My Life in Pictures

It's no secret that I'm a huge fan of dirt track racing. Pictured here are the two NOSA sprint cars that I follow fairly closely throughout each season. The Buffalo Wild Wings #13 car is driven by my third cousin, Mark Dobmeier. The multi-sponsor #27 is driven by Chris Ranten. I also keep good track of how Jordan Adams is doing each season in the 20A car. Obviously, family loyalty has made Mark my favorite racer since I was a kid. Ranten and Adams are two drivers I've seen from their very first seasons, and it's been fun to watch both of them develop into drivers who, if they can make enough races each season, are often finishing in the top 5, and hopefully snagging a few feature wins here and there. Folks, if you aren't watching local sprint car racing, you're missing out. 

My dad and I took a narrow road through some hills last summer. Northeast North Dakota is not flat at all if one knows where to go. This was fun. Had the road been in better condition, I think we might have returned in the fall when the colors were changing. 

A street stock driver whose name I can't recall had himself a pretty scary wreck. His car came partially through the fence. While I'm sure he knew he'd stop, it has to be nerve-wracking to see fans not 20-30 feet from the car after a wreck. 

Kristin Hannah has been one of my favorite authors over the past year. Even her lesser novels have sections of truly moving narrative. Pictured here is Magic Hour, which is my second favorite Hannah novel so far. If you're curious, give her books a chance. You won't be disappointed. 

I can't honestly tell you what this is without asking someone with more knowledge of antique farm equipment. It's a beautiful piece. I'm always happy to pass it by when I'm fixing fence in the summertime. 

This picture struck me because of the evil mushroom shadow. The middle top bag is actually a different variety from the two outside toppers. Thank goodness a co-worker caught this because I hadn't noticed. We were able to re-locate it to its proper place. 

Yes, I was that guy when Pizza Corner changed their packaging. Side by side. The old packaging was significantly better. The new pizzas freezer-burn faster because they aren't airtight. It's still darn good frozen pizza if you watch for when it's on sale. You just have to eat it sooner. 

When we are busy, we end up with temporary help who are sometimes forklift qualified, so we have them pass our necessary tests and then have them operate lifts in a pinch. They are usually decent operators, but I prefer not to have them stack bags, and here is a prime example of why I usually keep them to simpler tasks. Some newbie placed a bag about 6 inches past the front of the bottom bag. There was another bag on top of this. What could go wrong? Thankfully somebody pointed it out to me and we were able to break the stack down and fix it. 

Dolly (left) and Porter (right) can both behave much better than they usually do. Especially if you have treats in your hands. Brats. I sent this picture to a friend with a caption that read, "230 pounds of utter chaos somehow behaving long enough for me to take a picture."

This is the most recently born calf at the Dobmeier farm (4/7/2019). Cute little bugger, eh?

I haven't studied stoic philosophy all that thoroughly, but I do find their general way of thinking to be very beneficial for my everyday perspectives. Life is bigger than one thing, be that a partner, a job, or even a passion. Don't let emotion rule your life. 

I stumbled across this picture one day and it moved me very deeply. I love the song "Where Were You (When the World Stopped Turning)" by Alan Jackson, so obviously this caught my attention. 

Ruston Kelly's Dying Star is the Essential Album of 2018

Every year a seemingly random artist releases a monster album in the underground country scene. In the past 10 years, the first album that comes to mind is Jason Isbell's 2013 classic Southeastern. A close second to Southeastern is definitely Cody Jink's 2015 masterpiece Adobe Sessions. Jinks would double down on such an honor with 2016's I'm Not the Devil. Country music has its list of independent mainstays--some follow a non-traditional multi-genre sound like Isbell, and then there are stubbornly traditional artists like Jinks. In 2018, the best album released under the Country umbrella goes to an artist more in the vein of Jason Isbell. Ruston Kelly's Dying Star is an introspective masterpiece.

There's a bit of context to establish here--not everybody knows that Ruston Kelly is Kacey Musgraves' husband. He's one half of a very  talented musical household. Kacey Musgraves made quick, easy work of the 2018 Grammy awards with her own excellent album in Golden Hour. I reviewed that record and, while I don't personally like it as much as some critics, its expansive reach was obvious and the success it brought to Kacey Musgraves wasn't in any way surprising. And most importantly, it was well-deserved, which just isn't the case with every Grammy winner. Readers can fill in the blanks for themselves, there. 

Dying Star is dark yet hopeful, moody but controlled, not too short and not too long. "Blackout" is one of the two best songs on the album, and perhaps the darkest of the bunch. It speaks to how a failed relationship can spark substance abuse without making some sort of moral statement. In a refreshing way, "Blackout" also doesn't condone that kind of behavior. 

The other standout has to be a fan favorite entitled "Mockingbird." Kelly has been playing this song for several years now. Everything is perfect, from the emotions conveyed by the  harmonica in the intro and bridge, to the cleverly written lyrics throughout. For guitar nuts like myself, there's a well-written finger-picking lick played in the intro and at different parts throughout the song. As far as I'm concerned, this song has everything.

 "Mockingbird" is definitely my favorite tune from Dying Star, and I don't think I can find any more words to do it any real justice. 

The remaining songs on the album don't necessarily come up short of "Blackout" and "Mockingbird." Those two just happened to be the songs that most connected with me as an individual listener. A very close third is "Jericho," which might have the cleverest chorus on Dying Star, even if "Blackout" carries more punch. If I had to name 3 essential songs from this album, those 3 would be it, no doubt about it.

Kacey Musgraves provides backing vocals on several songs, most notably "Just For the Record." Unsurprisingly, her voice blends very nicely with Kelly's.  Musgraves and Kelly are very dynamic on the same stage--live videos on YouTube showcase as much. I almost feel unfortunate for the fact that I knew it was coming. I think listeners unfamiliar with Kelly and his marriage to Kacey Musgraves will find it to be a nice surprise.

The sound of the album is what most strikes me aside from the lyrics. One song can be a traditional sounding country standard with steel guitar.  The next sounds like a classic Ryan Adams-esque Americana song.  Despite those sonic differences, Dying Star has a very nice, cohesive structure. 

The praise I could heap on this record is endless. I feel blessed to have heard it. Do yourselves a favor and listen to it. 

I've got no criticisms of this album. 10/10

Winter 2019

An early winter sunset. I think this was in either November or December. Every North Dakota sunset is unique and worthwhile. If you're outside and you aren't finding yourself a view, you're missing out.

