Album Review – Chris Stapleton’s “From A Room: Vol. 2”
If it feels like we were just here a few months ago, it’s because we were. You could call Chris Stapleton’s latest release, and his second one in 2017 “From A Room: Vol. 2,” or perhaps you could call it “Traveller #3.” With little to no personnel changes from his debut LP, the same basic approach to the songwriting and style, cut in the same studio with the same producer (Dave Cobb), you get just about what you would expect from the new record, which is good when considering the heights his previous albums have soared to, and bad when you consider that spice is one of the essential ingredients to keeping music interesting.
When we first heard that Chris Stapleton’s sophomore effort would arrive in two installments, we knew it would take until the 2nd one to really decide what we had here. Like the first From A Room, we only get nine songs, which feels a little short for a full-length release without some extended acid jam or hidden track on the tail end. Just like with the first offering, From A Room: Vol. 2 has a few songs Stapleton fans and traditional country fans have already heard in other places. “Drunkard’s Prayer” was originally cut by John Michael Montgomery in 2008. “Midnight Train to Memphis” was recorded and released during Stapleton’s tenure in the bluegrass band The SteelDrivers.
Furthermore, From A Room: Vol. 2 gives you even less from harmonica player Mickey Raphael, and steel guitar player Robby Turner isn’t present at all, not only giving the record a few less textures, but making it less country than previous efforts, which most assuredly will result in even more howls from Stapleton detractors who say he’s nothing more than a blues and R&B singer in a cowboy hat, however good he might be. All the songs on From A Room: Vol. 2 remain either in the slow or mid tempo, even if there are some electric guitar growls, or solo acoustic moments to create some variety.
You delve into From A Room: Vol. 2, and it feels very familiar; a little too familiar. Even the way the early songs from the record were all released at 11:59 on Friday nights with little fanfare, with fans and media fending for themselves as they see them populate on Spotify amid no promotion, was just like the first volume. Frankly, as time goes on, the whole Chris Stapleton arc has begun to feel a little bit lifeless and unimaginative—or feel like there really is no arc at all, just a flat drone of same sounding songs. Even uninspired.
In the sphere of active country music audiophiles, Stapleton’s name has gone from celebrated to heavily criticized. Folks are fatigued from all the news coming out about him, and it doesn’t help when he releases two records in the same year. A critical darling has become almost a dated reference, who you wonder how long can continue to hold the public’s attention at the high level he saw after the 2015 CMA Awards now over two years ago, especially without a “hit,” or a “moment” to keep that momentum going.
But somehow, inexplicably, the albums keep selling. From A Room: Vol. 2 will assuredly hold serve, possibly resulting in Stapleton having three records in the Top 10, if not the Top 5 on the country album charts consecutively—a feat previously achieved only in the modern era by His Garthness. You may have moved on from Stapleton, but many fans out there are still riding the wave and will download or purchase this new record like habit. They’ll buy three and hand them out at Christmas. They love Chris Stapleton, because this is the age of the voice, and the age of the song in popular music, and Chris Stapleton delivers on both, and now, for the third time in a row.
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Despite all the obvious concerns for the sameness of the music released in such a short period, From A Room: Vol. 2 remains pretty great when taken with an honest assessment. Yes, it most certainly suffers from a lack of innovation or imagination. Yes, they should have condensed this effort down into one good record instead of stretching it out to two—in what now feels like a pretty transparent effort to maximize profits for an artist who sells via albums instead of singles. But it takes a pretty staunch cynic and hard heart not to hear the distorted kick from Stapleton’s Fender Jazzmaster and his Kentucky coal country yawp at the beginning of “Midnight Train to Memphis” and not get the adrenaline pumping, or feel the steam begin to build around the eyes in the throes of the sincere and sad “Drunkard’s Prayer.”
Chris Stapleton remains a master at his craft. Similar to a magician, perhaps the same tricks tend to get old if you watch them too many times, but that doesn’t make the slight of hand any less deft. You want to take Chris Stapleton for granted? Just go watch Sam Hunt or Thomas Rhett. Is Stapleton not country enough for you? Ditto. How quickly some have lost sight of the time when it was Luke Bryan and Florida Georgia Line setting all the records and winning all the awards, and just how remarkable it is that Stapleton is receiving this level of recognition, acclaim, and widespread acceptance. And that his talents are quite worthy of it.
When Chris Stapleton came along, everything in mainstream country music sounded the same. Then Stapleton showed up, and added a shot of variety and interest. Now it’s Stapleton who needs the shot of variety. Listening to this record, just like writing this review, feels like formality, which can never be good for a performing musician. Stapleton just doesn’t have that same passion, or the personal upheaval that you see in some of your favorite artists. He’s happy. He’s content. And he’s not writing a lot of new songs as he’s shared in interviews, or hungry to achieve anything else in his career. Nor is he impassioned to share some groundbreaking notion of what music should be in the modern era.
Instead, Chris Stapleton is just fine sharing songs he wrote eight years ago recorded in 15 minutes with his road band. But considering the alternatives in the mainstream, and Stapleton’s undeniable talents, so should you.
7.5/10
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December 1, 2017 @ 9:49 am
I really like the remake of the Steeldriver’s “Midnight Train to Memphis”. Sounds like something from his Jompson Brothers days.
December 2, 2017 @ 3:57 pm
He played it with the Jompsons.
December 1, 2017 @ 9:56 am
I’ve been refreshing the page all morning waiting for this. I’ve already listened to the entire album twice and I love it. I understand that too much of a good thing can be bad, but I’m currently content with the content that Chris has released. I don’t need uptempo/happy songs. I want honesty and something that I can feel. My friends make fun of me for all the slow, sad music I listen to but I guess it’s just how I feel these days. The country is going to hell in a handbasket. My Volunteers are a dumpster fire. But Chris Stapleton keeps delivering and that’s enough for me today.
