Maren Morris' Underwhelming Hero

I've been reading all the exaggerated headlines about Maren Morris for months now, and it confuses the ever-living hell out of me. I certainly don't hate her two singles. "My Church" isn't great but it's catchy and easy to relate to. "80's Mercedes" is not even close to a country song, but it gets stuck in your head with ease. When it comes to modern country radio, Maren Morris is not a huge problem. The issue is that her music is marketed as country, which is completely misleading and dishonest. She's not the first purely pop artist to have her music marketed this way, but what she represents is the continuation of a real problem in mainstream country music.

Once again, I feel it is important to state that musical evolution does not involve a genre turning into another genre, or into a bad mish-mash of the most basic elements of several genres. Country has not evolved into pop, and it has not evolved into hick hop or the arena rock garbage we hear from Jason Aldean. That's not how evolution works. Maren Morris' music is not the product of evolution--it's the product of a pop artist who is conveniently using country radio as a means to launch her career. Did she herself make that decision? I doubt it. It's pretty easy to blame the suits in Nashville.

That's not to say that Hero is bad, overall. There are some solid songs on this record, but to call it country would be an obvious lie. Every song has a blatantly pop arrangement. There are so many jarring, synthetic sounds on this album that it makes me dizzy. At the very least, I'll give Morris credit for not trying to country it up with layered fiddle or banjo lines. Make no mistake, Hero knows it's a pop album. It's just not as good as people seem to think it is.

As far as criticisms are concerned, they revolve around very fixable issues.The odd vocalizations in many songs get annoying really fast, from the almost rap like delivery that she uses at times to the way she mispronounces words. "80's Mercedes" may not be a bad song, but when Morris songs "I'm a 90's baby in my 80's Mercedes," she pronounces "baby" as "bay-beh," which I found annoying and ridiculous. There's no reason to not pronounce the word properly. It adds nothing to the song, does not help the rhyme, does not aid in the transition from one line to the next. It's just an odd choice that is jarring and unnecessary. Another thing that irritated me was the arbitrary swearing. There's room in music for profanity, but it ought to serve a purpose. The only purpose served by the occasional "shit" or "bullshit" on Hero is to portray this tough, sassy image. Maren Morris does that already. The swearing wasn't necessary, and in songs like "Drunk Girls Don't Cry," it came out of nowhere and didn't fit the song. It's a small issue in the grand scheme of things, but when the album itself is underwhelming, it stood out even more.

What gives me hope for Maren Morris is that all of these issues are all easily correctable, so I look forward to her future releases. It's very clear that with her vocal abilities, Morris will likely release some great music in her career. I've got my fingers crossed that it's sooner rather than later.
Maren Morris is at her best as a vocalist when she forgets about all the nonsense and just sings. Those abilities are on full display on album standouts "Once" and "I Wish I Was." These are two absolutely fantastic songs on an otherwise sub-par record.

Hero is moderately enjoyable in spurts, hard to tolerate in others, and the latter side comes through more often than the former. 4/10

Up next: Single Review: Eric Church's "Kill a Word"

Metal Review: Tremonti's Dust

For guitar nuts like myself, Mark Tremonti is a household name. His unique and spirited fretwork travels all the way back to 1997 when Creed's My Own Prison was released. Everything after that is well-documented. Creed released 3 albums before disbanding the first time, which allowed Mark, Scott Phillips, and Brian Marshall (everybody in Creed not named Scott Stapp) to form Alter Bridge with vocalist/guitarist Myles Kennedy, and since the release of debut album One Day Remains in 2004, Alter Bridge have established themselves as arguably the best hard rock band on the airwaves today. Creed would reunite briefly to release the very good Full Circle in 2009, but have not surfaced since.

Alter Bridge have released 4 studio albums with a fifth coming this fall, and since 2012, Mark Tremonti has released three albums under the name Tremonti. Originally a solo project, Tremonti has evolved into a 4 piece band with Mark on lead guitar and vocals, Eric Friedman on guitar, Wolfgang Van Halen on bass guitar, and Garrett Whitlock on drums. They released Dust in April, and after recently purchasing the record, I must say that it's a damn good one.

While Creed and Alter Bridge both have more of a hard rock sound, with Alter Bridge occasionally venturing into alternative metal, I would argue that Tremonti are a metal band with the occasional dive into hard rock territory. Mark Tremonti's penchant for heavy metal is very well known, from the days that he and Scott Stapp first met and formed Creed, through the heavier Alter Bridge material. When All I Was came out under the Tremonti name in 2012, Mark's heavy metal roots became fully realized. I don't know if I could place Dust into any particular sub genre of metal. At times it's thrashy; at times it's plodding and ominous, but most of all, it's thrilling to the ears of any listener with appreciation for what can be done with a guitar. Dust is one great riff after another through 10 songs, with excellent guitar solos and leads scattered throughout the record.

In Creed's earlier days, Mark wasn't often able to display his skills as a soloist, but thankfully Alter Bridge opened more doors for him in that department, though it's not necessarily a given with each song. With Tremonti, he can let loose and have fun. He definitely has his own style. I'd describe his guitar playing as loose and free but still controlled. He's not actively making sure that he never makes mistakes when performing live, but every note sounds organic and planned. Despite all of that, he's very unpredictable as a guitarist, and in the best of ways. Every riff and every solo is fresh and exciting.