This Bull Moose was sunning in a field east of Donaldson, Minnesota. We came upon this guy on our way to look at a truck West of Greenbush. We called some friends who were heading up that way for different reasons and they got to see him, too. Nature only allows a handful of sightings a year. We have to appreciate them when they happen. 

This was the west overhead door at my workplace after the biggest snowfall total of the year. This drift went out a good 50-100 feet from the building. We had to wait for snow removal to even try to clear the door. Backs were aching, swear words were said. It's been a tough winter. 

Here's a midwinter sunset. As you can see, I have a world class view from my family farm. Those three pines on the right always add a little extra character to my pictures.

Calving season is upon us. This little guy wanted up out of the snow and manure. Thankfully we saw him before we re-filled the feeder. Small calves love to lay in feeders--you can't be too lazy to check or you'll kill a young animal and hurt your pocketbook come time to sell. 

Dolly is a very friendly dog, but she's very strange. She rarely lets anyone pet her unless she's inside or she knows she can get away. She doesn't like to be put on a cable--that's for sure. Here I am, scratching her ears, which she is only allowing because there's a cattle gate between us. 

A recent sunset. Gone are the dulled colors of frigid winter. I think we've finally turned the corner (knock on wood).

The Return of the Hayloft/Wade Bowen Review

What can I say? It's been a long time, which is compounded by the fact that my last 3-5 posts/reviews have had such large gaps between them. Life happens, I guess, but that's just an excuse. Now and in any other context that it's used. Life happens.

The purpose is much the same now as it was at this blog's origin. I'm here to write about things I'm passionate about while also hoping that it jump-starts my short fiction writing. It worked the first time, so why not try it again? 

I'm going to attempt to incorporate other aspects of my life into The Hayloft, not just music reviews. Be on the lookout for pictures from life in Rural America, work in the agriculture industry, beautiful places in northeast North Dakota, and opinion pieces. Sometimes all a person needs to quiet their mind is a place for their thoughts. I'm going to give it a try. Also, I will be reviewing albums from any format and from any time period. There will still be some new releases, of course. If I feel passionately about an album, I want to review it, and so I will. 

Thanks to everybody who has read and will happily continue to read, as well as any others who will begin to read as I try to get this thing going again. Your support and interest means a great deal to me. I'll be the first to admit that the review format is more rigid than I like to work with, but there are a handful of my reviews that I am truly proud of (American Band by Drive-By Truckers, I'm Not the Devil by Cody Jinks, and Fighter by David Nail, if any of you are interested in looking at my better pieces). I'll improve over time, and I need to start again somewhere. 

On to the review: Wade Bowen's Self-Titled Album

Wade Bowen is a generational songwriter, as far as I'm concerned. Luckily for us fans, we've been allowed to witness his growth in the art form. From his early days in college to the prime of his career, which I can happily say he is still in, especially after the release of his most recent album, Solid Ground. The great road block in my review process happens to be Solid Ground. I cannot find sufficient words, and every time I attempt to write the review, I fail to do the album justice. 

So here I am, retreating to Bowen's prior album, which is also fantastic. "When I Woke Up Today" opens the album on an upbeat note, and was also the lead single. It's a grower. I wasn't a huge fan right away, but over time it became one of my favorite Wade Bowen tunes. Lyrically, the song discusses the balance of highs and lows that life presents to all of us. The narrator maintains a glass half-full perspective while acknowledging hardship. "When I Woke Up Today" is dark despite its sunny arrangement, and yet light at times to counter that darkness. Much like life itself.

"Sun Shines on a Dreamer" acts as justification for the continuous effort of chasing one's dream. It's airy and cheerful and so strange to hear from Wade Bowen. Nevertheless, it's a great song, and one I'd certainly want to hear live. At track three is "My California," the first classic Bowen ballad on the album. This song, paired with "Hungover" at track 5, perfectly represent what Wade Bowen has always excelled at. Clever lyricism and grade-A hooks in each chorus. You can't go wrong with either song.

"Watch Her Drive" is an interesting left turn at six and a half minutes. Bowen continued this tangent on Solid Ground with more long songs, and he and his band are really quite good at it. "Watch Her Drive" is never boring and doesn't seem as long as it is. 

5 songs in and I'm absolutely hooked. Just like 2014 when it came out, there's no stopping once the record is playing. 

"West Texas Rain" is another standout and seems to have become a fan favorite in a live setting. "When It's Reckless" follows and is another upbeat song with a great chorus. Listeners will be replaying this one--it's easily one of my favorite upbeat songs from Bowen's catalog. At track 8 we find the album's best song. "Long Enough to Be a Memory" covers a lot of ground, from the initial move from one's hometown to the place where they'll begin to chase their dream, to the eventual road-life of all touring musicians. In each case, the narrator is a "stranger in a strange town," and yet, he concludes that each place is similar enough to "give me all I need." Bowen finishes each chorus with "and I just hope I stay long enough to be a memory." The song discusses how, even in the process of change, the cyclical nature of life always resurfaces. It's a truly great song. 

Unfortunately, that's where the album hits its peak. There's nothing wrong with the four remaining songs--they just aren't nearly as good as "Long Enough to Be a Memory." Many artists strictly follow the album format that places the strongest song either at the end of the album or near the end. It's hard for listeners to stay interested when they have four more songs to listen to after an album's best song. Nevertheless, this is my only criticism for this album. The last four songs are still good, but by default they're forgettable. 

I'd give Wade Bowen's self-titled album a solid 7/10. The follow up record, Solid Ground, is better, and hopefully I can find the proper words for it at some point. 

Album Review: Kacey Musgraves' Golden Hour

Stop me if you've heard this before: a musician with a true gift for storytelling and songwriting excels in the Country genre, but some time passes and all of a sudden Rolling Stone Country and other mainstream country music outlets are quoting said artist claiming that his or her next album won't focus on genre and that Country music can be somewhat one-dimensional and limiting. 

Sadly, that's the gist of what we heard from such outlets and from Kacey Musgraves herself as we patiently waited for the release of her new album. Golden Hour hit the shelves on the last Friday of March, and since that time it's been a struggle to find the truth hidden among all the political and anti-Country Music reviews from major media outlets proclaiming that Golden Hour is some transcendent album that'll stand the test of time. The general consensus of major media is that this is, indeed, the golden hour of Kacey Musgraves.

