Rolling Country 2014

Oh yeah, staying in Pistol Annies might help w writing as well, at least re feedback, also trying different co-writers beyond PA.

Eric Church, The Outsiders
First track has me thinking this is hick hop in black, with a touch of metal, ready to square off in the parking lot with rich yearbook pix/cheerleader hawgs of bro country--like Metallica presented as a dark alternative to gaudy Hollywood hair metal and Van Halen pop "metal." Also, as later songs elaborate on, it's for older bros, or bros who have been around long enough to have relationships to negotiate, and other long and winding roads, sometimes with twists which have barely turned (don't ask, just---don't...). Not serenading gals when not serenading selves and each other, in instant selfie nostalgia for the present nights, "Beer In The Headlights" and all that bro-mance.
But some people liked Metallica and hair metal and pop metal, and some of this is mainly nostalgic, like Chesney remembering race tracks more than pickup tracks, and the older bro is grateful to the lady who pulled the iron thorn from his paw, put a pin back in his grenade, and maybe introduced him to the band who pace his "Wrecking Ball" before it can explode beyond some kind of luric macho as written, mellow as murmured customary boudoir code.
Oh yeah, the band! Always on point, and if if this okay (studio) character actor & storyteller (effectively low-key and informative when guiding us around the "fer-tile loins" of Nashville Babylonia, although it doesn't work as well when he turns on Her mate, the Devil), much more Chuck Norris than James Hetfield after all---which really is okay, at this point!----but if he ever managed to give his Nashville Cats in black more than Music Row's latest angles, arcs and novelty songs--sure would be good to hear them rise to the occasion, rather than have to hold back just a little too obviously, by sounding so ferocious so on cue----so as not to upstage the guy up front.
That can happen live, when everything isn't mixed beyond perfectly, but go for whatever you go for, and be prepared to stay for the band (do brace yourself for the worst-"sung" version of "Talladega" you can imagine, and then some). Still, considering the heavy, agile, always attentive playing, and the clever gimmicks of most songs, and of course Church's adequate studio delivery, overall it's an Hon. Mention (much more consistently listenable than Florida-Georgia, for inst.)

"Talladega" seems to be nostalgic for bros drinking and driving, on some occasions, so touching all bases---and most songs address how "you" make him feel, much more than touching on whoever, whatever you may be otherwise (whereever? Mostly real close, or real gone, to/from vicinity of the monologue). Not even any "By the time I get to Phoenix she'll be risin'", no wondering what Bro's doin' now, or would be if he hadn't crashed, no "I drive his truck"---no trucks, as prev. mentioned. And no blood relatives, other than a son you thugs, mugs, dealers of drugs better not touch, or "(little smirk)I'll let the Dark Side out to play..." (darkwing music in background)
So it's all at least as self-involved as a lot of male-sung mainstream pop country, which is to say, as a lot of country, whatever the special sauce.

Merry Country Christmas and adios for a while.

After the Christmas basket, before the turkey & dressing, a palate cleanser:
Terri Clark, Some Songs: "Some songs/Need air/Some songs/Need a girl." Yep,'n' some need the return of the No-BS Canadian Queen of Hat Country, with just enough of ye olde rodeo/hangar clangor, Chris LeDoux's pioneer prescription of "Aerosmith in a cowboy hat," balanced by her own, sometimes romantic, often dry POV: you gave her your word, darlin---riiight, she heard that, "So I took it down town and I cheated on you," how do like them onions? She's been around, and is still ready get some messy details on the fresh white T; more where that came from. And her new theme song is the typically forthright "Better With My Boots On." Others incl. "Here Comes Crazy," "Don't Start," "Wheels Down," "Bad Car," "Just Add Water," and "Feelin' Pretty Good Right Now." If you need some car music for holiday travel (to see The Interview, to buy the new Garth at Wal-Mart, etc.), try this, and her Greatest Hits 1994-2004, whether or not you can find that "worn-out tape of Chris LeDoux" (Hi Garth, who is not on $P0T1fy, so won't get considerd by me in this poll, unless I find a nice-priced used CD).

Rosanne getting really hearty w the arty re The River & The Thread, also slinging hot chestnuts from The List, on latest Beale Street Caravan. Listen local, or here---although, unlike most of their archived shows, you gotta join to listen---but you also get backstory of The Gentrys' Memphis garagemark "Keep On Dancin'":http://bit.ly/1CNZPg4

Listened to Angeleena Presley's American Middle Class, giving it the added advantage of contrast with arty artisanal artful Rosanne. It does grow on me, but still got mixed responses.

― dow, Wednesday, December 24, 2014 6:02 PM (1 week ago) Bookmark Flag Post Permalink

Agreed, this was one of the more disappointing releases of the year for me. Gave it the benefit of the doubt and returned a number of times, but nothing grabbed me quite like her best work for the Annies. Sadly, the best of the bunch for me are the ones with serious talent co-writing (“Grocery Store” and “Surrender”).