the king of the ignored/ Talked just like east Texas, looked like an angel from the Lord." That about says it all.

Listen on Spotify HERE.

George Strait - "You Don't Know What You're Missing"

From Love Is Everything
George Strait outclasses and outshines every male who's popular in mainstream country music, so much so that it's weird even to think of Strait as "mainstream" anymore. He is still the king and standard-bearer, cutting songs because he thinks they are good and have something to say and not because they cater to radio's annoying party-all-the-time culture. This song tells the story of two guys sitting in a bar. One guy won't stop complaining about his life and the other guy kind of wishes he (still) had that life. I'm glad Strait is still going to continue recording after he retires from touring; I don't want to miss out on gems like this. (The song was co-written by Chris Stapleton, unsurprisingly.)

Jimmy Eat World - "I Will Steal You Back"
From Damage
Sure, it's more of the same from Jimmy Eat World. But they do what they do so well and I know of no other bands still making this kind of music. "I Will Steal You Back" sounds like one of their songs you might have heard on modern rock radio in the late 90s or early 2000s, and I don't see a damn thing wrong with that.

Dailey & Vincent - "Steel Drivin' Man"
From Brothers of the Highway
This bluegrass jam is what you call a barn burner. You have top-notch tenor singing from John Dailey (who also wrote the song), and it's a wonder how he keeps up with the speed and ferocious picking of the rest of the band. It's the kind of talent you can find only in a bluegrass group comprised of musicians and singers at the top of their game. I highly recommend seeing them live if you get the chance. (The music video below captures their stage energy and sense of humor quite well.)

Jason Isbell - "Live Oak"
Isbell is one of America's greatest living songwriters. If you follow him on Twitter you are aware that he's an avid reader of fiction which may help explain why many of his songs have the feeling of being (really) short stories in and of themselves. If you like "Live Oak" and its anxious, verging on paranoid narrator, you'll love Southeastern. Great line: "Well I carved her cross from live oak and her box from short leaf pine/ buried her so deep she touched the water table line."

The Avett Brothers Set To Release New Album (Already) This Fall, Confess To Boredom

If you do a Google search for "the avett brothers new album," many hits are popular music and entertainment websites discussing their album released in September of last year, The Carpenter, will pop up. Except for one. The brothers did an interview (read it here in full) with radio.com where they discuss, among other things, Kanye West, Rage Against The Machine, the festival scene, boredom, and a new album--a new album to be released this Fall. I am a little surprised no (or not many) other websites have picked up on this seemingly large tidbit of information. (And I know some of you folks frequent--and I mean frequent--Abundant Ramblings for the truly hard hitting and breaking news in the world of music.) Maybe the fact that Scott mentions that it will indeed include a few songs from the Carpenter sessions doesn't quite fit the "big new release only a year after previous album coming from popular americana act" headline that many may have been hoping for. But it seems this isn't exactly a collection of b-sides and rarities. I don't know exactly what kind of album it's going to be. Perhaps neither does Scott Avett:

We should be releasing an album in September, maybe October. The Carpenter was the first installment and this is the other part. We initially thought of this as part two…but we realize it’s its own thing. It’s a very interesting occurrence we didn’t intend. It’s a nice surprise.

So originally the album was thought of as The Carpenter Part II, but it turned into something a little different. There are still unanswered questions: Was a Carpenter Part II always in the plans and, amazingly and with excellent tact, kept on the down low? What in the heck does "it's its own thing" and "interesting occurrence" mean? Were all of these songs written during the Carpenter sessions? Wait. Nevermind. He answers that:

Some of them are in the works for years — seven, eight years. Others, a year ago. It was all very different. We have a lot of places where songs are hiding within our homes, in our bus, in our bags, in our pockets they just end up here [points to his head]. They’re everywhere and we never know when they’ll come out of the shadows.

Folks familiar with the ingenuity that is The Avett Brothers Songwriting Process On Some Of Their Songs Which They Take Forever To Record But Have Been Playing Live Slash Tweaking For Ages will be unsurprised that some songs have been festering for years. So we know that, we know that some songs were recorded (written?) during the Carpenter sessions, and we know that some songs were written a year ago, which would be June of 2012, at which time I would have to assume most if not all of the songs included on The Carpenter had been chosen (they released lead single "Live and Die" to stream on NPR almost exactly one year ago), and it was in the twilight stages of mastering, mixing, engineering, and finalizing. Therefore, I will assume that a few of the songs for the new album were recorded after the Carpenter sessions. ("He sure is assuming a lot. I want nothing but the cold hard facts. This dude SUCKS.")