As a vocalist, Mark Tremonti is certainly capable, and his skill and technique improve by the album. He's not going to do anything crazy but he's not bland, either. Lyrically, Dust has some excellent moments, some of which are more outright, like standout track "Betray Me." The title track is also a bright moment lyrically, and might be the best song that Mark Tremonti has ever written. At just over 5 minutes, "Dust" moves along slowly but listeners are captured by every second. The track opens with an ominous clean guitar line, and slowly builds into a crushing, emotional chorus. The bridge takes 30-40 seconds to prepare listeners for the best solo I've ever heard out of Mark Tremonti. It's 25 seconds of pure emotion, proving to be the high point of an incredible song.

Dust is just one more great piece of music with Mark Tremonti's name tagged to it, and if you're not familiar with him past a few overplayed Creed songs, it's time to dig into Alter Bridge and Tremonti. You won't be disappointed. 8/10

Standout Tracks:
"My Last Mistake"
"Dust"
"Betray Me"
"Tore My Heart Out"

Up next: Hero by Maren Morris

Kelsey Waldon Has Her Way With Classic Country

The greatest thing about country music in 2016 is that substantially talented artists, with respect for the genre, have the ability to make a living without radio play. Modern radio has pushed away so many listeners over the past five or so years that it's no wonder that artists like Chris Stapleton have had their day in the sun. Listeners who look for more than the most basic pop, hip hop, and arena rock arrangements mixed with banal lyrics about tailgates, beer, and tanned legs have begun to search a little more thoroughly for music with substance, and it's paid off for some of the most talented artists in the country genre. All it takes to convince people that there's much better music out there is exposure, and even someone like me, who listens to a lot of music and is always searching for new artists, misses out on some truly talented individuals until somebody tells me about them. Kelsey Waldon falls into that category.

Waldon's new album I've Got a Way was released on Friday, August 12th. It is 100% classic traditional country from beginning to end. I don't think I've heard so much steel guitar on an album I can recently recall. Where some albums lean on several traditional instruments, I've Got a Way features the steel guitar on every track, which results in the vintage sound trademarked years ago. I prefer more fiddle, mandolin, banjo, and dobro (I gravitate toward bluegrass influenced country, in general), but it was intriguing to hear one instrument used in so many ways in each song.

Lyrically, I've Got a Way is solid throughout, and every song has something specific to express. Standout track "False King" is full of great rhymes and features, perhaps, the single best line on the album when Waldon sings, "You can't place a crown on the head of a clown and then hope he turns out to be a king." I found myself smiling throughout the record because of Her wittiness ease of articulating complex emotions, which kept me interested throughout the album. "I'd Rather Go On" discusses sharp swings in a relationship in which the narrator comes to the conclusion that she'd rather just move on.  In the first verse she expresses a strong sense of vulnerability, but by the end of the chorus her decision is made. "All By Myself" is another standout song on the album. "I can be me all by myself" is another great lyric by Waldon, and is a line that can mean anything to a variety of people. It should be something that fans take to fairly quickly. There is no shortage of talent in Kelsey Waldon when it comes to lyrics and songwriting. As an album, I've Got a Way doesn't have any major shortcomings.

One thing about any good album, regardless of genre, is that problems are very hard to find. My criticisms of I've Got a Way aren't necessarily about the quality of the music. I will say that I'm not that fond of the sound of Kelsey Waldon's voice, but after repeated listens it is growing on me. She's definitely a skilled vocalist--it's more the tone of her voice that grates at me, but that can be cast aside as personal preference. I also prefer more variety in instrumental arrangements. Featuring the steel guitar is interesting but I think there was room to make the arrangements on this album more interesting. I'd love to hear what Kelsey Waldon can come up with if she adds more variety in the future.

Overall, my opinion of the album has as much to do with personal preference as it does with quality of the music. The songs, themselves, are great, and Kelsey Waldon is a fine lyricist. Take my rating with a grain of salt and don't hesitate to take a listen. 7/10.

*Written by Kellen Dobmeier, edited by April Dahlgren

Upcoming reviews:
Dust by Tremonti
Bury Me in My Boots by The Cadillac 3
Spark by Drake White
Pure and Simple by Dolly Parton
Hero by Maren Morris

Potential Reviews:
Multiple singles are receiving considering
Dig Your Roots by Florida Georgia Line
Dylan Scott's Self-Titled Debut

Single Review: Metallica Returns With Ferocious "Hardwired"

I'd caught wind of a new Metallica album being released this fall, but it's still a surprise any time a first single is released nearly 8 years after a band's last album. Metallica seems to have gone the route of Tool over their past few albums, taking their sweet damn time between records, but who could blame them? Every single band member is at least 51 years old. Some bands prove to be prolific when it comes to album releases, but some don't want to rush anything for the sake of meeting some arbitrary time limit. Of course, I'm sure the fact that the members of the band don't need the money has something to do with it, but art isn't that black and white, either. Let's just be grateful that Metallica is still making music.

The new album Hardwired...to Self Destruct will come out on November 18th, and the first single "Hardwired" was released on August 18th. I woke up and read about it that morning, and had to take a listen. Frankly, it was refreshing to hear new music from a band I've respected for a long time, even through the St. Anger days. It did help that followup album Death Magnetic was pretty damn good, despite production issues. It's hard to believe that it's already been 8 years since that record was released.

