Album Review – Anderson East’s “Delilah”
One of the biggest pitfalls of being an album reviewer is when you find a record you have favorable regard for, but just can’t find the words to express how you feel about it, or how to fairly describe the project for readers. Sometimes this lack of expressing an opinion can be misconstrued as not caring, not liking, or not being aware of the album, which is not always the case. With the overwhelming amount of releases in music, even when you cull them down to a specific genre, you still can’t cover everything.
The second pitfall for a reviewer is when you feel more favorable about an album than not, but the majority of your opinions happen to be of the critical variety. This is the reason some fans of artists such as John Moreland and Lydia Loveless think a site like Saving Country Music is mud, even though historically the opinion of these artists remains favorable.
That’s why I decided to drop back 20 yards and punt on reviewing Anderson East’s Delilah when it was initially released in July, 2015. Besides, it’s not a country record. Sure, there’s some mutual friends here. It was produced by Dave Cobb, and despite his more high-profile work with Sturgill Simpson, Jason Isbell, and Chris Stapleton, Anderson East is Dave Cobb’s true pet project, and the initial signee to Cobb’s Elektra imprint. East has also toured and opened for Sturgill Simpson and other country performers, and though he’s not country, his throwback sound is fair to file in the “roots” category, or “Americana” if you prefer. No matter your regard for his music, Anderson is part of the extended family.
The mathematics of everything dramatically changed when it was revealed that Anderson was dating country music superstar Miranda Lambert. Talk about a sea change from Blake Shelton. All of a sudden Anderson’s name recognition skyrocketed, his social network footprint doubled, and folks like Entertainment Weekly and Bobby Bones are featuring him, where before he was barely known even in Americana. There’s a reason entertainers like to date each other. Not to diminish any true flames that might exist between the two—that perhaps were stoked during the recording of Dave Cobb’s conceptualized Southern Family on which they both appear—but Anderson gets a big boost in popularity, and Miranda walks away with significantly more street cred. It’s a win win from a marketing standpoint.
But this is an album review, not a celebrity dating analysis. Give Anderson “Two Guns Up,” and 10 out of 10 for picking who to date when it comes to furthering his career, but when it comes to Delilah, it leaves a little bit to be desired. It doesn’t mean it’s not good. Delilah squarely fits in the slot as one of those trap albums that is better than it is bad. But as a reviewer, it’s hard to not focus on its shortcomings.
READ: More Than Just Miranda Lambert and Anderson East Hooking Up
Delilah is a classic old school throwback rock and roll, rhythm and blues record—which is the super hot thing in music right now, whether you’re working the indie fest circuit like The Alabama Shakes or Leon Bridges, all the way to huge mainstream acts like Bruno Mars, or Thomas Rhett and Brett Eldredge in mainstream country. Hell, even Corb Lund and Lindi Ortega’s last albums (also produced by Dave Cobb) were full of these yesteryear Motown/Muscle Shoals influences. They’re sexy; I get it. But at some point it can become too much, especially when it seems like nearly every record you listen to is leaning on this approach.
With Anderson, the throwback vibe is his native sound though. That’s who he is as an artist, instead of something he’s chasing because it’s hot. Guys like Anderson East are who posers like Thomas Rhett are trying to emulate. So whether it’s a trend or not, East has a stronger claim to it, making whatever trendiness Delilah might contain more forgivable.
What isn’t forgivable are some moments that are frankly just lazy songwriting. When you’re working in nostalgic hues as Anderson is, there’s going to be some moments that are more about re-interpreting old classic themes as opposed to imbuing more originality into the music, and that’s understandable. But you still can’t be cliché. And unfortunately, that’s exactly what East is in snippets, like the opening verse of the opening track, “Only You.”
Baby, I’m burning, yearning inside
I can’t get you off my mind
I got a fever, 110
You’re my only, only medicine
How many times have we heard this before? I don’t care how cool you are in east Nashville or who you’re dating, if you want to be regarded as a hot up-and-coming songwriter, you need to do better than this—and Anderson East can. You can get away with waxing nostalgia in spurts, but with Delilah, it’s most every song. And sonically, it doesn’t get much better. Most of the album resides in this narrow texture field, with horns and fairly predicable chord progressions that may not be directly filched from previous songs, but refer heavily back to them instead of trying to strike their own chord. By the time you get to the beginning of the sixth track “Quit You,” you feel like you’ve already heard this same exact song on this album before, let alone all the albums that sound similar.
Meanwhile most of the variety on Delilah is in the character and mood with which Anderson East sings, which is not always a good thing. His voice is Anderson’s #1 asset, but he’s not Tom Waits who can flip characters and eras track after track and pull it off. Each texture Anderson looks to inflect in his voice is effective, if not enchanting. But there’s a solid three versions of Anderson East, and it begins to feel more like an act than authentic expressions. Even though this is officially Anderson’s 3rd release, it still feels like he’s searching for his own voice, and at times using the inflected voices of others in the interim.