By now it should be obvious that the band has been working with Rick Rubin again, producer (some would say destroyer of bands; just ask a small legion of original Avett fans or The Band Perry) of The Carpenter and its predecessor I and Love and You. They obviously enjoy working with him and appreciate what he has brought out of them and their music. Take it away again, Mr. Avett (Scott that is. He wouldn't let Seth talk):

After we worked with him we were inventorying our songs much differently, much quicker. When we brought them to him this time, there was a lot less to go through. A lot less. The songs weren’t distracted. They weren’t as jumbled up, if that makes sense. So the editing process was different. But we recorded more songs and took a lot longer to record because we decided to take them to the end with the mixing and mastering. Hopefully it will be different when we work with him again.

Is the "this time" while they were recording The Carpenter but still bringing in songs for The Carpenter Part II, which may or may not have been the plan at the time? Or is the "this time" some time between when The Carpenter came out and the present moment? "More songs" and "took a lot longer" is always a good thing in a fan's mind. But does "we decided to take them to the end" mean that they were Carpenter demos that didn't fit on the album proper or other new songs that they decided to go ahead and "take to the end" because The Carpenter Part II was becoming its own little animal? Does "when we work with him again" mean when they work with him again on finishing up this album, or are they already set on having him record the follow-up to The Carpenter's follow-up as well? I know that I haven't made it obvious, but I do indeed have a few unanswered questions about this new album.

To me, the last part of radio.com's interview is the most interesting (read: leaves me with ALL of the questions). Take it away, Seth. Just kidding. Scott again:

I think when we were first at this, we thought of changes as atomic bombs. Like we needed to change everything from song to song, from set to set, show to show, day to day. I think we look at changes now — real changes, honest changes — as something subtle. So I think that the changes will be understood and natural from what we’ve done or how we’ve changed in the past two or three recordings that we put out. We’re trying to make plans to record again soon, within the next year, so there’s no telling what it will be like. I think we all know, and we haven’t actually said this, but I think that we may be bored in some ways. And I think it may be of interest to us to shake that boredom off because as creators and as musicians we need that. The fans need what they need and sometimes that’s different. But we need that. We’re all inspired by many things, but we don’t get the opportunity to let that be reflected in what we make. But we can’t stay bored for long. (emphasis mine)

Well crap, Avett. Thanks for the clarification! Sooo...this album will be subtly different. Is that your way of saying it is pretty much going to be in the exact same vein as The Carpenter, or are you purposely trying to throw us off track and this will actually be an album full of angrily sweet emotional rage a la "Paul Newman vs. The Demons"? Are you truly hoping to get into the studio again within the next year to work on the super hush-hushed Carpenter Part III? (I'm only even thinking of The Carpenter follow-up's follow-up because you bring it up in the interview. I think.) If so, that would be fantastic. Are you going to work with Rubin again, as you maybe also kind of hinted at earlier in the interview? That's cool too. But wait, you're bored? Bored with Rubin? Or merely bored artistically? If the latter is the case, a change in producer might not hurt. Producers kind of have a fairly large influence on the music an artist makes. I'm not saying that because I disliked your last two albums; I like them both and appreciate how Rubin has helped you all grow as a band, both artistically and in popularity. Changes can be good without necessarily being "atomic bombs." But after the follow-up to The Carpenter even I, one of your biggest fans, am going to become bored with another Avett/Rubin collaboration. Sure, "the fans need what they need" and it's wonderful and possible to give it to them and maintain being true to yourself. But don't be afraid to venture off the beaten path. Change it up if you have to. Don't be bored. Don't bore your fans. Make music that inspires you because it's based off music that has inspired you. I'm not saying you don't already do this. I'm just saying don't be afraid to really change it up. Atomic bomb that shit if you need to. Your legions of new fans will follow. And if not all of them do? Well, then I guess they love you for the band that you were not the band you're becoming.

Thanks for reading, folks. I'm not, like, an Avett Brothers fan or anything (read: I most definitely am).

And my one and only piece of layman's advice to assist in boredom prevention (well, other than what I've already written above, I guess): more banjo.

