Album Review: Jason Aldean’s ‘They Don't Know’
If ain't broke, don't fix it.
And there's nothing broke as far as Jason Aldean's huge country fan base is concerned. His seventh album, They Don't Know, is his second in a row to top Billboard's mainstream album chart. That suggests the market for so-called "bro country"—a more rock-fortifed, beer-fueled take on the genre's traditional themes—is just as strong as it was when Aldean's Old Boots, New Dirt, similarly stomped to the top of the charts two years ago.
As for the dirt in Aldean's lyrics this time around, well, let's just say you're still gonna need a goodly bit of detergent to get it all out of your overalls. And perhaps a painkiller for a hangover the next day, too, given the amount of booze that's guzzled throughout this album's 15 tracks.
"Lights Come On" celebrates hard work during the week ("You're a crack-of-dawn Monday morning/Coffee strong pouring everything you got/Into a paycheck on Friday night"). The title track also praises the quiet virtues of rural environs and the dignified farmers who live there: "They call us a two-lane, just-passing-by, slow-down town/ … They ain't seen the blood, sweat and tears it took to live their dreams / … Ain't just another field, just another farm/No, it's the ground we grew up on."
"This Plane Don't Go There" pines for a second chance to change the outcome of a broken romance ("Wish I could go back to that spot/The second right before we said goodbye/But this plane don't go there/This plane can't take me back in time"). We hear similar regrets on "First Time Again."
"Lights Come On" is about industrious folk blowing off steam at the end of the week by going to a concert—not a bad thing at all. But Aldean implies that such an event (which he also compares to worship) can't really be fully appreciated without drinking and smoking, too: "A hallelujah high from the floor to the ceiling/Yeah, the drink that we're drinking and the smoke that we're smoking/ … So come on, raise your cup."
Three songs (two of which are breakup tunes) focus almost exclusively on alcohol. "Any Ol' Barstool" involves a man telling an ex that if she wants to know how he's doing, "Ask any ol' barstool in this town." Later, he says he's drinking more ("Sure, I take more Jack in my coke now"), and apparently smoking marijuana, too ("A little more high in my smoke now"). Meanwhile, "Whiskey'd Up" describes how drunkenness dredges of memories of a woman, which leads to still more drinking: "When I get whiskey'd up, that wantin' you again/Starts kickin' back in, and I'm late night callin' you up/My heart starts hurtin' when that bourbon starts burnin'/And I can't help but touch that stuff." And on "All Out of Beer," Aldean admits that a woman he might otherwise say no to is more appealing after he's downed an entire case of suds: "If you'd a got here 'for my buzz kicked in/I'd a told you where to go/ … When I'm 12 [beers] in, helpless/The only time you show up here is when you're lonely/And I'm all out of beer."
Still more alcohol and suggestive sexual allusions mingle on "In Case You Don't Remember," "One We Won't Forget," ""Comin' in Hot" and "Bad." "When the Lights Go Out" is one of only a handful of songs that doesn't mention alcohol as Aldean's lyrics discuss a longed-for night of passion with a lover: "Baby, when the lights go out/I wanna hear that want-you sound/On your lips when I lay you down."
"The Way a Night Should Feel" reminisces about two high schoolers sneaking out at night and apparently making out while driving all the way to the Mexican border: "Do you remember when we snuck out of the house at the stroke of midnight?/ … Your daddy would have killed me if he'd seen me/ … Headed down to Mexico, you were kissing my neck."
If there's one constant in Jason Aldean's songs, its' alcohol. When life's good, he's drinking. When life's bad, he's drinking. When he's with someone he loves, he's drinking. When someone he loves has left him, he's drinking. When he's singing about hard-working fans at a concert, they're drinking. And when he's talking about some of the hard work they do, it—perhaps not surprisingly—includes hauling beer. ("King of Beers, 18-wheeler driving," he sings on "Lights Come On").
A handful of songs give an obligatory tip o' the hat to the solid work ethic and dignity of his country constituency in flyover country. Most of the time, though, Jason's just drinking.
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Album Review: Justin Moore’s ‘Kinda Don’t Care’
I really hesitate to put Justin Moore in the list of “New Country” artists. There are a couple of reasons for this. For starters, he’s been on the charts since 2008 – almost a decade, and he’s also carved out a reputation as one of the most traditional based artists out there these days.
I’m glad to say that for this, his fourth studio album, most of the moments are still like that. There’s a little bit of a subtle shift in his sound on this album as opposed to his past work. I wouldn’t say it’s as drastic as what we’ve seen from Thomas Rhett as of late, but fans may notice a little bit of a slide toward a more contemporary sound.