The long wait still takes its toll on fans, though, particularly those of us who hope to hear music that resembles 1980s Metallica as opposed to anything released after ...And Justice For All. "Hardwired" is fairly close to the sound of early Metallica, and it definitely has the speed and anger needed to excite fans about the album's release in November.

The song is very aggressive with a great main riff and a breakneck pace that sets the tone from the first few notes. James Hetfield is channeling his younger days as vocalist. Age does show itself in his delivery, which isn't necessarily a bad thing. It adds a level of conviction to his voice brought on by years and experiences. The lyrics aren't anything special, but they aren't terrible, either. The idea of being our own worst enemy isn't groundbreaking, but it's observable in every day life and I enjoy Metallica's take on it.

Overall, "Hardwired" is a solid first single that hopefully gives some sort of indication of what the new album sounds like. 6/10

Cody Jinks' Hard-Hitting I'm Not the Devil

There's always a place in country music for worn and weary storytellers like Cody Jinks. His deep voice etches itself in the mind, feeding on emotions and traumas long buried. Whatever it is that you don't want to feel, Cody Jinks' music will find it, drag it out, scare you half to death in that process, then heal you in ways you didn't know you needed to be healed. A great Cody Jinks song is like a great novel, forging new perspectives and establishing an important role in one's life at the time.

For me, the first of those songs was the incredible "David," a haunting tale of good intentions gone wrong. I stumbled across it while reading a great piece on Saving Country Music (check out that website if you love country music--it's fantastic), and since then Cody Jinks has been a regular listen for me. His last album Adobe Sessions was as authentic as it gets. I was reminded of great singer/songwriters like Jason Eady and Chris Knight. When I first heard the title track to his new album I'm Not the Devil, I was as excited as I've been for an album in quite some time, and with new releases from David Nail, Lori McKenna, Brandy Clark, and Sturgill Simpson in the past 6 months, it's safe to say that it's been an excellent spring and summer for country music.

I'm Not the Devil was released last Friday (12 August) and has since been worn out with repeated listens for me. It's pure hard country music. Not an ounce of filler and not one bad song to be found. Nearly every mainstay instrument in traditional country can be found on this album. I'm particularly fond of the way the steel guitar was used, accenting the emotion in certain lyrics, careening through the twists and turns of each song. Several songs make prominent use of piano, especially standout track "Give All You Can" where every note is incredibly haunting. It'd be hard to find a more diverse instrument than the piano. It can convey the happiest emotion or create a feeling so ominous that it's hard to shake. The way it was utilized on I'm Not the Devil is breathtaking. The arrangements perfectly complemented Jinks' lyrics and vocals.

Lyrically, they don't come much better than Cody Jinks, especially with heavier material. The way they write is very different, but Jinks' lyrics make me draw comparisons to Jason Isbell's darker songs. You'll feel something that seems strong one moment, only to have a line come around later that brings you to your knees. The lyrical highlight of the album for me is the ending of "Give All You Can" where Jinks continually asks "What are you living for?" Not only did it tie in great with the rest of the song, it felt like Jinks was posing a question to listeners. Rarely does a song inspire such a deep level of introspection, and that introspection made "Give All You Can" the most emotional moment on an album full of great songs.

"No Words" might be one of the best love songs I've heard in quite some time, revolving around how hard it can be to adequately state what somebody means to you. The verses describe the awareness of the narrator himself, with lines like "You could be much better off/God knows without me," as well as "I don't believe there's good in every man like I did back then." While "No Words" is definitely a love song, it's also very reflective and honest, and what sets it apart for me is how believable Jinks' delivery is. Rather than list a bunch of specific things he's done wrong, he acknowledges his shortcomings in a general sense. Oftentimes, songs like this seem to have the singer admitting to a bunch of awful things, which doesn't always come off as realistic. The way Cody Jinks decided to tell this story is believable, and certainly tangible for many people. I know I heard many of my own flaws described in this song, as will other listeners. "No Words" is wonderfully powerful.

Another obvious standout on the album is "Grey." What a damn fine song with excellent lyrics and a great arrangement. "Rediscover all the color in the grey" Jinks sings at the end of each chorus, which speaks to the ease one can find when they take the time and look back on how life has unfolded. Other highlights include the title track, "Chase That Song," and the great cover of Billy Don Burns' "Church at Gaylor Creek."

By the time the album ends, listeners will feel like they've run through every emotion they could possibly feel, but they'll be better people for it. As I've said, there's an odd healing that comes with heavy material in the hands of such a gifted songwriter. Cody Jinks sings about real people and real situations--it's easy to hear one of his songs and think about something in your own life. He's a fast rising Texas artist with a lot to say, and he has an uncanny ability to maximize whatever it is he's trying to convey. If you hadn't heard of him before this review, you'll want to dig through his discography. He's a special talent.

I'm Not the Devil is a truly wonderful album, and will have a case to make for the best album of 2016. 9/10.

Standout Tracks:
"I'm Not the Devil"
"No Words"
"Give All You Can"
"Chase That Song"
"Grey"
"Vampires"

Concerts in the Garden: Sam Outlaw

Every summer, the North Dakota Museum of Art presents their Concerts in the Garden series. The last concert for the season in 2016 featured Sam Outlaw, a country artist from Los Angeles. I didn't even know about this concert until yesterday morning. Sporadic heavy rainfall on Monday night turned grain harvest into a no-go on Tuesday, so I was looking for something to do last night to relax. For some reason, I decided to see if there was one more concert in the garden before UND's fall semester begins. After seeing Sam Outlaw's name on the schedule, my Tuesday night was settled.