(Note: I wrote this a few days ago but only just now got around to editing and publishing it. Since then I've seen another interview or two where the Avetts discuss their new album, and a few major publications like American Songwriter have picked up on it. I didn't incorporate any of that into this piece, however, as I simply thought it was fun to comment on the confusing vagueness and the veering into "musician-speak", regarding how and when the new album was recorded, in the radio.com interview. Plus, I think the fact that they admit [or at least Scott admits on behalf of the band] that they're bored is significant, and also raises more questions than it answers. Surely that means changes in some form or fashion are to come; I guess we'll just have to wait and see what they are. [Seriously though, more banjo.])

*image via coverlaydown.com

Some Favorite Songs From 2013 So Far (Part One)

It's the middle of the year, upon us so quickly once again. In the first half of 2013 I've discovered my tastes branching out a little beyond the borders what I usually listen to and enjoy most, namely stuff that falls under country, americana, or folk umbrellas (and the rock variations on each of those). I consider that a good thing. Good music is good music. A good song is a good song. Good music and good songs make you feel something. And so without further ado, in no particular order, here are a few of my favorite songs from 2013. These songs make me feel something.

Daft Punk feat. Pharrell - "Get Lucky"
Undeniably fun and danceable (even if you don't dance), this is the catchiest mainstream pop song in years. I defy you to sit still and do anything less than love it.

The National - "Sea of Love"
I used to hate this band, but when I heard their song "About Today" at the end of the movie Warrior, that all changed. The brilliant musicianship (their drummer is especially awesome) and the unusual yet emotive baritone of lead singer Matt Berninger have a way of slowly sneaking up on you. One day you'll just find yourself thinking, "Damn, they're really good." This song employs Berninger's knack for combining abstract lyrics with his unique vocal cadence, making it all the more engaging. (Not to mention the video is awesome.)

Futurebirds - "Heavy Weights"
A passionate indie folk rock song that's part celebration, part meditation on death (it crescendos into a chorus of multiple parts singing the words "when you die"), this is a standout track on one of the best albums of the year. A strummed banjo and reverb were meant for songs like this. Listen to a stream of the song on SoundCloud HERE.

Ashley Monroe - "The Morning After"
She unsurprisingly struck out at mainstream country radio play for being too country, but this Pistol Annie is too good for them anyway. With the honey-sweet sadness of her vocal and a steel guitar that weeps at all the right moments, I knew this song was an instant classic the first time I heard it. God knows I'm not the only one. (In addition to the live from the Grand Old Opry video below [with co-producer Vince Gill backing her up], HERE is a wonderful stripped-down version of the tune with just Monroe and her guitar.)

Kacey Musgraves - "Silver Lining"
I will admit to getting chills the first time I heard this song. It's the lead track on Same Trailer Different Park, Musgraves' major label debut that was released earlier this year. It treads familiar territory (you have to mine through the rough to get to the good) with simple poetry and instrumentation that leans more toward americana than mainstream country. It may be the only mainstream country album released this year that starts with a beautiful whimper rather than a homogenized bang.

Daniel Romano - "He Lets Her Memory Go"
Romano is one the best contemporary songwriters writing in the vein of traditional country music that I've heard. This song is a perfect example of his ability to sound vintage in the best possible way yet maintain a modern sensibility. The shimmering, patient electric guitar sounds wonderful here.

Justin Timberlake - "Mirrors"
Sure, the first five minutes of this song is really well done, better-than-most, mainstream pop, but what Timberlake and Timbaland do with the last three minutes of this song, in this music fan's humble opinion, lifts it into the realm of high art. It might be my favorite three minutes in music this year.

Dawes - "Something In Common"
I feel like this song encapsulates just about everything Dawes have proven themselves to be as a band. Poetic lyrics; tight, uncluttered musicianship; epic build-ups; raw honesty; and unabashed earnestness. People have been much abuzz about this group for the last couple years, and it's because of songs like this. "I feel like a man behind a camera, who waits patiently for something he won't see."

The Steeldrivers - "Lonesome Goodbye"
When I recently saw The Steeldrivers live, fiddler Tammy Rogers said this "love song about being miserable" (my paraphrase) barely made the cut for Hammer Down, their album released in February. But damn, am I glad it did. Written by two former members of the band who departed before this album was recorded, Chris Stapleton and Mike Henderson, the group's playing--and ability to hold back--have never sounded better. Watch a live performance of the song HERE.