It isn't. That being said, it most certainly is a very good pop album with some minor country elements save for "Space Cowboy," which might be the truest country song that Musgraves has ever released, and I would argue it's her best song to date, as well. It also serves as something of a turning point in the middle of Golden Hour, because the general quality of the songs takes a horrible nosedive afterward. "Happy & Sad" and "Wonder Woman" are very good songs, but "Velvet Elvis," "High Horse," and the title track would have been best left off the album, because they're arguably the worst three songs that Musgraves has ever released. They also happen to represent the furthest that Musgraves traveled outside of the country genre on Golden Hour. Gee, that was predictable. Thankfully, final track "Rainbow" is a longtime fan favorite from Musgraves' live performances. Emotionally challenging, "Rainbow" is probably every bit as good as "Space Cowboy," and other writers have called it the best song on the album.

But that first half of Golden Hour? Country, pop, or whatever, each song is well-written, catchy, spacey, and most importantly, flat out excellent. Opening track "Slow Burn" put my worries to rest by the first chorus. "Mother" is already over after a minute and eighteen seconds, but by god if it doesn't hit home with its message and meaning. "Lonely Weekend" calls to mind the dreamy, airy pop of the 90's and I would even say that it reminded me of the softer alternative rock that was released in those years, even if it lacked that kind of instrumental arrangement. 

"Oh, What a World" probably ventures a little too far production-wise for my tastes, but its lyrics are clever and the delivery excellent. Classic Kacey from a lyrical perspective, to say the least. "Love is a Wild Thing" offers an upbeat, easy-listening reprieve just before "Space Cowboy" reminds listeners of past relationships that lacked commitment from their partners. 

At this point, it's necessary to address the elephant in the room--"High Horse." Disco-infused pop with a clumsy melody that trips over itself repeatedly. The song is said to be an effort to blend Bee Gees era disco with modern pop and country, and it doesn't work all that well. Imagine that. Lyrically, the song seems a jab at exactly the kind of listeners who would dislike the song itself--country purists. There's this narrative pushed by corporate Nashville that says that anything and everything could be considered country music and that those of us who live in reality and understand that square pegs don't fit in round holes are just snobs standing on high, looking down on the atrocities on the radio. Kacey Musgraves is not an artist who receives significant radio play (that in itself is an atrocity--she's so much better than what's on the radio), so I don't understand why she felt the need to push such a message, even if she feels that way. I highly doubt Kacey Musgraves is a fan of the kinds of songs we repeatedly lambaste and take issue with, so it seems odd for her to release "High Horse" in the first place. Hopefully it's a one time thing. 

In the end, Golden Hour is a collection of songs that vary in quality. Some are excellent, some good, some decent but forgettable, and finally, like most albums, it has its fair share of duds. It is exceptional compared to most, but it is not the tour de force that certain outlets would lead you to believe. Their perspectives are more rooted in her political leanings (which is strange, because Golden Hour is Musgraves' least political album yet) and their general dislike for country music than in anything related to the music itself. That being said, Kacey Musgraves is a songwriter of such high quality that I truly hope she eventually finds her niche on radio, but until she does, it's up to us fans who want more from music to purchase her albums, buy her concert tickets, and tell as many people as possible about her wonderful talent. 7/10 and highly recommended.

Ashley McBryde Was Always Going Somewhere

Lost in all the hype about the new Kacey Musgraves album from last Friday was the release of a significantly better album by relative newcomer Ashley McBryde. Girl Going Nowhere has been eagerly anticipated by country music fans since Eric Church brought her on stage during a recent tour to play her wonderful song "Bible and a .44." Honestly, perhaps the greatest disappointment I have with Girl Going Nowhere is that "Bible and a .44" isn't on the track list. At first I thought this was a huge mistake, only to find out it was released on a prior album. 

The album begins with the title track, which details the beginning of McBryde's journey where she was doubted by people in her life. It might be a familiar theme, but one thing most great art has in common is the ability to put a personal twist on everyday, relatable stories. McBryde accomplishes just that with "Girl Going Nowhere" and it's a great way to start the album.

What follows is a group of good to great songs with the lone exception of "Southern Babylon," which is strange and awkward and interrupts the cohesion of the album as a whole. Thankfully, it's the album's only misstep. Songs like lead single "A Little Dive Bar in Dahlonega" showcase once again McBryde's ability to take everyday narratives and give them the personal twist needed to make them all her own.

Hands down my favorite song on Girl Going Nowhere is "Livin' Next to Leroy." Meth is an epidemic in the Midwest as well as other parts of the United States, and to hear a song approach the topic on a mainstream country album is very moving, and I hope that it reaches the right ears so it can inspire addicts to seek help and give the rest of us the swift kick in the ass we need. Perhaps the best part of "Livin' Next to Leroy" is its implied message--at this point we can't ignore the problem anymore, and something needs to change.

"Andy (I Can't Live Without You)" is another standout. If this song can't make a listener think of someone who can frustrate them one moment, then light them on fire internally the next, nothing will. It's a very emotional testament to the trials and tribulations of everyday life with a partner, only to remind us of things that really matter during the chorus. 

One more favorite is "El Dorado." At first I was hoping it was a cover of the song written and performed by Randy Rogers and Wade Bowen on Hold My Beer, Volume I. Instead, though, McBryde unleashes an uptempo song that is wonderfully catchy. The placement of the song was excellent, too, as it provided a needed break after hearing "Livin' Next to Leroy" and "Andy (I Can't Live Without You)" as two of the three prior songs. 

Overall, Girl Going Nowhere is an excellent mainstream debut for Ashley McBryde. It's already rare to find an album with only one bad song, but for McBryde to pull it off with her first release that'll reach a national audience? To say the very least, that's impressive. Highly recommended. 8/10 

Drive-By Truckers Release Timely American Band

Drive-By Truckers are an iconic fixture in the alternative country scene, with many years of touring and studio album releases under their collective belt. They've made a career of breaking ground, developing their own unique sound and recording albums with odd little inclusions rarely heard in modern music. Perhaps the most obvious of these traits is that the band doesn't have a lead vocalist. Longtime stalwarts Patterson Hood and Mike Cooley take lead vocals based on whoever wrote the song in question, as did the incredible Jason Isbell when he was a member of the band.

When one considers all of the ways in which Drive-By Truckers differ from other artists, it's hard to fathom how they've now released perhaps the most important album of their career, American Band, by treading well-worn lyrical paths. American Band is ripe with social commentary, a lyrical masterpiece in that Hood and Cooley veer away from any kind of protest agenda and instead tell needed stories that neither preach nor perpetuate any specific political statement. The main theme of the record seems to be that certain things in our society are wrong and in need of fixing. That might be obvious to any aware citizen, but the songs on this album speak for themselves.