See, I told you I had some unhappy things to say about Delilah and Anderson East, but I hold steady in insisting that the redeeming qualities raise this effort to being more fair than foul. For example, the song “What A Woman Wants to Hear” is an excellent bout of songwriting matched with perfect production and Anderson’s authentic voice until the song positively drips with seduction and insight.
Calico quilt and muscadine wine
Silver moon, candlelights
Pretty little girl, come here
I want to tell you what a woman, tell you what a woman wants to hear
The entirety of human courtship, however superficial, is built around a man making a woman feel special, and this is expertly encapsulated by Anderson in this song.
The final song, “Lying In Her Arms,” is another excellent offering, and again, much more within what feels like Anderson’s original voice, with production that fits the song and the sentiment instead of getting swept up in the idea of making some retro expression itself and losing touch on what’s being said. It’s just a “song,” and doesn’t let styling get in the way.
And hey, the reason this retro, throwback rhythm and blues approach works so well is because it hearkens back to a time in popular music when it didn’t suck and the expressions were heartfelt and real, and most music wasn’t created on commercial pretenses. That’s why Delilah, despite some faux pas, is overall a slightly higher than a passable effort. And even though some things may feel a little formulaic, whether in the writing or the musical approach, it doesn’t mean they still can’t be fun and enjoyable to listen to, which is what music is all about, and the underlying rule even jaded music reviewers must remember.
Anderson’s re-imagination of “Find ‘Em, Fool ‘Em, “Forget ‘Em” is pretty infectious from its 70’s-vibe piano an wah wah guitar. And by the second chorus of “Satisfy Me,” you’re rightly sucked in, even if you’ve heard songs like it before.
The reason an artist like Anderson East works, similarly to Leon Bridges and many others, is because he’s got a evocative, old-school coolness about him that reminds folks of a time when music and life wasn’t so superficial. So there may be some borrowing of ideas here, but it’s innocent, and better than most of what is influenced by more modern textures.
1 1/4 of 2 Guns Up (6/10)
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January 10, 2016 @ 6:31 pm
If Miranda wants street cred then she needs to stop rehashing the angry woman garbage and write something good that isn’t pasty-white complain-for-the-heck-of-it like Automatic or creepy-trespassing-if-i-can-just-come-in house nonsense.
She needs to double down on her Pistol Annies work, because that trio is a great act, and while she’s as it drop the dress-up-hollywood-princess imagery, on both Pistol Annies releases and her solo work, because it runs contrary to the type of person portrayed in the songs and makes it look like the music isn’t good enough to stand on its own merit without eye candy.
She also needs to start making ammends to the Country Music community by reversing the damage done by her husband and his idiot friends. And anyway dating an Unknown is not how one gets street cred, one gets street cred by walking the walk and winning over the doubters through work, not posing and posteuring.
and lazy songwriting is inexcusable, even more so since its so commonplace now, if a song isn’t any good just don’t record it, dig up a classic or an old folk song, sing something from a musical… the umpteen millions of songs that have been written can be drawn on to provide album cuts and many of them are public domain so there’s no reason to write a bad song except to fool stupid people into thinking you’re more talented. not that Anderson or Miranda could sing many Broadway numbers very well, but if she could pull off a killer take of “I Dreamed a Dream” I’d definitely take her more seriously as an artist.
January 10, 2016 @ 6:37 pm
Thanks for your thoughts on Anderson East’s “Delilah.” 🙂
January 10, 2016 @ 8:46 pm
LOL! That guy needs go away. I also really liked the cd. Love his voice and it is just too quick at 33 minutes.
January 10, 2016 @ 7:49 pm
I like this Album. It made my personal top 25 of 2015. He reminds me of a southern Van Morrison. There were a couple songs that didn’t make much of an impression, but I enjoyed it for the most part. 1 1/2 guns up for me.
January 10, 2016 @ 7:57 pm
I’m glad you did this review. I would have to agree with it, but would maybe give it a 7. It definitely has its moments. As you pointed out, “What a Woman Wants to Hear” and “Lying in her Arms” are stellar, original and personal songs. “The Devil in Me” is another favorite. The doo wops and horns turn me off a bit, though, on several of his numbers. Overall, he has the right stuff at the moment.
I had the opportunity to see Anderson open for Sturgill in St. Louis last January (2015). He played an acoustic set and I was really impressed. I think he has a bright future ahead of him (obviously)!
On another note, I can’t figure out why someone like John Moreland would no be in favor of a site like this.
January 11, 2016 @ 12:53 am
I looked up Anderson after your last mention of him and gave a few songs a listen. Can’t say I liked it. Nothing special here.
January 11, 2016 @ 6:14 am
I thought the album was ok. Nothing great but far from horrible. I don’t see myself coming back to it very often honestly but it’ll remain in the collection for the time being.
January 11, 2016 @ 7:34 am
I was really excited for this album and was thoroughly disappointing when it came out. I think Anderson East has got something and will give his next album a shot, but this one won’t get another spin from me.