Kim Richey / Mando Saenz - "Breakaway Speed"
Both songwriters released a version of this song on their respective 2013 albums. I personally prefer Saenz's more rocking version, but it's hard to go wrong with Richey's version too, which is backed by Jason Isbell and Trisha Yearwood on harmony. Listen to Saenz' version HERE.

Sons of Bill - "Bad Dancer"
This is completely different from anything Sons of Bill has done before yet sounds like quintessential Sons of Bill all at the same time. A Record Store Day single vinyl release, it contains the standout lyric, "Once southern boys, they all loved R.E. Lee., once southern girls love R.E.M." Be careful; it has the ability to take you back to high school or make you feel like you're in a John Hughes movie. Listen to the track at Paste Magazine HERE.

Unreal Stories: After His Death, Today's Country Superstars Speak About George Jones' Influence, Vow to Continue Making Country Music That Sounds Nothing Like George Jones or Country Music

*This story is completely false. Made up. Not real. In other words, unreal. The quotes are fake. The vernacular is fake. The descriptions are fake. If you needed this disclaimer to figure this out, there is not much I can do for you. Even so, this has been a disclaimer.

Several of today's country music superstars released statements on the legacy and profound five-decades long influence of George Jones on the world of country music, following "The Possum's" death on the morning of April 26th, 2013. They made known the impact Jones had on their own lives and music careers, and the impact his death would have on their music going forward.

"I wouldn't be where I am today without George Jones," said Blake Shelton. "Typically in my songs my go-to references are Conway Twitty and Loretta Lynn, but that don't mean I didn't like George. I'm sure a good song will come along soon and I can namedrop the ol' Possum in there." When asked if he would have turned his chair around if Jones had ever performed on his hit show The Voice, Shelton responded, "Well, you know, that's a difficult question to answer. Country music ain't what it once was. It is constantly evolving because it has to be, or the young folks won't listen. I don't think he'd be very successful in today's country music environment, and that show is all about choosing people who fit today's mold. He'd probably come out there with a steel guitar and fiddle, and hell, he might even TALK some of the lyrics. So, you know, I don't know, probably not. Still love ya, George."

When asked what kind of influence Jones had on his music, Luke Bryan became reflective, almost teary-eyed. "Oh man, huge. Just huge. What a life. I learned from him how big an impact alcohol has had on country music throughout the years. I was so shit-faced when I chose to record 'Country Girl (Shake It For Me).' I mean, just filthy shit-my-pants-in-hundred-dollar-bills drunk. I think George would have been proud if he knew that story. Really what it's all about for me is keeping his legacy alive, bringing good ol' fun-timing country music to a younger generation. Shake ya moneymaker loud and proud up in the Big House in the sky, George. As they say, the wheel in the sky keeps on turning. That's Journey. My favorite band. Also a big influence." Wiping away tears from his eyes, and supposedly off the record, Bryan then proceeded to ask, "I wonder how he got Tammy Wynette and so many other pretty women to fall in love with him? You know how many meals I miss and tanning appointments I have to make to keep this party train chugging along? I bet if George used facial moisturizer even three times a week and stayed in good enough shape to wear nut-hugging jeans, he could have added a hell of a lot more notches to his belt. Oh, and teeth bleacher too. Yea, his was not a mouth I'd have wanted to kiss."

Taylor Swift was succinct in her recollection of Jones' influence. "Like oh my god death is so sad but who is that?"

Brantley Gilbert was rather forthright in his remarks. "Y'all know some people's called me a poser and all that stuff, and you know what, it's actually true. I ain't gunner deny it, and if you try to make me deny it, well, hell, I got some brass knuckles with the name a yer face written on 'em. Y'all, you know that song that's my first hit, 'Country Must Be Countrier Than the Widest Part of the World' or whatever, I talk about Cash, Willie, Hank, and Waylon. Man, ol' George's name just wouldn't fit. But, dang, son, his songs is so ironic. I mean, platonic. Wait, where the hell'd that come from, I don't even know what that word means, dern. Aw, hell, what am I trying to say. Supersonic. No, that ain't it. What I'm trying to say is ol' Georgie boy is a nylon. No, he's a roll-on. No, he's a  mastodon. No, he's a Nikon, like one dem fancy cameras. Wait, what, no, damn son, what am I trying to say?" When asked if what he meant was that George Jones is an icon, Gilbert said, "THAT'S IT! Yea, man, he's like a tree in a forest that grows up all big and huge but can't see himself as the forest cuz all them other trees is trees too and they kinda big and stuff just like he is but he's kinda different cuz he's a purple tree and purple trees are so dang cool, man."