The very talented Molly Parden opened the evening of music. Unable to leave work early enough for a 6pm start time after an hour's drive, I missed most of her performance. Luckily, she was a part of the band backing Sam Outlaw on stage during his set. Outlaw, Parden, and two other bandmates took the stage and played "Cry For Me" to kick things off. It's a great song that has been released for over two years, and was on the track list of his self-titled digital EP, but didn't appear on his only studio album to date, Angeleno. After that, Outlaw weaved his way through cuts from both releases, throwing in a couple of covers as well as one or two new songs that were very good.

The most impressive thing about Sam Outlaw as a performer was how easily he interacted with the crowd. He was hilarious between songs, telling stories about each song as well as the time he spent in South Dakota during his youth before his family moved to California. There was something about him, an odd mix of confidence and humility. It's like he knows that he's talented but won't let that confidence turn into arrogance. Not only was it easy to enjoy the music, it was easy to like Sam Outlaw the person. It was refreshing to see a performer who is so obviously down to earth and genuinely happy to have a platform to share his art. He also regularly gave credit to each of his band mates, more than most artists do. It was obvious that they all get along in general. Not only were fans enjoying themselves, so were the four people on stage.

Outlaw's brand of country music was well-received by concert-goers. It seemed that everybody was enjoying themselves and I found myself getting lost in each song, absentmindedly singing along (hopefully not so loud that those around me could hear). I've owned Angeleno for quite some time now, and have been listening to it regularly. Not until last night did I realize how much each song stuck with me--I knew damn near every word.

Highlights from the set include "Ghost Town," arguably the best song on Angeleno, as well as the tender ballad "Country Love Song." Outlaw played a new song called "She's Playing Hard to Get Rid of" that provided a bit of a laugh as well as an emotional punch as he detailed such a relatable relationship story in the lyrics. He also played a great cover of Clay Walker's "If I Could Make a Living."

At the end of Outlaw's set, I had that feeling of lightness that comes with any great concert, like nothing could ruin the night. It's the main reason that I love live music. After being fortunate enough to see Sturgill Simpson and Sam Outlaw live in less than a week's time, I can't say that I've ever had more fun with music.

If Sam Outlaw passes through your town, get tickets and go to the show. It's more than worth it.

I "Kinda Don't Care" for Justin Moore's New Album

There are times when Justin Moore is genuinely likable as an artist. He is certainly capable of releasing solid country music, but most of the time he's trying so damned hard that I have trouble getting past it. Most annoying for me is his hammed up twang--it's so gimmicky and obnoxious that it's an immediate distraction.

Nevertheless, with great songs like "Grandpa," "Small Town USA," and "If Heaven Wasn't So Far Away" in his catalog, I always pay attention to what he's releasing. On Friday, August 12th, Moore's album Kinda Don't Care dropped, and along with it came news that he's tried out some contemporary country elements. Not that he wasn't somewhat contemporary before, from the distorted guitar to certain lyrical tropes, but now he's thrown drum loops, gratuitous vocal effects, and synthy nonsense into his songs. The only instance where it kinda works is "Somebody Else Will," which is one of the few standout tracks on the album.

Even if Kinda Don't Care wasn't littered with artificial sounds, I'm not positive that I'd like it all that much, anyway. Justin Moore does not come off as authentic to me, which is key when it comes to playing and promoting country music that leans in a more traditional direction. By this point, it might be better for him to drop the shtick and just release a contemporary album.

There are an astounding number of bad songs on this record. I just can't wrap my head around how some of these tunes seemed like good ideas. "Put Me in a Box" is a title that had my hopes up, but it's incredibly awkward as Moore continually sings "Put me in a box, girl, put me in a box." It's a refrain that was old the first time it was sung but it's completely overdone in this song and Moore's vocal performance does nothing to make it better. Eventually, a tune called "Got it Good" starts playing and I begged it to stop after the very first note. Easily the most commercial track that Moore has ever recorded, "Got it Good" is egregiously pandering, to the point that it's almost funny. This song is, quite frankly, a disaster, and to hear Justin Moore sink so low is not unexpected but still kind of sad. Hold on a second, though--it gets worse. Moore includes a duet with Brantley Gilbert on Kinda Don't Care called "More Middle Fingers" and it's as bad as it sounds. In a way it's hilarious, because you've got two over-exaggerated vocal styles trading lines in one song, Moore with his twang and Gilbert with his silly growl-vocals. Unintended comedy at its finest.

At the very least there are a handful of really good songs like the lead single, "You Look Like I Need a Drink." The aforementioned "Somebody Else Will" is the only contemporary-leaning song that works on the album, thanks to a great chorus. "Rebel Kids" is also a tolerable song that I found myself nodding my head to. I trust Justin Moore to release some great music, but I really want to see him just make music as opposed to selling a country boy image. His best music will come when he's an artist first and foremost. Sadly, that hasn't happened yet.