January 11, 2016 @ 7:46 am
I wasn’t sure what to expect with this album. I forget where, but I had read some sites label him as Americana and even one that said Roots-Rock. So I was definitely surprised when I found that this was essentially a strict R&B record. I think you make a good point when you say that the album works because it’s Anderson’s native sound. I haven’t been a fan of other artists trying it out, but that doesn’t mean I can’t enjoy it. The fact that it seems like R&B is what Anderson SHOULD be singing makes it a better overall listening experience. That being said I’d give this a 7/10. “Find ‘Em, Fool ‘Em, Forget ‘Em” is a standout for me, not as much for the story within it but for the overall delivery, where Anderson seems like he really throws himself into it. Not that enjoying a song for this reason is bad mind you. Remember, this isn’t country music nor has Anderson ever claimed this to be (not that anyone here claimed it to be, just a general note). The lyrics aren’t really what I’m after here. Another standout for me is “What A Woman Wants To Hear” mainly because sonically, it’s that moment on the album that breaks away from what the listener has been hearing up until that point.
The only reason I would dock this points is because at 10 tracks, many seem to blend together too much, which isn’t a bad thing necessarily, but there is a breaking point that this album reaches.
And since no one has said it yet……
still more country than Sam Hunt (and Chris Lane)
January 11, 2016 @ 7:54 am
I was also a little surprised to hear that his album was closer to R&B. I saw him open for Sturgill last February and I thought he wasn’t too far from Parker Millsap. I thought I remembered some blues/gospel/country in his music and his voice sounded sort of like Parker’s. Of course, going more in a classic soul direction isn’t a complete departure from what I just described. Just a little different from what I remembered.
January 11, 2016 @ 9:40 am
It’s expensive to take a horn section out on the road.
January 11, 2016 @ 7:51 am
#WaxySpurts (I think li’l Dale suffered from that back in the ’80s?)
And I don’t give him a pass on wearing out ‘muscadine wine’ some more, no matter what his native vibe is.
He can do better, butt eye betty don’t.
#GoldDiggingMan #MrMirandaLambert
January 11, 2016 @ 10:07 am
I’ll be seeing East live in February and I’m equal parts excited and uncertain. I really enjoyed Delilah and I’m curious to find out how his sound transposes from album to live, hopefully well, but the tickets are cheap so I can deal with disappointment. I think East has great potential, although if country music has shown us anything this last half a decade, it’s that potential and delivery are not always in cahoots.
Delilah definitely had it’s moments. I dig it, Miranda situation or not.
January 11, 2016 @ 7:26 pm
The genuine soul sound is great. He has an excellent voice, and the lyrics are fine. This guy would have been a perfect fit in 1972. It sounds like he got the Swampers in the studio and Motown in his soul
January 11, 2016 @ 7:33 pm
Well put… I wanted to like this album a lot but just found a lot of it kind of meh. He’s blessed with a voice for sure. He kind of seems a little too cool for school (admittedly I’ve never even seen him in person). I preferred Parker Millsap and Leon Bridges’ albums more but my bet is that East has a really high ceiling. He’s certainly friends with some badass people. I’ll be interested in hearing more from him.
January 11, 2016 @ 8:19 pm
All I hear is great talent. There are famous singers on the radio that don’t have near the talent as him. He has a great voice! I don’t know why anyone wouldn’t be able to hear that.
January 15, 2016 @ 11:27 am
A lot of my friends were upset when Lucero added the horn section on 1372 Overton Pk. I loved it. They’re one of my all time favourite groups, but the horns added something I didn’t realize was missing, some essence of “cool.” The same thing happened with Justin Townes Earle when he released my favourite album of his, Nothing’s Gonna Change… I love country and roots music, but for some reason this retro sound catches my ear. Last year I discovered both Anderson East & JD McPherson, both of whom released solid albums. No doubt there are some off moments on Delilah & the recent celeb gossip with Miranda seems about as genuine as Blake & Gwen’s relationship, but it’s a fun album at it’s heart. There’s cliche and a heavy dose of cheese if you look too close, but being young enough to not have experienced the period that East is drawing upon in person, pop culture has always looked back on it with a heavy dose of eye rolling. It was a fun listen, even if not the most creative endeavour. I probably won’t remember it in 5 years, but I enjoyed it for what it is.
March 8, 2016 @ 11:20 am
I felt the same way about it as trigger when I listen to his album. My dad had given me and my hubz tickets to see him for Christmas. And about a week before the show (which was March 4) I started listening to the album, and I felt the same as Trigger. Good, but couldn’t quite put my finger on it.
At the show my hubz turns to me before Anderson come’s on and says “I probably won’t make it for his whole set”. Fine, I agreed. But then Anderson came out on stage and absolutely slayed! He was all in!!! He worked those songs that seemed a bit lifeless on the album and set fire to them on stage. He did a great handful of covers (Tupelo Honey, Always Be My Baby to name a few). Needless to say we stayed for every second and it was the best show I’d be to in a looong time (think JTE before he got sober). I appreciate the album more because of it, but I do wish he’d put out a live album. Don’t miss an opportunity to see him!!