Gilbert wrote the modern-day country music smash made popular by Jason Aldean that famously references George Jones. "I chose that song, one, cuz me and Brantley's best buds forever, and two, because it mentions George Jones. It sounds nothing remotely similar to a George Jones song, and yea, it kind of makes light of The Possum's days of heavy drinking and of drunk driving in general, incidents which George of course says he would take back if he could. But it sure makes for a dang cool country-rap song, bro," Aldean said. Wearing one of those straw cowboy hats pulled halfway down his face so you can't see his eyes, going for a look that emanates mystery but which pulls off only douchebaggery, Aldean continued, "Yea, I think if George had been my age today and as popular as I am in country music, he'd probably record a rap song too. A lot of people don't know this, but after the D. R. A. I wanted to do a rap party song about George and his hit songs as well. I found "1994" but Joe Diffie fit better cuz his last name got two sybils. What's that? Oh. Really? Okay. I meant to say "syllables." I kinda hated it for George. It might have made him super cool and popular again. I don't know, it's making me filthy rich, but that song is pretty fucking awful, so he probably would have been embarrassed to be associated with it. Hope you're swervin' 'round up in Heaven-town, George."

Two artists who were brief but poignant in their remarks were Jamey Johnson and Alan Jackson. "There will never be another George Jones," said Johnson. "He's one of my biggest influences, and I'm not just saying that. My songs aren't neutered rock and roll, bad rap, or cheesy adult contemporary, so you know I'm not just putting you on when I say that."

Said Mr. Jackson, "George Jones is the greatest country singer of all time. He was a dear friend, and I will miss him. What the CMAs did to him in 1999 was shameful. If people really want to know who's gonna fill the shoes of legends like George nowadays, there are a lot of talented people out there trying to carry that torch. But you aren't going to hear those people singing on the radio."

Very First Impressions: The Band Perry - "Pioneer"

I guess you could call "Very First Impressions" live-blogging my first listen of an album. I'm sure it's been thought of before, and it may be pointless, but hey, I kind of like the idea. For the time being I'm going to stick to albums that I probably wouldn't purchase or listen to otherwise simply based on singles released or past recorded output. Some thought-blurbs may be heavy on the snark, some may be unexpectedly bursting with praise, but rest assured they will all be initial and based on just one listen (I will probably have to do a little editing after the fact for the sake of clarity). Hopefully it's entertaining, and -- who knows? -- we may just find a few hidden gems buried deep in some of today's most popular mainstream releases. Enjoy.

1) Better Dig Two - Bombastic production ruins what is otherwise a really good song. Hearing the single several times already and it being the first track on the album, I'm not expecting to be a huge fan of what's to come.

2) DONE. - All caps AND a period. Guess they really mean it. More heavy electric guitars. Weird solo at the two-minute mark; I'm not even sure what instrument that is. This also reminds me a whole lot of another popular song, I just can't think of what it is right now. Oh, and Kimberly Perry growls at the end of this one. I can't decide if it's stupid or kinda sexy.

3) Don't Let Me Be Lonely - Finally, the pace slows down a bit. The chorus picks up, gets loud. Again with the production: trying too hard to be an anthem. If I was in the least bit confused at all, this song makes it clear that they decided to move away from the acoustic, bluegrassy instrumentation of songs from their first album. They're not really attempting to build on that, just changed it up completely.

4) Pioneer - Starts with mandolin, fiddle, acoustic guitar. Will it stay that way? Except for a tasteful marching band-like snare drum, the answer is yes. Oh man, I don't know about the build-up and that ending. They can't help going for the "grand moment." Great up until that point. I see what they were trying to do but wasn't feeling it. Maybe it's a grower.

5) Forever Mine Nevermind - If Queen, Taylor Swift, and Avril Lavigne (mostly the latter two) had a baby, it'd sound like this. Not my thing.