Gun violence is a recurring theme on American Band, but Hood and Cooley focus more on the individuals that do such things as opposed to their weapon of choice. Despite what their stances may be on potential legislation, these two songwriters still have the necessary understanding that people are the primary issue. It's a refreshing perspective in this day and age where everybody shares their two cents regardless of how educated they are on the topic. Standout track "Guns of Umpqua" (Umpqua Community College in Roseburg, OR, was the site of a shooting in 2015) has some of the best lyrics that I have ever heard. "We're all standing in the shadows of our noblest intentions of something more/Than being shot in a classroom in Oregon," sings Hood, just one of many fantastic lines in the song. With "Guns of Umpqua," Hood flashes back and forth between wholesome memories of a life well lived and a narrative of the present depicting the narrator and others trying to barricade their classroom door as they hear a shooter in the hallway. I see it as Hood's way of addressing the sad reality that it's hard to feel safe at any time.

"Ramon Casiano" sits at track one and is Mike Cooley's way of setting the mood for American Band. Casiano was a young Hispanic killed by eventual NRA leader Harlon Carter in 1931, a case that largely resembles modern "stand your ground" cases, as Carter claimed that Casiano threatened him with a knife. He was initially convicted of murder but the conviction was eventually overturned. Thankfully, the song is about the two people in question and not the weapon of choice. It's very apparent that Drive-By Truckers meant for American Band to focus on the main problem in American society--the people themselves.

"What it Means" is the lead single, and Hood uses damn near six and a half minutes to detail both the progress we've made and the problems that we unfortunately still have. "I mean, Barack Obama won/and you can choose where to eat/but you don't see too many white kids lying bleeding on the street," Hood sings, begging us to stop pretending that progress means that all of our problems are gone. Perhaps the most important line of the song is when Hood sings, "And when they turned him over/they were surprised there was no gun/I mean, he must have done something/or else why would he have run?/and they'll spin it for the anchors on the television screen/so we can shrug and let it happen without asking what it means."

"Once They Banned Imagine" is one more standout on an album full of great songs. Mike Cooley discusses the culling of artistic expression in our society and how that plays a role in the issues that continue to plague our nation. I would assume that the song also has something to do with the longtime controversy surrounding John Lennon's "Imagine." Lyrically, "Once They Banned Imagine" isn't as clear as I'd like it to be, but then again the best songs leave something to be deciphered. It's one more great song written by Mike Cooley.

American Band is an album with a dangerous concept in the hands of lesser songwriters, but because Patterson Hood and Mike Cooley are capable of addressing such topics without grandstanding on their own perspectives, it's a miraculous achievement that hopefully reaches as many ears as possible. While those hyper-sensitive to these issues might cast American Band as leftist propaganda, that'll only go to show that they didn't truly listen to the music and lyrics. American Band is an album about people problems, and that's what sets it apart from past albums with similar themes. Buy this album. Listen to it. Love it. It's probably the most important album of the year, and certainly one of 2016's best releases. 9/10

"Body Like a Back Road" is Every Way We Shouldn't Talk to or About Women

Welcome to 2017, folks, a year in which men are supposed to be a little more aware of the ways in which they objectify women, and should perhaps understand just how demeaning it is to speak in certain ways to a woman. If you'd like to know how realistic that idea was, Sam Hunt's truly horrifying "Body Like a Back Road" has become a number 1 song with no real indication that it'll be slowing down any time soon.

If you listen to mainstream country, I'm going to assume that you've heard "Body Like a Back Road" by now, but here are the basics. Guy likes girl. Guy makes truly ridiculous comparisons between girl's body and objects or places. "Hips like honey" and other cringe-worthy lines that'd kill the mood instantly in most intimate scenarios.

It's not that each individual line is the worst we've ever heard from mainstream country, not even in the last 5 years. It's what this song represents in today's day and age. We like to think we're making progress in the way we treat women, but when some dude who looks like he just stepped off the modeling runway sings a song like this to massive acclaim and gets away with it, it's hard to believe we've made any progress at all. And that's what really drives this message into the ground, for me. If a normal looking dude had written and recorded this song, it wouldn't be surprising if there was a massive media firestorm condemning him and effectively ending his career. If a normal looking dude making country music were to come out and criticize this song for calling it what it is, the media would likely scoff and make allusions to the probability that he's just bitter about being rejected at some point in his life.

It's the things we allow to happen for unjustifiable reasons that sabotage any progress that might be made in our efforts to raise young men who respect women.

Sam Hunt gets away with this because he's not a normal dude. He's a traditionally good looking former athlete with some real songwriting chops (though you'd never know it by listening to this song), a pleasant voice (for the most part--he gets a little breathy, at times, but he's not the first to deal with this issue), and, despite this song, genuinely appears to be a decent human being. I don't personally dislike Sam Hunt, and I don't even hate all of his songs, though I wish they were being played on pop radio where they belong. "Make You Miss Me" is exceptionally catchy and very tangible to any person who's ever turned the other cheek on somebody who ditched them. "Take Your Time" is slightly awkward with its monologue verses, but the chorus is impeccably catchy and the instrumental arrangement is haunting. Sam Hunt is not a strictly bad artist by any means. He's just being played in the wrong format, and now he's unknowingly written and released a song that represents every way in which we don't want to treat women in today's world.

I don't honestly think Hunt realized what "Body Like a Back Road" symbolized when he and his co-writers wrote it. I think this is ignorance in full force. That's the unfortunate point, though. We still don't know what we do wrong. We still don't know how not to speak to women, how not to speak about them. One could argue that "locker room talk" is a reality of the world for both men and women, and maybe it is, but it should stay in private circles, and when it does leak out into our art, we should understand what is wrong with it and, you know, maybe not celebrate it like we're a bunch of dimwitted morons.

There are so many factors in play that caused the success of this monstrosity. Ignorance. Tolerating such ignorance for stupid reasons like a person's appearance. The lack of focus on the arts in schools (teach kids what good art is and they'll be able to identify drivel like this and let it die quickly like it should have). There's really no redemption to be had for "Body Like a Back Road." It's the "Blurred Lines" of country music, even if music fans aren't smart enough to realize it isn't a country song. Please, people, learn from this horrid mistake. Think about it this way. Would I want to be spoken to like this? Would I want any of my loved ones to be spoken to like this? Would I want my daughter to be spoken to like this? Would I want my son to speak to a woman like this? 

Those answers were all no, weren't they?

Brantley Gilbert Needs to Give Up on This Bad Boy Bullshit

Every time an extremely talented artist achieves success, one of two things seems to happen. Either the artist drastically changes the landscape of their art form through the things that make them unique, or that artist clings to a newfound image so loyally that their art suffers at the hands of it. Brantley Gilbert falls into the latter category.