However, that being said, when things do go a bit in a new direction arrangement-wise – just like with Billy Sherrill’s work with George Jones in the 1970s and strings – the Arkansas twang in his voice is even more pronounced. You can hear this combination loud and clear on songs such as “Hell On A Highway,” which is certainly one of the most adventurous tracks he has cut. But, it works because he makes no attempt to hide the Country sound in his voice. Truth be told, the song could actually wind up being one of his biggest hits. “Somebody Else Will” is also a song very much in this vein that works well, too, thanks to some killer harmonies from the divine Sarah Buxton.
But, a lot of this album will sound very familiar to his longtime fans. “Robbin’ Trains” has a wide open and care-free sound that pays tribute to a way of life the singer might have lived had he came up during the old West. “Put Me In A Box” is one of the most unique love songs I have heard in a while, and he hits the twang factor in fine fashion on the fun title cut.
The biggest surprise – and departure – for me as a listener to this disc comes with “Between You and Me.” It’s a romantic tune, but not in the flowers and candy tradition. Pretend for just a moment that Conway Twitty were a hit recording artist in 2016. He would have torn this song up. Moore does exactly the same. Possibly, because it’s because he’s never done anything this suggestive, but it works – damn well. If I were Valory, I would highly consider this as the follow-up to “You Look Like I Need A Drink,” which has been one of the most entertaining songs on the airwaves in 2016.
If any of this has you worried that Moore is going to be hanging with Timbaland and Drake anytime soon, don’t. “More Middle Fingers,” which features Brantley Gilbert is full of that smart-ass Southern swagger……that’s actually more true than some might tend to agree with. It likely won’t be a radio single, but I can only imagine the reaction this one will get live.
It wouldn’t be fair to expect any artist – Moore included – to release the same album time in and time out, and here, the singer seems like he is in a solid place with that evolution – one fans will (and should) appreciate!
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Album Review: David Nail’s ‘Fighter’
There are few words that can be used to describe the talent of David Nail. When you hear him on a record – or better yet, see him live – you come away with a deep appreciation for his vocal talent. Simply put, one could make the argument that he’s not one of us. On a ballad, his vocals soar into the stratosphere, and on the up-tempo songs, he takes the ordinary lyric and arrangement, and transfers it into a tour de force.
On his fourth album for MCA, the Missouri native continues to develop his craft. There’s a mix of both styles on the album, with “Good At Tonight” and lead-off single “Night’s On Fire” showcasing the groove side of what Nail does so exceedingly well. Seriously, I don’t know if there is any style of music that the singer can’t master. He’s simply that good.
As usual, the slower material here serves as the “money” performances. And, when it comes to this, Nail can yell “Bank” all over the place. “Home” is a very emotional ode to a place that he is very familiar with, and he knocks it out of the ball park with a vocal where he reels it in from a restraint point of view – but only to dazzle with his commanding warmth as a vocalist. The presence of Lori McKenna also adds to the power of the cut. He also stands toe to toe with Vince Gill (who delivers a jaw dropping guitar intro) on the brooding and intense “I Won’t Let You Go.”
He also gives the listener a look inside at one of the biggest changes of his life over the past few years – fatherhood – with the sweetly sentimental “Babies,” which will stand as a highlight of the disc among any fan who is a parent. And, as the album cruises to its’ apex, Nail saves the best for the last.
“Got Me Gone” brings back the grooving side of Nail to the nth degree, with his voice cutting the through the arrangement as light as a feather – yet still as potent as can be. He collaborates with Bear Rinehart and Bo Rinehart of Needtobreathe on the masterpiece “Old Man’s Symphony,” and in perhaps the highlight of the album, he dazzles with the highly underrated Logan Brill on the seductive “Champagne Promise.” Gorgeous and stunning are two words you could use to describe their collaborative effort……and you still wouldn’t be doing it justice. It might be a little too heavy – or adult – for Country Radio, but it’s a true gem in every sense of the word.
So, David Nail has done it again. With Fighter, he delivers another sterling example of why industry insiders consider him to be one of the most effective vocalists in town. While radio has been behind him, giving him several hits over the years – hopefully this disc will jump him to the head of the class. After all, it’s a place that he deserves to be!
You won’t find much fluff on David Nail’s Fighter album. In fact, lack of levity is about all a country fan can complain about on the singer’s personal fourth studio album.
Brothers Osborne join Nail for “Good at Tonight,” a rocker that represents the best of the uptempo. It’s a waterfall of ballads after that, with lyrics that require focus to full appreciate. Find the meat of the album at the middle: “Home,” “I Won’t Let Go,” “Fighter” and “Babies” are personal notes to his hometown, wife, wife and kids, respectively. Here Nail strips naked to show his scars and vulnerabilities. At times it’s voyeuristic. But mostly one can identify his stories in his or her own life.