6) Night Gone Wasted - Jesus. Well, okay this one's already growing on me. Dumb background vocals though. After hearing how this one begins you wouldn't think it's the most country-sounding song on the album so far, but it is. You could bust right into a two-step when that chorus kicks in. Interesting song.

7) I Saw A Light - This actually isn't so bad, even with the typical loud guitars that kick in during the chorus. There's mandolin, fiddle, and bagpipes (?) all in the mix. Kimberly Perry truly sounds best on songs like this.

8) Mother Like Mine - Okay, this is unabashedly sentimental and it totally works. A really beautiful tribute to mothers everywhere, and how lost those of us lucky enough to have good ones would be without them. Certainly not traditional country, but perfect subject matter for a country song. It should be the next single. Quoted for truth: "All the wars would all be over, 'cause she'd raise us all as friends."

9) Chainsaw - Okay BP, kind of getting on a roll here. A little bit clever, a little bit cheesy, it's about sawing down that tree you and ex-lover carved your names in back when you were together. This seems to be the most natural progression from some of the singles of the last album. Overall generic production but a few nice touches.

10) I'm A Keeper - Some weird instrumental effect going on here to start off. This, along with "Chainsaw," will be the songs that girls sing the loudest at their live shows. Not terrible, but I'm really not feeling it.

11) Back To Me Without You - Perry's voice shines again on this one, but there are some unnecessary and cheesy I-Hope-You-Dance type of background vocals on the chorus (and that song did them better), which add a whole new level of schmaltz to the song. Again, it's not terrible, but these production choices are questionable.

12) End Of Time - What? Banjo AND steel guitar? Not really sure exactly what it's about yet other than having something to do with the South (sorry, some songs take a few listens, even if it's obvious to some); references to sweet tea, Alabama, and cotton all make an appearance, but it's by no means a "laundry list" song. It's well crafted enough that it's certainly worth listening to some more.

Verdict: Based on the two singles, Pioneer has more country elements than I was expecting. Still, about half the songs I have no interest in listening to again. There is, however, no doubt that this group is much more talented and creative than your typical artist who's gotten millions of spins on country radio. There are a few really good moments on this album, kept from being great even on the best songs by production that's simply too generic (to be sure, Rascal Flatts' producer was at the helm of the album, so it could have been much worse), and that only makes me wish they would have let Rick Rubin stay in the producer's chair. I still find it quite ballsy that they simply said "no thanks" to one of the most prolific producers in all of music, after initially beginning the process with him. Then again, he was probably steering them in a direction they knew country radio would not tolerate, and if you're gonna hang with the cool kids, you better figure out a way to make them keep being your friend.

Best songs: "Night Gone Wasted"; "I Saw A Light"; "Chainsaw"; "End of Time." And I will reiterate again: "Mother of Mine" should be the next single. There shouldn't even be a discussion.

Venerable Video: Eric Church - "Over When It's Over"

If this video doesn't prove that Church is on another level entirely than his mainstream contemporaries Luke Bryan and especially Jason Aldean, nothing does. Sure, he may be more polarizing than either of them, and he did himself zero favors by agreeing to sing on Aldean's bland and soulless "The Only Way I Know" (along with Bryan), but -- in addition to his greater talent being, to my ears, plainly obvious -- he simply doesn't reek of the corporate stench emanating from the majority of mainstream artists, Bryan and Aldean being foremost on the list of olfactory offenders. Church isn't cozy with the the machine. Truth be told, he seems least comfortable when he allows himself to get cozy (see: live performances of "The Only Way I Know," which, if I had to guess, he simply agreed to do because he was asked, and he's probably friends with Aldean and Bryan). If you can't already tell that Church sticks out lyrically (often clever, rarely cheesy, sometimes poetic), production-wise both on record and live (no jumbled wall-of-sound bullshit), and in his songwriting (disregarding the fact that he's one of the few mainstream artists singing their own songs, he's a legitimately talented writer), I humbly submit this video in hopes to sway your opinion. If you can't tell a difference in quality between this performance of "Over When It's Over" and, say, "She's Country" or "Crazy Town" or "Country Girl Shake It For Me," well, you're just being stubborn.

About the video: it's actually really well shot and produced, being that it's a cut from Church's upcoming Live CD/DVD. The crowd sings along, everyone's having a great time, and, amazingly, it all sounds very organic. Plus, there's a lady who helps Church with some vocals about midway through who is just phenomenal. I have no idea who she is, but she's probably going places. "Over When It's Over" is the final track on Church's excellent 2011 album Chief.