Before mainstream country fans knew Brantley Gilbert's name, it was well known to the fans lucky to stumble upon his music that he does have a rough side, and a past that speaks volumes to just how dangerous alcohol is. He has since claimed to have kicked the sauce, and yet the two lead singles from his last two albums promote binge drinking. Seems ass backward, doesn't it?

Friday saw the release of Gilbert's new album The Devil Don't Sleep, and while there are 2-3 tolerable songs and maybe one great song, most of it is radio drivel highlighted by awkward hip hop beats, Gilbert's ridiculous growl-singing that sounds like shit live, and a seeming need to remind us of how much of a badass Gilbert thinks he is. None of it is even remotely believable, which makes some of these songs awkwardly hilarious, and quite frankly, count me among the people who miss the Brantley Gilbert that sang about real things and actually sang, to boot, as opposed to this vocal style that makes it sound like he's gargling gravel.

I find so little redemption for this record. There's too much posturing, too much flag waving and chest beating. This is music for that guy compensating for something by putting a lift kit on his truck that jacks it up into orbit. Gilbert's songwriting--once his greatest asset--has devolved into pure silliness. Even the more serious songs are ridiculous. "Outlaw in Me" is poorly titled, considering the connotations of the word "Outlaw" in country music. Brantley Gilbert is no more outlaw than Luke Bryan or Jason Aldean. He's chasing trends with the rest of corporate Nashville.

"Three Feet of Water" is a breath of fresh air, and doesn't come off as preachy, but unfortunately it's the very last song on the album. Track 16. Please don't ask me how I even made it that far, because I honestly don't know. After 15 songs of terrible growl-vocals and one mainstream lyrical trope after another, even a song as great as "Three Feet of Water" couldn't do much for this record.

The Devil in Me is the continued devolution of Brantley Gilbert. He no longer writes good songs. He no longer sings properly. He's no longer a bright spot in modern country music. It's a shame, and hopefully as he ages he comes out of this Sons of Anarchy cast-off phase and begins to release good music again. 0/10

2016 Award Winners

I've finally found the time to write again, and announcing my picks for 2016 award winners is long overdue. I'd like to once again mention just how tremendous 2016 was for substantial music, and hopefully 2017 follows suit.

2016 Song of the Year: "Fighter" by David Nail
David Nail has been open about his struggles with depression, and "Fighter" is his way of thanking his wife for being a "fighter" during the worst of times. The greatest thing about this song is that anybody can apply it to their life because so many people have struggles with depression and anxiety. The sheer power of this song is incredible.

2016 Album of the Year: I'm Not the Devil by Cody Jinks
The rise of Cody Jinks is oddly reminiscent of Sturgill Simpson's ascent. His fans are incredibly loyal, and his sound is so authentic that there seems to be no way that he'd fail to connect with any listener. I'm Not the Devil is probably the best traditional country album released since Jamey Johnson's That Lonesome Song, and that is very high praise.

2016 Concept of the Year: American Band by Drive-By Truckers
The greatest threats to the progression of American society are the collective ignorance of glaring problems by politicians and the public, as well as the suppressing of creativity and culling of expression. Patterson Hood and Mike Cooley tackle all of these topics on the very, very timely and relevant American Band. Music fans needed this album in 2016. Even the album cover, depicting an American flag at half mast, speaks volumes.

2016 Artist of the Year: Cody Jinks
It was hard not to pick Sturgill Simpson for Artist of the Year, but considering the embarrassing state of popular country music, the most important individual at any time is the person standing in line to take the torch if needed, and Cody Jinks has quickly placed himself alongside artists like Simpson, Chris Stapleton, Margo Price, and Jason Isbell. And I can't wait to see who's next.

Mo Pitney's Sound is Great, but Behind This Guitar is Too Damn Cheesy

I want to be a huge fan of Mo Pitney. He has everything we want in a young country star--a throwback sound, songwriting chops, wit and charm and, most importantly, a voice of gold. All that being said, his first major label release Behind This Guitar is like an unending audio Hallmark card and for those of us who can't stand overly sentimental bullshit, it's almost unbearable at times.

Make no mistake, there are a handful of great songs on the album, but it's the hokey nonsense that drowns everything else out. I found myself excited during one song only to be cringing repeatedly during the next. Songs like "Clean Up in Aisle Five" are obnoxiously melodramatic. Art is meant to be a medium through which we can express things we can't in every day life--we're free to use hyperbole, to be melodramatic, to flirt with certain lines we can't normally, but there's a way to do it, and Mo Pitney can't seem to find that balance.

Even lead single "Country" has its eventual downfall in the latter half of the song when an arbitrary nod to our military members is added out of the blue. It's blatantly disrespectful to use others' military service as a means to sell singles and albums, and while I don't think Mo Pitney knows any better and did not do this intentionally, I'm hoping that in the future he'll just release songs specifically about being respectful and thankful to our veterans and those currently serving our country. This whole arbitrary "thanks guys" thing has gotten out of hand in country music and reeks of ignorance and nearsightedness.

Album highlights include "Come Do a Little Life," perhaps the only sentimental song where Pitney doesn't take it too far, Current single "Everywhere" leans in a more contemporary direction but it's well done and very interesting. "I Met Merle Haggard Today" is funny, endearing, and, considering Haggard's death in 2016, very timely. "Boy & a Girl Thing" has a nice groove and is easy to sing along to. Aside from these four songs, however, I find the album either too melodramatic or very uninteresting.

Mo Pitney has plenty of potential, and I certainly think he will be a great artist at some point in his career. Unfortunately, he's currently missing the mark. Thankfully, his current issues are very correctable and shouldn't be hindrances later in his career. 4/10

Award Nominees for 2016

It's hard to believe but another year is coming to a close, and while 2016 did a number on us in many different ways, it's safe to say that it was a great year for substantial, meaningful music. I've lost count of the new artists I've discovered, albums I've absolutely loved, songs that have moved me in ways that only music is able to, and best of all, the sheer number of albums and artists I've yet to have a chance to listen to. My plate is as full as it's ever been in regard to great music, and moving into 2017, I couldn't be more thrilled about that.

It only makes sense to give out year-end awards for 2016, and today I've decided to list my current nominees.

Disclaimer: These nominations consist only of artists/albums/songs that I have had sufficient time to listen to and digest. If there seem to be any glaring oversights, it's more likely that I just haven't had time to listen the album or song in question.