Kinda Don't Care is without a doubt Justin Moore's least enjoyable album to date. I don't know if all of these artificial additions are the result of label pressure or if he simply wants to be an A-list country star, but they cheapen his already limited sound and result in a truly disappointing album. 3/10

Standout Tracks:
"You Look Like I Need a Drink"
"Somebody Else Will"
"Rebel Kids"

Need a Good Laugh?
"Put Me in a Box"
"Got it Good"
"More Middle Fingers"

Sturgill Simpson Wows at Fargo Theater

The anticipation was evident as fans waited for Sturgill Simpson and his band to take the stage at a sold out Fargo Theater on August 10th. Fans, talking amongst themselves and sipping on their choice of drink, eagerly and patiently waited for a night of wonderful music to begin.

As soon as the band hit the stage and launched into "Sitting Here Without You," it was apparent that fans were going to be treated to something special. Simpson and his 7 piece band (including horns) easily worked their way through songs from his 3 studio albums while sprinkling in brilliant covers here and there. Most astounding was the way the horns worked their way into the material from his first two albums, High Top Mountain and Metamodern Sounds in Country Music.

Simpson was excellent at engaging the crowd throughout the night, making people laugh by commenting about how "moist" it was in the humid theater and responding to a handful of "I love you, Sturgill!" comments with hilarious replies that surely made the day of whichever fan communicated with him each time. His Kentucky drawl filled the theater, keeping everybody's attention with ease. He introduced his entire band at one point, including renowned guitarist Laur Joamets who came across as effortlessly talented, never seeming to lose his composure while bending his fingers through one great lick after another. Joamets credits Simpson for helping him develop as a guitarist, which isn't  surprising considering how skilled Sturgill is on the guitar. Throughout the night, Simpson had complete control of the instrument, displaying his talent with ease.

The band often veered into extended jam sessions in the middle of or at the ends of songs, allowing the horn section and Joamets to thrill the crowd with unexpected moments not heard on the studio releases. Most songs were played slightly different from how they were recorded, putting a distinct focus on the performance aspect, and allowing fans to enjoy the music in ways that they hadn't been able to before the concert. Simpson and his band are world class musicians playing arguably some of the best music floating around country and rock landscapes today, though it'd be foolish to say that those two genres give fans a good idea of Simpson's sound. There really isn't any way to comfortably place him in any one genre, which is undoubtedly part of what makes him great in the first place. Whenever critics and fans try to place him, Simpson comes back with his next release and transcends genre lines. To say his 3 studio albums sound drastically different from one another would be an understatement to the obvious.

Highlights from the night vary between the softer material, including a killer cover of When in Rome's "The Promise" from his second album, and the louder, more aggressive material such as "Brace for Impact (Live a Little)" from his most recent release. "The Promise" included an excellent solo from Simpson's sax player, while "Brace for Impact" was pure energy, even during the slower first section of the song. Another clear highlight for me was his cover of  "I Never Go Around Mirrors," and as a classic country fan I can only hope that most of the audience knew what they were listening to as he easily conveyed the emotion of the song. Simpson ended his set by playing A Sailor's Guide to Earth from front to back. The closing song "Call to Arms" was extended by several minutes with a furious jam session, ending the concert as fittingly as anyone could have dreamed.

As a fan, the quality of music was so very moving and the level of happiness I felt throughout the nearly 2 hour set was incredible. There wasn't a single song played that I don't have some level of appreciation for, which is a rarity for me as a passionate music enthusiast. Almost every artist has recorded songs that irritate me, but nothing in Simpson's catalog bothers me, nor do any of the covers he chooses to perform on a regular basis. I'm not positive that it was my favorite concert experience just yet, but it's damn close and may just take the top spot after I've had more time to think about it.

As the band walked off the stage to a standing ovation, Simpson stuck around for a few more seconds to throw guitar picks to fans, then simply said, "Thank you, Fargo" before he stepped behind the curtain.

*Written by Kellen Dobmeier, edited by April Dahlgren

Upcoming reviews: 

Cody Jinks--I'm Not the Devil

Justin Moore--Kinda Don't Care

Tremonti--Dust

Single Review: The Band Perry Attempt to Play the Victim

Almost a year ago, The Band Perry released "Live Forever" as a single. Overwhelmingly poppy with lyrics that make absolutely no sense, the song was a sharp change in style for the group and proceeded to flop on country radio. All discussion of a third studio album called Heart + Beat seemed to disappear. They held on for dear life for as long as possible, even playing some awkward disaster called "Put Me in the Game Coach" (as well as some other potential album cuts) in their live sets, but eventually they parted ways with Big Machine Label Group.

Fast forward to July and August of 2016 and they've signed a new record deal with Interscope and have released a new single called "Comeback Kid." While the song itself is catchy and unoffensive, it's the lyrics that stand out and force aware country fans to take issue. The song begins with the lines "They like to kick you when you're down/they like it better when you're there on the ground," and the rest of the song pretty much says similar things with a chorus revolving around being a "Comeback Kid." Such a statement from a group who fell out of the spotlight by their own hand is surprising and rather irritating. The Band Perry had a loyal following who enjoyed their original sound, but apparently it wasn't OK for fans and critics to be upset about the band's attempt to make such a drastic change in style.

For an artist that had found a niche on country radio as something of a country/bluegrass/pop crossover group, it wasn't necessarily surprising that they attempted to go the pop route much like Taylor Swift, but what The Band Perry didn't realize is that they never had the obsessive following needed to power such a drastic move. Not only that, but many of their fans were country music purists who liked their crossover style, and they were not happy with the out-of-the-blue change in sound. What The Band Perry hoped would be a huge boost to their career actually ended up jeopardizing it. In other words, siblings Kimberly, Reid, and Neil are victims of their own poor decisions.