“Babies” is the album’s centerpiece. During this song he recounts he and wife Catherine’s struggle to conceive and how his life has changed since becoming a father to twins. The Vince Gill collaboration (“I Won’t Let You Go”) is equally personal, but more approachable. In some ways, the singer uses his voice like Gill does the guitar. Both are patient, expressive and artistic.
A melodic one-night stand song called “Champagne Promise” is the album’s unicorn — a break before “Old Man’s Symphony,” a ballad written to his father. No single will represent the depth and inward nature of Fighter, as the most vulnerable songs are those he’s very hesitant to perform live. The deep cuts rule on this much-anticipated project.
Key Tracks: “Good at Tonight,” “Home,” “Babies,” “Champagne Promise”
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Album Review: Jon Pardi’s ‘California Sunrise’
Well known for his blend of traditional and modern country, Jon Pardi effortlessly combines the old with the new for his 12-song sophomore release, California Sunrise.
“I always want to have the traditional country soul while meeting the new standards of country music,” Pardi explains. “As a songwriter, we’re looking for a good story and we’re always looking to push the limits. I love having those lyrics that at first make you think it’s about one thing, but it’s really about something so much more.”
Songs like opening track “Out of Style” exemplify Pardi’s mix of traditional country with a modern day flair as he sings about learning the secrets of songwriting upon moving to Nashville. “Write about the things you know about. If there’s anything that you don’t know about just stick around and you’ll find out before too long,” he sings. A driving drum beat accompanies fiddle, pedal steel and electric guitar throughout the five minute jam.
Pardi teamed up with producer Bart Butler again in the studio and in order to capture the live energy on the album, they recorded each song with a full band.
“I’m a big fan of a live band recording and it was really important for me to get that sound on my record,” Pardi shares. “The heart of this record comes across with a live band. We used seven guys – one band, and there’s something special about that.”
The album itself is easy to envision in the live setting thanks to the seven-piece band. Songs like “Night Shift” include plenty of fiddle and pedal steel while the bass-heavy “Dirt On My Boots” begs to be danced to. Appropriately, dancing is a frequent theme throughout California Sunrise. Current single “Head Over Boots” has Pardi gushing about a girl who he has fallen for while on “Can’t Turn You Down” he finds himself dancing in his bedroom with said girl.
As in life and in country music, there is also some heartbreak. But for Pardi, that heartbreak also happens on the dance floor. On the appropriately titled “Heartache on the Dance Floor,” Pardi sings of a night that has him falling for a girl while she’s shaking her hips but he never catches her name or number. The beat heavy instrumental intro of the song combined with fiddle best showcases Pardi’s ability to meld modern and traditional.
Additional highlights include the emotional “She Ain’t In It” which has Pardi trying to get over an ex. While he’s ready to go out to the bar with friends after a month of sulking by himself, he hopes she isn’t there. The soaring string features and slowed acoustic guitar only add to the hurt.
A standout release, California Sunrise combines Pardi’s love of traditional country with a modern feel thanks to distinct percussion and electric guitar combined with pedal steel and fiddle, leaving the listener satisfied. Closing with the foot-stomping title track, which ends with nearly a minute instrumental jam, Pardi’s staying power is evident.
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Album Review: Maren Morris’ ‘Hero’
Emotions run deep for Maren Morris on her major label debut, Hero. The Texas native co-wrote each of the 11 tracks on the versatile release, all of which showcase her honest songwriting and unique storytelling. Whether she’s letting down a man on the autobiographical “I Wish I Was” or transporting the listener to worship on her breakout single “My Church,” her vocal ability is undeniable.
“I’ve come such a long way from who I was in Texas, who I am as a writer, who I am as a woman today,” Morris said in a press release announcing her new album. “I think the message of this record is self acceptance and awareness, and that to me is heroic.”
Morris is heroic in her candor throughout the album. She says things we’ve all thought at one time or another but perhaps have not been brave enough to put out there ourselves. This can be seen on opening track “Sugar” where she asks a crush to be hers.
“I’m a cup of tea with a touch of cream but something’s missing / So I’m gonna put this nice and sweet / Baby would you be my sugar? Sugar you make my heart race,” she sings. “You’re what I crave, babe what can I say?”
Meanwhile, the tongue-in-cheek “Rich” has Morris singing about a man she just can’t rely on. If she made money from all the lies he has told her over the years, she’d be rich with a “Benz in the driveway, yacht in the water.” It’s a unique take on a relationship that begs the listener to sing along.
Other highlights include her standout single, “My Church.” The song features soulful belts from Morris, who has said that the idea came from the realization that music is her version of church.
“Right after I said it aloud I thought, ‘I should write that down!’ Everyone has that feeling when they are in their car by themselves, listening to music with the windows down. I wanted to capture that in a three minute song.”