2016 Album of the Year Nominees

I'm Not the Devil by Cody Jinks
Big Day in a Small Town by Brandy Clark
The Bird & the Rifle by Lori McKenna
Tradition Lives by Mark Chesnutt
A Sailor's Guide to Earth by Sturgill Simpson
Undercurrent by Sarah Jarosz
American Band by Drive-by Truckers

2016 Song of the Year Nominees

"Call to Arms" by Sturgill Simpson

"Kill a Word" by Eric Church

"Wreck You" by Lori McKenna

"Since You've Gone to Heaven" by Brandy Clark

"Fighter" by David Nail

"Lightning Bugs and Rain" by Whiskey Myers

"House of Mercy" by Sarah Jarosz

"Give All You Can" by Cody Jinks

"Hurt People" by Rick Brantley

"How Can You Love Him (You Don't Even Like Him)" by Reckless Kelly

2016 Concept of the Year Nominees

American Band by Drive-By Truckers
Fighter by David Nail
Big Day in a Small Town by Brandy Clark

2016 Artist of the Year Nominees
Sturgill Simpson
Cody Jinks
Sarah Jarosz
Lori McKenna

Hard Rock Review: The Last Hero by Alter Bridge

It's hard to believe that Alter Bridge have been around for over a decade now. That being said, five albums into their career and it's safe to say that they're established as arguably the best Hard Rock band in existence, and at the very least a safe haven for guitar enthusiasts like myself. What makes Alter Bridge so much better than their peers is that they have two iconic traits--Mark Tremonti's controlled but ferocious guitar playing, and Myles Kennedy's incredible voice. I don't know who Tremonti represents from older eras, but I liken Kennedy to Chris Cornell in that his voice may not be for everyone, but his technical proficiency is far beyond what you normally hear in the rock world. As usual, both traits are on full display with Alter Bridge's latest release.

The Last Hero is a continued progression for the band, showcasing everything from their alternative metal leanings to iconic rock riffage of songs like "My Champion."  While it isn't as good as either Fortress or Blackbird, this album certainly has its place in the band's discography and is far from a misstep. Quite frankly, the worst Alter Bridge album would still likely be the best mainstream hard rock album released in a given year, because Alter Bridge provides so much of what the genre needs--incredible vocals, well written lyrics applied to well written songs that are excellently structured and avoid moments that lack any kind of purpose, and technical proficiency that is currently unprecedented on the radio waves. This band has it all. 

That being said, The Last Hero isn't without some glaring weaknesses when compared to the band's past releases. Where Blackbird has its title track and Fortress has "Cry of Achilles," there is no epic standout song on this album. Album opener "Show Me a Leader" is probably the best song on this record, and it's not some kind of transcendent song that's going to be a staple in Alter Bridge's live show for years to come. Other issues that I noticed were that the songs sometimes dragged on way too long, well past the 4 minute mark. Not one section or riff or lead seems out of place, as I mentioned, but very few songs on The Last Hero held my attention from the first second to the last. Even second single "My Champion" has issues. It's way too positive sounding to me. The main riff and solo are great, but the verses and chorus sound like a commercial for Bubble Gum, and that just isn't Alter Bridge's sound. The song isn't bad so much as it's out of character for the band.

This album feels like it could have been cut down to 10 songs. At 13 tracks, it runs on for over an hour, and that entire hour isn't as rewarding as their past releases have been. I often found myself just waiting for certain sections of songs and hoping I remembered to pay attention. As expected, The Last Hero has great guitar work scattered all over it, but everything that happens in between seems a little lackluster. I can see that they made the effort, but very few artists avoid the fate of a letdown album, and Alter Bridge is no exception. Another disappointment for me was that there aren't a lot of vocals from Mark on this record. "Water's Rising" from Fortress was unique in that Mark took lead vocals for a song, and I was hoping the band would continue this trend. I'm sad to say that isn't the case. These aren't issues that horribly affect the quality of the record, but they are noticeable in comparison to the band's best releases

Standout songs include the aforementioned "Show Me a Leader," "Poison in Your Veins," and "Crows on a Wire." I would also mention that every song on the record with a run time of over 5 minutes is quite good as well, but have moments that just aren't all that interesting and don't hold listeners' attention. There's plenty to like about The Last Hero, and it's still leaps and bounds better than most modern hard rock, but it will come down to each individual listener's tolerance for song length and extended sections. I don't mind longer songs, personally, but when a band or artist wants to go on and on and on with a certain song, it's my opinion that those songs have to avoid boring sections. Alter Bridge generally makes that happen, but for some reason the long songs on this album aren't as good as past albums.

Overall, The Last Hero is a welcome addition to a great discography that hopefully is far from being finished, but it has weaknesses not seen since Alter Bridge's debut album, and for that reason I was disappointed. 6/10

Upcoming Reviews:

Drive-By Truckers' American Band
Miranda Lambert's The Weight of These Wings
Metallica's Hardwired...To Self Destruct
Ronnie Dunn's Tattooed Heart
Mo Pitney's Behind This Guitar
Dan + Shay's "How Not To"

Sunday Morning Single Reviews: Current Mainstream Singles that I Don't Hate

Country radio is currently going through a ripoff R&B phase that is ten times worse than Bro Country ever was, which is horrifying. At the same time, there are more traditional sounding songs breaking through all the time, and this morning I decided to say a few words about the fact that mainstream radio is moving in the right direction.

Tim McGraw's "How I'll Always Be"

Tim McGraw hit a low point with "Looking for That Girl," but has since released one excellent single after another with "Top of the World" being the lone exception, and even that song isn't awful. Current single "How I'll Always Be" has an iconic country sound with a tried and true lyrical narrative. It's not as good as "Shotgun Rider" or "Meanwhile Back at Mama's," but it's almost guaranteed to be a hell of a lot better than the songs you'll hear on either side of it. 7/10

Brett Eldredge's "Wanna Be That Song"

Brett Eldredge has never been a major player in the erosion of country music's stylistic parameters. He is undoubtedly a pop artist, but his songwriting is phenomenal, and if his voice doesn't do anything for you, then you're missing out. "Wanna Be That Song" is the best single he's released in quite some time, and is more than worth a listen. 7/10

Miranda Lambert's "Vice"

I'm really excited about post-Blake Shelton Miranda Lambert. She's releasing double album The Weight of These Wings in the very near future, and lead single "Vice" is very solid. It has excellent lyrics and a great storyline that we can all relate to. 8/10

Blake Shelton's "A Guy With a Girl"

I didn't intentionally put these divorcees right next to each other, but here they are. "A Guy With a Girl" breaks no new ground but is probably the catchiest song on the radio right now and has an arrangement that isn't especially offensive. Blake isn't half the artist that he could be, but when he rarely does get it right, he strikes gold. "A Guy With a Girl" is a great song. 8/10