Don't get me wrong, The Band Perry have some real talent, especially when they display their bluegrass and country influence, and hell, even the more pop-tinged songs aren't half bad. There's nothing inherently wrong with pop music, but I'd just like to see The Band Perry own the fact that they attempted to go in that direction. I hope they can resurrect their career, but I don't know why they need to go about this business of backpedaling and acting like these things never happened.

They can pretend  all they want, but the new music they were playing at the time spoke for itself. It was as basic as possible, lacking so much in creativity that one wonders why a group of songwriters even bothered to put the pen to paper. I'd like to tell readers that there's further evidence on YouTube, but it seems that any video recordings of these songs have been removed.

Now, don't get the idea that The Band Perry lacked pop elements beforehand. They were certainly present, but what was also present was definite bluegrass influence, and that was nowhere to be found on "Live Forever" and is practically vacant from "Comeback Kid," as well. There's a little bit of picking during the chorus but it's no different than a little steel guitar lick worked into the latest pop-rock or hick hop song that hits mainstream country radio. It's a doctored up pop arrangement. Is the song itself terrible? Not really, but what it represents is bothersome and dishonest, in my opinion. 2/10.

Rock Review: Skillet's Unleashed is Downright Boring

There is nothing I find more irritating than when a good rock or metal band decides they need to add electronic nonsense or jarring synths to their sound. These elements can be used tastefully, but they can also be so prominent that they drown out the rest of the instruments and overwhelm the listener. There's one way to make it even worse--adding obnoxious effects to the vocals, and in some cases such obvious pitch correction that it grates on the ears. With Skillet's Unleashed, we see the worst of such bad decisions.

Save that shit for mainstream pop artists trying to sell us boring, banal songs. I remember being thrilled by the sheer passion on albums like Comatose and Collide. Everything was so raw and believable, but now Skillet's sound is so decked out with bells and whistles that it seems fake. I understand the desire to not want to sound too similar from album to album, but there's a way to change things up with guitars, piano, strings, drums, and vocals without adding artificial elements that sound bad when sampled in a live setting. To be as blunt as possible--Unleashed sounds like a very basic rock album with an early 90's video game on full volume in the background.  

Lyrically, I'm disappointed to say that nothing really stands out on this album. This is a surprise considering the band's penchant for darker songs like "The Older I Get" or dark but uplifting songs like "The Last Night." They were so good at thrilling fans lyrically, and it didn't require that fans were Christians to enjoy the music, either. Skillet has been among openly Christian bands that don't venture into preachy territory, which has always been a strength of theirs, but when the material is sub par and held down by too much fluff, not even that can make it worthwhile. Unleashed is simply boring.

Another element that made them unique was how prominent strings were on past releases. Comatose was absolutely refreshing in 2006 and still stands tall in 2016. Unleashed will be a collection of deep tracks 10 years from now. If anything makes this album worthwhile, it's the one great tune in "I Want to Live," which sounds as close to the Comatose days as any song on the album. There are also a couple of excellent guitar solos courtesy of lead guitarist Seth Morrison scattered throughout Unleashed.

Speaking of guitar solos, the album ends with an excellent solo backed by the most aggressive rhythm work on the album, which led me to think, "Where the hell was this the whole time?" The old cliche is "Don't fix what ain't broken," and perhaps Skillet should take that to heart for future releases. 3/10

Standout tracks:
"I Want to Live"

Cody Johnson Hits His Stride With Gotta Be Me

All Cody Johnson has ever needed to do is reel himself in a little bit during the songwriting process. He's always come off as something of a salesman in his music, like he has to convince us to believe he's country, when that really shouldn't be necessary considering what he's done in his life. Cody Johnson is a real bull rider, and has worked at a prison during his life, keeping track of inmates on horseback. His story is very western, and he likes to make mention of that, but I'd always thought he was trying to sell it to listeners a little too much, like he's the Justin Moore of the Texas scene (only with a lot more talent).

I think he's found the sweet spot between selling himself and representing who he is on his new album, Gotta Be Me. The only downside to this record is the dumb title, as far as I can tell. Most striking to me are the instrumental arrangements. Johnson and producer Trent Willmon did a fantastic job of picking which traditional instruments to use in each song, often creating such an overwhelmingly country sound that Johnson's smooth, powerful voice paired perfectly and maximized the potential of each individual song.

Lead single "With You I Am" has been released for quite awhile now, and while I really like the song, it initially had me worried about the direction of Gotta Be Me. Too many times we've seen the narrative of a staunchly traditional artist finally caving to trends to chase stardom. "With You I Am" is not a sellout song, by any means, but it is the most radio-friendly song of his career.

One listen to the first few songs and all of my worries disappeared. This album is pure fun, pure traditional country, from the first second to the last. There are some classic country tropes, but when the songs are composed and sung well, I don't see that as a detriment. It's hard to pick real standout songs when each track is so catchy and well written, but "Wild As You" and "The Only One I Know (Cowboy Life)" stuck with me between listens. "Wild as You" has to be one of the catchiest songs I've ever heard, and if listeners choose to buy one song to see if they like Cody Johnson or not, that'd be the one to purchase. I also thought that "Kiss Goodbye" was a nice twist on spoken word verses. Johnson obviously isn't Red Sovine, but who is?