Lyrics:
written by Eric Church and Luke Laird

It's over when it's over
Ain't it, baby, ain't it?
Rips ya like a dagger,
Can't it baby, Can't it
Wish we could do it over
Damn it, baby, Damn it
We had it in the air, we just couldn't land it

It's the first snap of the last straw,
Where regrets outlast the alcohol
It's a cold sweat, in an empty bed,
And dreams are like a knife,
When you're hanging by a thread
Ain't no "Maybe we can make it if we just play the right cards"

Now it's over when it's over
Ain't it, baby, ain't it?
Rips ya like a dagger,
Can't it baby, Can't it
Wish we could do it over
Damn it, baby, Damn it
We had it in the air, but just couldn't land it

It's a white flag,
It's a stop sign,
It's the last long drag, on a Marlboro light
It's a long night, beating up the past
Know when the first lie, is gonna hit you back
This ain't no gone for good drill,
Or no goodbye false alarm, it's over

Yeah it's over,
Yeah it's over.

There ain't no better way,
We could make it work
It's a blank page,
When you're outta words
Yeah it's a flat line,
It's a heart attack
Yeah it's too far gone, to be shocked back
It's a one way, with nowhere to turn
It's a no brakes, baby, crash and burn
Ain't no map gonna ever bring us back
From where we are

It's just over when it's over
Ain't it baby, Ain't it
Rip ya like a dagger,
Can't it baby, Can't it
Wish we could do it over
Damn it, baby, Damn it
We had it in the air, and just couldn't land it

Album Review: Kacey Musgraves - "Same Trailer Different Park"

I first heard Kacey Musgraves on the 2010 Josh Abbott Band album She's Like Texas. When my uncle gave me a copy of it, he specifically highlighted a song called "Oh, Tonight," -- on which Musgraves duets with Abbott -- as a standout track. It was.

Then somehow or another I ran across this video of her on YouTube singing about her frustrations with Bible Belt religion, ultimately concluding that her "idea of heaven is to burn one with John Prine." A true girl after my own heart.

Her debut album Same Trailer Different Park, released on March 15th, is a collection of the simple and the understated, flying in the face of popular current mainstream trends and all the phony chest-thumping braggadocio. Musgraves' songs contain more authenticity than all of those current chart-topping male country singers supposedly singing about it, put together. This ain't pandering. It can't be when the album boasts more banjos and steels and acoustic instruments than hard rock guitars and faux hip-hop verses and auto-tuned choruses. For a mainstream release, Musgraves seems conspicuously beholden to no one but herself. She's literally doing her thing. And we'll see if that's enough perhaps to change the game a little bit in a genre obsessed with mediocrity (and far worse) and terrified of change.

I'm certainly not saying this is a perfect album. It's a major label debut by a young twenty-four year old; if she released a perfect album on her first try they should go ahead and burn the mold to ashes before they throw it in the dump. I will admit that on the first listen I wasn't quite sure what to think; it wasn't quite what I expected; I'm not sure what I expected. But subsequent spins have proven this album is, of all things, a grower. The songwriting is strong, the album flows like a river and contains no clunkers, and it displays the undeniable potential Musgraves has to have a meaningful, long-lasting career, creating poignant art that doesn't sacrifice her heart and her integrity. This debut release has certainly captured my attention. The hype is deserved. I am itching to see what kind of impact she has on the mainstream airwaves, and I am already itching to see what she does next.

Track by track:

1) Silver Lining (Musgraves/Josh Osborne/Shane McAnally) -This is my favorite track. The production sounds wonderful, the melodies effective, and the emotion hopeful yet tinged with an almost nostalgic sadness. I can't think of a better way to kick off an album. (If you're ever gonna find a silver lining, it's gotta be a cloudy day)

2) My House (Musgraves/Osborne/McAnally) - Sweet, fun, and not overdone, this ode to mobile homes and mobile love you'll not be able to get out of your head. We even get a taste of Musgraves' harmonica chops. And can you believe there are no drums? (If I can't bring you to my house I'll bring my house to you)

3) Merry Go 'Round (Musgraves/Osborne/McAnally) - The little single that could still stands out over the course of the album. Musgraves shatters small-town romanticism by speaking the truth in love -- country music, folks. The album also gets its title from this song, which Musgraves says is another way of saying "same shit, different day." (It don't matter if you don't believe, come Sunday morning you best be there on the front row like you're supposed to) (More on "Merry Go 'Round" can be found here.)