Chris Stapleton's "Parachute"

Chris Stapleton is a phenomenal vocalist, and routinely lays waste to every other artist on the radio in that regard. His current rise to stardom is completely unprecedented, and is the primary reason that radio is turning back in the right direction. While guys like Jason Isbell and Sturgill Simpson do a lot of the work in the background, Chris Stapleton has the exposure needed to make real change. "Parachute" is excellently sung and is just one more great song from Stapleton's Traveller. 9/10

Other Standout Singles Currently on Radio:

Michael Ray's "Think a Little Less"

Brad Paisley's "Today"

Chris Jansen's "Holdin' Her"

Josh Turner's "Hometown Girl"

Brantley Gilbert's "The Weeken.....just kidding. Fuck Brantley Gilbert

Craig Campbell's "Outskirts of Heaven"

Amanda Shires Breaks Through With My Piece of Land

It's not fair to Amanda Shires that new fans, like myself, subconsciously associate her with her husband Jason Isbell, and forget about her very impressive career in music. That being said, a new album can change all of that, and allow us to form our opinions of her strictly on her music. My Piece of Land is without a doubt a very good album, and while Isbell is present in the songwriting credits and vocal harmonies on a handful of songs (she has also lent her violin playing and vocal harmonies to his last few albums), it's Shires' identity as a singer and songwriter that comes to the surface before everything else.

The lead single, "The Way it Dimmed," is a perfect way to kick things off, and at just over two minutes, it forges a quick connection with listeners, and displays Shires' sharp songwriting and unique vocal style. Shires explores her past in the song, with great lines jumping out of the speakers over and over again. "The Way it Dimmed" is a standout already as it is, the only song on the album that's shorter than two and a half minutes.

The instrumental arrangements vary throughout the album, with steel guitar making appearances on only a selection of songs. There's a peppy, positive sound to other songs, even when the lyrics dive into heavier material. I was reminded of Sam Outlaw's Angeleno on multiple occasions, and that's a good thing. Electric guitar and violin make appearances on a few songs, as well. While the instrumentation is fairly low key for most of the record, each song has something unique in the arrangement.

That is what I find most impressive about My Piece of Land, that each song sounds drastically different from the last, and yet the album is still able to establish a sort of cohesion, anyway. As a traditional country and bluegrass fan, I found myself gravitating toward the songs that featured Shires' excellent violin playing, like "My Love (The Storm)," which I think is the best song on the album. Lyrically, it's a lesson in metaphor. "I am the storm/at summer's end/watch the willows mourn/watch the branches bend" might be one of the best lines I've heard all year.

As far as singing is concerned, I find Shires' voice to be very pleasant and unique. The only real criticism I have is that when she's singing softly, a raspy, breathy tone surfaces at times. It's not a huge issue, by any means, but some listeners will be turned off by it. "Mineral Wells" is a perfect example of this sound that could be considered an issue, and yet it's still a great song.

Overall, My Piece of Land is another great album released in 2016 and fans should be excited for the future of Amanda Shires' music. 8/10

*Written by Kellen Dobmeier, edited by April Dahlgren

Standout tracks:
"The Way it Dimmed"
"Slippin'"
"Harmless"
"Pale Fire"
"My Love (The Storm)"
"When You're Gone"

Single Review: "Seein' Red" is a New Low for Dustin Lynch

Few things irritate me like an artist who breaks onto the scene with a traditional sounding first single only to sell out as hard as possible shortly thereafter. Dustin Lynch is a classic case of this situation, and his most recent single "Seein' Red" is without a doubt the worst release of his career.

Gone is the Dustin Lynch who released "Cowboys and Angels" as his debut single in 2012. He could just as well cut it from his concert set list if he isn't going to show respect to what that song represents with his future releases. It's one thing to have an openness to modern trends, but to allow oneself to be sucked into them so completely is a complete indictment of his character as an artist. I want to like and support Dustin Lynch because I've heard his better material. From the aforementioned debut single to fantastic album tracks like "Hurricane" and "Your Daddy's Boots," Lynch has displayed an understanding of traditional country, as well as the ability to compose interesting, tangible stories in his songwriting.

Let it be no surprise that Lynch's name hasn't been in the songwriting credits to any of his singles in recent memory, and not since the first two singles from his debut album (and one of those songs was the terrible "She Cranks My Tractor," mind you, so his writing isn't infallible). "Seein' Red" is just the latest installment in this pattern of atrocities and hopefully it doesn't gain much traction on radio.

The song begins with an an awkward mix of multiple genres clashing in the arrangement, none of which happen to be country. A muffled, distorted guitar line takes center stage and fails to do anything other than be present. This continues throughout the verse of completely thoughtless lyrics linked here:

https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=Dustin+Lynch-+Seein'+Red+Lyrics

Do I really need to say more about the lyrics? Talk about clumsy. Once the chorus kicks in we hear a faint flicker of steel guitar, which apparently qualifies this as a country song in today's modern mainstream. It's just one more blatant attempt by the suits in Nashville to squeeze as much money as possible out of this obnoxious R&B phase that they're going through thanks to annoying hacks like Thomas Rhett.

"Seein' Red" is truly awful, and represents a new low point in Dustin Lynch's trajectory. I, for one, hope he can see the light and make amends in the future, but when an artist is willing to cut something as bad as this song, that doesn't give me any confidence. 0/10

Single Review: Jon Pardi's Atrocious "Dirt on My Boots"

Some songs are bad by nature, poorly-written and full of knock-off cliches and keywords meant to trigger excitement in the minds of brainwashed music fans. In other cases, a song can be bad simply because the artist in question has done so much better before. That is the case with Jon Pardi's laughable new single. "Dirt on My Boots" isn't some songwriting feat, either, written by Rhett Akins, Jesse Frasure, and Ashley Gorley. Coincidentally, the song is the lone cut on Pardi's California Sunrise where these three names appear in the songwriting credits. If the mere fact that Jon Pardi recorded this song wasn't a hint of label pressure, the songwriting credits should undeniably give it away.

Premise: the narrator has dirt on his boots, and will take them off outside before he enters the house to get laid. Creative! 

As you can see, the lyrics aren't even worth discussing. They lack imagination and effort, sabotaging the integrity of the song long before the first verse is finished. As far as the arrangement is concerned, Pardi and his band try to salvage this mess with fiddle, but to no avail. Where one thing makes this song tolerable, something else steps in to wash that progress away. I think I even hear some pitch correction at the beginning of the chorus, but I could be wrong. One thing I'm not wrong about, though, is how truly horrible this song proves to be. I skip it every time I listen to California Sunrise, and despite the fact that I am damn near positive that Jon Pardi did not want to record this song or release it as a single, it's still disappointing. What about the success of the staunchly traditional (by today's standards) "Head Over Boots" gave any indication that Jon Pardi's fanbase wanted to hear something like "Dirt on My Boots" as the follow up single?