Morris says the song embodies everything she represents as an artist and a writer and its success at radio is a testament to her ability as a songwriter and vocalist.
“I Could Use a Love Song” is another brutally honest track that has Morris trying her best not to be jaded about love. While she finds it difficult to remember a time when she’d see a couple and not roll her eyes at them making their relationship work, she remains optimistic about love despite being burned in the past. “I haven’t lost all hope yet,” she sings.
While “80s Mercedes” is a catchy, danceable track that has Morris singing of being a ’90s baby in her ’80s Mercedes, next song “Drunk Girls Don’t Cry” has her calling out a friend who refuses to move on from her terrible boyfriend. “There’s a fine line between an accident and an L-O-S-E-R,” she sings on the comical wakeup call.
It is on “I Wish I Was,” though, that best demonstrates Morris’ staying power. One of the standout tracks on Hero, “I Wish I Was” was co-written with Natalie Hemby and Ryan Hurd and is the most vulnerable song featured on the album. A song that has Morris telling a guy they’re not meant to be, it’s a breakup that is strongly felt.
“I’m not the hero in the story / I’m not the girl that gets the glory / ‘Cause you’re lookin’ for true love and I’m not the one / But I wish, but I wish I was,” she sings.
Songwriting at its best, “I Wish I Was” shows Morris’ ability to relate. It’s the sharing of a universal truth and an all too real human condition that is the heart of country music and Morris’ songwriting throughout Hero exemplifies just this. While Morris may admit that she was not heroic in songs like “I Wish I Was,” the singer’s honesty is what makes Hero such a strong release. Morris’ songwriting skills coupled with her powerful vocals and eclectic music style result in Hero being one of the most unique and enjoyable releases of 2016.
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Album Review: Keith Urban’s ‘Ripcord’
Keith Urban transcends genres on his eighth studio album, Ripcord. The singer has said the 13-track release was his “most exhilarating album to make, both musically and creatively” and it’s easy to see why. Urban worked with several new writers and producers for the release including Jeff Bhasker, busbee, Greg Wells and Nile Rogers as well as frequent collaborators Shane McAnally, Ross Copperman, Dann Huff and Nathan Chapman, allowing him to expand his sound by blending a mixture of inspirations and musical styles. As a result, Ripcord is a remarkably diverse album that pushes boundaries and furthers Urban’s evolution as an artist.
This albums journey began back in January 2015 and took me to a lot of unexplored people and places, Urban said. The end result was the recording and exploring of more songs then Ive ever done before and carving that down to what I felt constituted Ripcord.
The first taste of Ripcord was “John Cougar, John Deere, John 3:16,” which Urban released last June. The bass heavy track includes heavy drum loops, several time changes and a unique lyric which was just a hint of what was to come from the album. The song swiftly made its way to No. 1 on the country charts, marking Urban’s 19th career chart topper. The sweet ballad, “Break On Me,” followed suit and became another No. 1 for Urban. Meanwhile, nostalgic current single “Wasted Time” is also making its way up the charts thanks to its radio friendly appeal.
While many songs on Ripcord are highlighted with banjo accompaniment like the edgy opening track “Gone Tomorrow,” drum loops are also prevalent throughout Ripcord, allowing the tracks to cross genre lines. “Sun Don’t Let Me Down” which features Pitbull is easy to envision hearing on pop radio with dance floor beats and party anthem flavor thanks to guest raps from Mr. Worldwide himself.
Beat heavy “The Fighter” with Carrie Underwood is the other collaboration on the album and also sounds more like a pop anthem than a country staple. Make no mistake though, Urban is not leaving the country genre as there are plenty of country leaning tracks on Ripcord to satisfy his longtime fans. While the soaring “Gettin’ In the Way,” about a couple unable to pull away from a car makeout session, is not new territory Urban makes the song unique with his memorable vocals and added instrumentation which will likely have the listeners humming along long after the song is over.
Other highlights include the old school “Blue Ain’t Your Color” which is reminiscent of music from the 1950s with slowed instrumental accompaniment, bluesy guitar interludes and Urban’s singing style, and the soaring “Boy Gets a Truck” which follows the span of a relationship from a boy getting a truck as a teen to all of life’s big moments.
While the sexy “Habit of You” and “Your Body” were surely inspired by Urban’s wife, Nicole Kidman, the heartbreaking “That Could Still Be Us” showcases Urban’s ability to emote as he sings of a man remembering a lover who has moved on and the only time he sees her is in his dreams.
Overall a diverse release, Ripcord has much to offer listeners. Whether it’s slick beats, guitar slinging or vivid storytelling, Urban’s eighth effort launches the singer into uncharted territory exemplifying exactly why he is one of the most highly regarded talents within the genre.
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