4) Dandelion (Musgraves/Brandy Clark/McAnally) - A delicate song about love lost, comparing a former lover to a dandelion, a weed that always makes her cry. Good lyrics on this one. (I sense you dancing on the breeze, and like a stupid little girl, I spent my wishes on a weed, thinking it could change my world)

5) Blowin' Smoke (Musgraves/Luke Laird/McAnally) - The second single to be released from the album is much different than Merry Go 'Round -- a little more fun, a little more rockin'. This tale of diner waitresses who always talk about leaving and getting the hell out of dodge to really live their lives is super catchy, thanks to a sweet bluesy electric guitar riff. The Prine influence is heavy on this one as humor abounds. Hopefully radio catches on. (We all say that we'll quit some day, when our nerves ain't shot and our hands don't shake)

6) I Miss You (Musgraves/Osborne/Laird) - Another example of the understated production of the album. I am still amazed this is a mainstream release. In a way, thematically this song somewhat reminds me of George Jones' classic "She Thinks I Still Care" in that there is the quintessential unreliable narrator trying to convince the listener he's over a former flame. I'm not saying this song is on the same level, but that's pretty good company to keep. (Been kissed by lady luck, the stars are all lined up, every arrow that I aim is true, but I miss you)

7) Step Off (Musgraves/Laird/McAnally) - A heavy dose of banjo flavors this fairly standard up-tempo kiss-off song. To me this would be the only somewhat forgettable song on the album if the chorus wasn't so damn catchy. To be honest, and I hate to say this, it's just got a little too much of a Swiftian vibe. There, I said it. (Just keep climbin' that mountain of dirty tricks, and when you get to the top, step off)

8) Back On The Map (Musgraves/Laird) - This was an early favorite of mine along with "Silver Lining." It's atmospheric and moody and probably the "least country" song on the album, but it totally works. Really good stuff. (Gotten too far off the map, not so sure I can get back)

9) Keep It To Yourself (Musgraves/Laird/McAnally) - Musgraves has a really nice flow to her vocals on the verses here, while the chorus is simple and gets the point across. One aspect of said point is essentially "Stop drunk dialing me." It all sounds relatively unoffensive and pleasant enough to the naked ear, but the lyrics really give this song its bite. (You're thinking that maybe you made a mistake, and you want me to know, but I don't wanna know how you're feeling)

10) Stupid (Musgraves/Osborne/McAnally) - This song might be the most fun on the record (also the shortest). It's about the frustrating-as-hell nature of love when it fails and how we feel about it when that happens: stupid. There are some "oh-oh-ohs" placed perfectly in the pre-chorus that add a lot to this one. I guarantee it's a blast to see played live. (Plays you like a fiddle, shakes you like a rattle, takes away your gun and sends you into battle)

11) Follow Your Arrow (Musgraves/Clark/McAnally) - Here Musgraves again channels John Prine's humor and disregard for the powers that be trying to set limits on art. Already in danger of being labelled the "gay pot" song, in reality this is just a simple, poetic song about not being afraid to be yourself. In no way is the song preachy; the opposite, in fact. It's so giddy and good-natured that you might miss the "controversial" elements the first few times around. If this song is ever released as a single and actually does well, I don't know exactly what that would mean, but it'd shock the hell out of me. It'd be a good thing. (You're damned if you do and you're damned if you don't, so might as well just do whatever you want)

12) It Is What It Is (Musgraves/Laird/Clark) - In style and structure, this is the most traditional sounding cut on Same Trailer Different Park. Vocally Musgraves truly shines on this one, especially during the chorus. It's a song about "friends with benefits" (I've read elsewhere that this is a song for the "hook-up generation"), so lyrically it's probably the least traditional cut on the album, and that makes for an interesting dichotomy. But merely calling this a song for the hook-up generation is simplistic and does a huge disservice to it. Musgraves sounds vulnerable and desperate, sad and yearning, giving the song complexity, tinging it with a bit of guilt and regret. It's a real zinger of a closing track. Well done. (Maybe I love you, maybe I'm just bored. It is what it is, 'til it ain't anymore)