Here's to hoping the eventual failure of this single doesn't cripple the career of a promising young artist. Sorry Nashville, but the majority of Jon Pardi's fans lean in a more traditional direction, and they aren't going to tolerate this nonsense, and this single isn't likely to be a success. 3/10

Everything About Garth Brooks' "Baby, Let's Lay Down and Dance" is Terrible

As a 90s country kid, it pains me to criticize Garth Brooks too heavily. I understand that he brought distorted guitar into the mainstream to a higher degree than artists had previously, but he also regularly recorded songs deeply rooted in country music tradition. There was always more good than bad with Garth Brooks' music.

At least that was the case until Man Against Machine was released in 2014. It wasn't a sellout record. It wasn't pandering to lyrical tropes or production trends. The songs just weren't very good and, quite frankly, the production on the album left much to be desired. Lead single "People Loving People" sounded like it was recorded in a pole barn, while second single "Mom" made no noise on radio and was so overly sentimental it stumbled into melodramatic nonsense and and stubbornly stayed there. There are several good non-singles on the album, but much like "People Loving People," the quality of the recording failed the songs long before they had a chance to make their full impact.

Now we have the atrocious "Baby, Let's Lay Down and Dance." Once again the production is disastrous--I honestly wonder where and how they recorded this, because every instrument gets lost in the mix and Garth's voice has no power at all. When listening to this song, I feel like the source of the music and I are sitting at opposite ends of a long tunnel. 

Unfortunately, that's just the beginning of the long list of problems with this song. It's boring lyrically, goes absolutely nowhere, and has no lasting impact. I had to listen to this song 3 times because it was so boring my mind kept wandering. If a song can't grip you upon first listen, that's usually the first sign that there's nothing special about it. 

Swing and a miss, Garth. 3/10

Quick Hit Reviews: Cadillac 3, FGL

I've decided to add another format to my review process. When albums aren't particularly good and don't hold my attention, I'm going to post what I'll call Quick Hits, and most of these Quick Hit posts will feature more than one album, and at times will include single reviews, as well. This is an easy way for me to make sure I don't bullshit readers in any way--when albums don't grab my attention all that much, it's hard to truly evaluate them. Rather than forego those reviews altogether, I've decided to convey my impression with a quick paragraph or two.

Bury Me in My Boots by The Cadillac Three

The Cadillac Three are just a cheap mainstream knockoff of modern Southern Rock bands like Whiskey Myers. This album has a handful of good songs but it's mostly formulaic, chest-thumping nonsense. For some listeners, the Cadillac Three might find the balance between trendy and interesting, but for listeners who are more well-studied, they'll come off as shallow and transparent. They aren't incapable of recording good songs, like standout "Runnin' Red Lights," but they don't do enough of it to justify any kind of recommendation from me. Bury Me in My Boots is instantly forgettable.

Dig Your Roots by Florida Georgia Line

I'd like to give Tyler Hubbard and Brian Kelly credit for trying to have some more substantial material on Dig Your Roots, but it just isn't executed very well. There is one great song in "While He's Still Around." Surprisingly, Kelly takes lead vocals on this tune, and has more of a vocal presence on the album, in general. This decision is a breath of fresh air, because I maintain that Tyler Hubbard's singing sounds like the slow death of a large mammal. Their most recent single featuring Tim McGraw isn't bad at all, but it's nothing special, either. Don't get me started on lead single "H.O.L.Y." I've never been so bored by a song in my life. Overall, Dig Your Roots isn't terrible, but it's not much of an improvement, either.

Reckless Kelly's Sunset Motel

Reckless Kelly is one of many independent artists to flirt with the line between Texas country and roots rock. One song can be full of distorted guitar, the next a country sounding lament about lost love backed by acoustic guitar and fiddle. In spite of the sonic differences from song to song, Reckless Kelly always find ways to create cohesive, excellent albums, and new release Sunset Motel is no exception.

Lead single "How Can You Love Him (You Don't Even Like Him)" kicks things off on the country side, and Willy Braun's penchant for witty, backhanded lyrics takes center stage on this funny but oh-so-relatable song. Most of us have been there before, either with a friend who won't remove the rose-colored glasses or with a romantic interest that simply isn't going to pan out (and we all seem to need to learn the hard way). Call it what you will, but "How Can You Love Him (You Don't Even Like Him)" is certainly representative of human experience, and that is something that has always made Reckless Kelly stand out among similar artists. 

On the rock side of things, Sunset Motel features two very important protest songs in "Radio" and "Volcano." The former is Reckless Kelly laying waste to the way Nashville neuters artistic integrity in order to produce their precious pop stars. "You gotta get on the radio/It doesn't take a lot of talent, but nobody knows" Braun sings during the second chorus. Protest songs over the state of modern mainstream country aren't exactly unprecedented, but I thought Reckless Kelly's perspective on the matter was quite interesting. On the other side of things, "Volcano" is an environmental protest song. "Well, we can't save the whales/we've got some bigger fish to fry/Can't waste no money growing trees/With this election to buy," says it all. It's Reckless Kelly's way of telling us to start focusing on the right things.

Once listeners digest the surprises on Sunset Motel, they'll be happy to find songs that fit right into the band's wheelhouse. "Sad Songs About You" could have come from any Reckless Kelly album and is just as cuttingly emotional as standards like "Wicked Twisted Road." Willy Braun has always displayed an ability to convey complex emotions with simple, witty lyrics that, for lack of a better description, tell it like it is. "I don't know why I write all these sad songs about you/'Cause I'll have to sing 'em somehow, for the rest of my life/I don't know why I write all these sad songs about you/I guess they just hurt a lot less than another goodbye," Braun sings during the chorus, describing an all-too-real feeling for anybody who's had to stop themselves from revisiting a relationship that just doesn't work.

Other highlights include "One More One Last Time" and "Forever Today." Like many artists, Reckless Kelly are at their best when they tone it down and let the lyrics take center stage. Overall, Sunset Motel is another great addition to Reckless Kelly's discography, and has plenty of important things to say. 9/10

Standout Tracks:
"How Can You Love Him (You Don't Even Like Him)"
"Sunset Motel"
"One More One Last Time"
"Forever Today"
"Volcano"
"Sad Songs About You"