If Gotta Be Me has any missteps, it's in decisions outside of the songs themselves. While "Gotta Be Me" is a nice tune, and the idea of it as the title track makes sense in regard to Johnson's life, it looks really hokey as an album title. I also don't like the odd logo sitting above Johnson's name. It doesn't really look like anything in particular and sticks out in a jarring kind of way. These decisions obviously don't affect the quality of music, but seem odd nonetheless.

After a handful of albums, Cody Johnson has finally found his sweet spot with Gotta Be Me, and with his avid fan base supporting him, expect to start seeing his name pop up more often in the country music landscape. 8/10

Standout tracks:
"With You I Am"
"The Only One I Know (Cowboy Life)"
"Kiss Goodbye"
"Wild as You"
"Every Scar Has a Story"

Jake Owen Covers Too Much Ground on American Love

On Friday, July 29th of 2016, Jake Owen drove to the Walmart in Minot, North Dakota, bought out the remaining copies of his new album American Love, then took the time to talk with fans inside and outside of the store, signing copies and giving them to people. One of those copies went to a young girl who'd been through treatment for cancer, and Owen proceeded to invite her and her family up onto a section of the stage for his concert at the North Dakota State Fair that night. From what I could tell, he covered tickets for anybody he met with who didn't have them already, as well. Needless to say, I am a huge fan of Jake Owen as a person. As an artist, I wish he'd pick a lane because he's very talented and I want to see his musical vision reach its potential.

I really don't mind the pop songs in his catalog. He does them better than most and his voice is impeccable. At the same time, his undoubtedly country songs are excellent. "Tell Me" from Easy Does It comes to mind, as does "Heaven" from Barefoot Blue Jean Night and, most recently, "What We Ain't Got" from Days of Gold. I also can't forget to mention "Startin' With Me" and "Don't Think I Can't Love You" from his debut album. Quite frankly, when Jake Owen records a country song, it's almost always a damn good country song.

But he veers too far into non-country territory these days to think of him as a country artist. The arrangements are very poppy throughout most of American Love, and I will outright state that this is not a country album. It's a pop album with two country songs near the end, including the album's best song, "LAX," and the clunky but satisfying "When You Love Someone." Is it a bad album? Not in the slightest, and I credit Jake Owen for making mostly good music regardless of genre, but the issue I take with him is that he's marketed as a country artist but isn't releasing mostly country music. He's not the only perpetrator of this all-too-common misstep, but he's shown himself to be capable of so much more.

American Love opens up with the title track, which is a forgettable. "After Midnight" comes next and is a very good song, but it is a pure pop song so some fans may not like it. I'm not a huge fan of "liking good songs anyway" when they're presented to me as something that they aren't, but it'd be dishonest if I were to say I don't enjoy the tune. "Everybody Dies Young" at track 4 has a nice sentiment but it's a little too fun for me. I think such a subject should be a bit heavier, lyrically, and you can't convince me that there wasn't a way to make more of the idea.

"LAX" sits at track 7 and, as mentioned, is the best song on the album. With prominent steel guitar and excellent vocals, Owen (who went through a divorce in the last year) chooses to take the high road instead of releasing a bitter breakup song. The perspective of the narrator on "LAX" is absolutely refreshing in a day and age where everybody wants to record a childish, vicious kissoff song when they go through a divorce or breakup. Kudos to Jake Owen for showing maturity and class.

"If He Ain't Gonna Love You" is pure fun and features a great guitar line and excellent backing vocals by Chris Stapleton. This song is incredibly catchy and is almost guaranteed to be a single at some point. The album closes with 3 solid tunes, though the first in line is "When You Love Someone," which is held down by some really odd lyrics. "It ain't rocket science, baby, it ain't arithmetic"--imagine hearing somebody sing that line. Well, Owen does in "When You Love Someone" and not even his voice could save that moment from being incredibly awkward. Nevertheless, it's a fairly good song and the other country song on the album. "You Ain't Going Nowhere" sits at track 10 and, though it isn't a country song, it's a damn good song, with a great chorus and classic subject matter.

"American Country Love Song" is the lead single and closes the album strongly, but again, it's not a country song by any means. Where record labels got this idea that you can record a pop-rock arrangement and call it country is beyond me, but that's the nature of the game right now. At the very least, "American Country Love Song" is a good song carried by Owen's vocals.

In the end, American Love is remarkably unoffensive for an album being presented as country even though it's pop record. I honestly thought Owen perfected that kind of record with Days of Gold, which had a handful of truly great songs. My main problem with the record isn't that the songs are bad, it's that there are too many genres being thrown together for the album to be cohesive. It's one thing for an artist to want to show all their influences, but sometimes they try to be too many places on the map at once. American Love is a bit of a step down but overall it's a collection of mostly solid songs with a handful of great tunes. 6/10

Standouts:
"LAX"
"If He Ain't Gonna Love You"
"You Ain't Going Nowhere"
"American Country Love Song"

Duds:
"Good Company"
"American Love"

Upcoming Reviews:
Cody Johnson--Gotta Be Me
Skillet--Unleashed
Justin Moore--Kinda Don't Care
The Band Perry- Comeback Kid (single review)

Sarah Jarosz Strums, Picks, and Sings Her Way to Stardom

I had just moved back to my hometown when I first heard Sarah Jarosz. I'd write short stories while CMT Pure played on my TV, back when that station featured fringe artists from Americana and alternative country. I remember working on what became my best short story to date when Jarosz's song "Run Away" came on. I was drawn to her voice at first, especially the soft high notes in the chorus. Upon further investigation I found out that she was a string instrument prodigy, and is especially proficient on mandolin, banjo, and guitar. Her second to last album, Build Me Up From Bones, was nothing short of excellent and an obvious progression, and at that point I was sold. She recently released her fourth studio album, Undercurrent.

What's obvious upon the first listen of Undercurrent is how Jarosz has progressed as a singer and songwriter. Her vocals sound better than they ever have, and the breathy moments from her first couple of albums are nearly gone. Don't expect any pop acrobatics, but Jarosz has developed into a very capable singer with no shortage of talent or technique. Conviction is also a major part of what makes her stand apart from other artists. Much like recently reviewed Lori McKenna, Sarah Jarosz has a vocal style that is instantly believable. She's not trying to sell anything; she's felt whatever it is that she's singing about, and listeners will, too.

The picking on this album really strikes me, as well. It's not necessarily a bluegrass kind of picking, either, or not so much in the traditional sense, but in each song it's striking and unique. Standout track "House of Mercy" comes to mind immediately with its infectious introduction and chorus. The sound of the song is so ominous and worrying, and the lyrics are quite dark, but listeners will find themselves singing along, anyway. "Back of My Mind" stands out as well, with it's finger picked introduction and tangible story of moving on. It's hard to adequately describe the arrangements on Undercurrent, but if I were to try, I'd say that they sound very natural and fitting for each song.

If I had to state what I like best about this album, it'd be that nothing seems unnecessary or arbitrary. There are no instrumental segments that seem out of place or forced, no show-off moments that threaten the overall composition of each song. Perhaps that is what I like most about Sarah Jarosz as an artist--she can show me how talented she is through overall compositions, as opposed to extended instrumental interludes or overly flashy picking that clashes with everything else in the song. At 25, she has an astonishing understanding of her craft and instead of going through a "look at me!" phase that some very talented artists do when they're younger, Jarosz displays restraint and respect for the songs as a whole. It's clear that there's a more refined skill level involved with the instrumental arrangements on this album, but the cohesiveness of it all is a major accomplishment.

Overall, Undercurrent is an excellent album hiding under the Americana umbrella waiting to be found and enjoyed by adventurous music fans. 9/10

Standout Songs:
"Early Morning Light"
"House of Mercy"
"Back of My Mind"
"Comin' Undone"
"Take Me Back"

Mark Chesnutt Brings the 90's Back to Life

Holy fiddle and steel, 80's and 90's country has life again! Mark Chesnutt may not have been the first name fans thought of in his heyday, but by god did he release some great music. Songs like "Too Cold at Home," "I'll Think of Something," and "Bubba Shot the Jukebox" come to mind very quickly when Chesnutt's name is mentioned. About the only mistake he made was allow label pressure to convince him to record a cover of Aerosmith's "I Don't Want to Miss a Thing," a decision he supposedly regrets to this day.

Fast forward to 2016, a year in which his name is all but forgotten, and Chesnutt releases a very good traditional country album. Tradition Lives is spearheaded by the excellent single "Oughta Miss Me by Now." The album excels in both its lyrical content and the staples of traditional 90's country--fiddle, steel guitar, and more prominent acoustic guitar as opposed to today's leanings toward distorted electric guitar. Not only will the lyrics drag listeners through the valleys of heartache, but the instrumental arrangements will bring back memories of a better time in mainstream country.

Tradition Lives is without a doubt a darker album, with most of the songs dealing firsthand with relationship issues. Some songs are slower, but even the faster paced songs, one of which is the lead single, pack an emotional punch that'll strike listeners as both tangible and oddly therapeutic. The slower songs are almost hard to listen to in that you believe every word that comes out of Chesnutt's mouth, and hope to never experience something so difficult as what the song's narrator is going through. Standout song "So You Can't Hurt Me Anymore" is dark and dreary from the beginning, with an excellent acoustic intro that could lead into any sad song in any genre.

Chesnutt tackles difficult topics on other songs, as well, particularly on the faster-paced but very dreary "Neither Did I," which discusses a man who's destroyed a good relationship with bad habits and ignorance in regard to how he was treating his partner. "Losing You All Over Again" is another standout that will have listeners in its grip while Chesnutt sings about running into an ex and how difficult it can be for some people.

What I liked most about the album is the way it took the country sound of the late 80's and early 90's and made it sound better than it ever has due to the recording quality made possible by today's equipment. Every instrument sounds incredible.

The album only has only one real misstep, as far as I'm concerned. "Hot" is boring and pointless in regard to the rest of Tradition Lives and seems an almost arbitrary inclusion. Thankfully, it's buried near the end of the album and isn't in a place where it interrupts flow early on.

It was hard to know what to expect when I heard that Chesnutt was releasing a new album. Some older artists have made a comeback in recent years only to release sub-par material, like Garth Brooks and Clay Walker, but Tradition Lives does not fall into that category. It's definitely a good album, and is something traditionalists should love. 7/10

Standout songs:
"Is it Still Cheating"
"Oughta Miss Me by Now"
"So You Can't Hurt Me Anymore"
"Losing You All Over Again"
"What I Heard"

Up next: Undercurrent by Sarah Jarosz