December 1, 2017 @ 9:58 am
Do you think he’s just fulfilling a contract obligation?
Neither of these volumes don’t feel like proper albums. I’ll never listen to one in its entirety in one sitting. However, there are some great tracks between the two that I’ll put on playlists.
Since there’s nothing to differentiate the two volumes, I’m treating them as one rarities, B-sides collection.
Good review!
December 4, 2017 @ 9:23 am
Someone mentioned that in the comments when Vol 1 came out. I could see two short albums fulfilling a three album contract (assuming that’s what he is on). Outside of the awards, I’m not sure what the label has done for him. They have no idea what to do with him at radio and at this point I think it’s safe to assume he would be able to sell albums and tour without much of a drop off just going the Thirty Tigers route or moving to Dave Cobb’s label.
December 1, 2017 @ 10:04 am
Good review. I agree that even the same from Chris is still pretty darn great. I’m enjoying vol.2, not as much as vol. 1, but it’s still pretty excellent.
December 1, 2017 @ 10:12 am
Also, I have worried for awhile now that Chris was on the verge of overexposure. Part of it really isn’t his fault because people are craving decent music and he happens to be one of the few arbiters of it in mainstream country.
December 1, 2017 @ 10:29 am
excellent take on the enigma that is chris stapleton , trigger . i think you echo what so many music fans- (not radio fans)-are trying to understand about his overall approach to the “big time ” . thus far ., i’ve likened his solo releases to basically song demos . very sparse , little colour musically and unadventurous , to say the least . i’m guessing this may be the way chris pitched his writes to artists in the past : simple guitar / vocal demos .
now we add Dave Cobb to the mix ( no pun intended ) and what do we get ? unadventurous , sparse tracks with little colour BECAUSE THAT is Cobb’s approach to producing EVERYONE , it seems ….hmmm .?? we add apples to apples and we get apple pie . what kind of pie did we THINK we’d get ?
if this motus operandi was adopted to ensure NOTHING distracted from CS’ voice , mission accomplished. if the song choice was informed by an effort to find the BEST Chris had to offer , mission accomplished .if the ultimate goal was to absolutely NAIL near-flawless vocal performances , mission accomplished .
if I went to a club to see CS and he only performed with an acoustic guitar , i know i’d be blown away and , I believe , so would most of us .so i suppose you could say the addition of the rhythm section and morganne is a BONUS . CS doesn’t NEED anyone or anything to sell his writing but that emotion- fuelled voice and the song …the honesty , the universality , the substance and conviction of the song . but we get the aforementioned musical support as a BONUS .
saying that …..how much more amazing could his output be with a producer who is producing the SONG and not the artist . someone who has the license to colour a narrative with whatever that narrative seems to call for in terms of musical support . how much better would some of those tracks sound with fiddles , a B3 , a banjo or yes even a small string section as AJ and King George have so effectively utilized in the past for a full sound that keeps radio and a radio listener ( not a REAL MUSIC fan) interested because they are conditioned .
…an album of chris strumming and singing would have sated my need for REAL in these times. but the fuller sound in whatever incarnation may have assured more airplay . then again …could the guy be selling any more product than he is right now ?……at this point , he still stands apart from the herd and its working for him , if not for us .
December 1, 2017 @ 11:03 am
Good comment. You can’t blame Dave Cobb, Chris Stapleton, or even the label for not wanting to tinker with what worked so well on “Traveller.” The problem is you can’t play the same trick three times, and continue to expect to wow the same audience. Music is at its best when it is bold. Musicians are at their best when they are challenged, and hungry. This review wasn’t just about where we are with Chris Stapleton’s 3rd release, but where he must go next to grow.
December 1, 2017 @ 11:32 am
i don’t disagree trigger . there’s an element of stagnation here that is of definite concern . i will offer this for consideration , though .
stapleton has achieved all of his success with little to no help from mainstream radio play . i’d suggest that he’s still , in many respects , flying under the radar where the masses are concerned compared with the LBs the Aldeans , the Underwoods and such . that is to say that he is still garnering new fans drawn to what it is that he does BECAUSE of his voice and his ability to stand apart musically . he is still breaking new ground for folks only familiar to ‘ country ‘ via mainstream as well as to that friend of a friend of yours who’s just now getting around to learning about him . perhaps chris riding the same ‘ style ‘ for three records ( tw actually , i think ) is a way of establishing himself FIRST based on his unique strengths .
BTW …I think Volume 2 , in my opinion , is even better than Volume 1 . i’m still on board the CS train although i’m also curious and completely ready to see what the next stretch of the journey holds . i think we need to keep in mind that almost everything CS has released in the past decade …including steel drivers music ….has a similarity and not a significant ‘ arc’ . I think its mostly mainstream that demands an ‘ arc’ in terms of trend-chasing for an artist . Ask James Taylor …one of the most popular and enduring singer/songwriters EVER what he things of the artistic ‘arc’ . A James record from 1988 sounds like his latest . If you’re a fan m, you’re still a fan . If you’re NOT a James fan …..God have mercy on your soul ..
December 1, 2017 @ 12:12 pm
Glad I’m not the only one who enjoyed the second volume even more than the first — though I still think they each simply feel like a solid collection of tunes, rather than a cohesive full-fledged album (like ‘Traveler’). “Scarecrow in the Garden,” “Midnight Train to Memphis,” “Drunkard’s Prayer” were standout moments for me on Vol. 2. 🙂
December 2, 2017 @ 4:01 pm
I wonder if this will somehow lead to a ressurection of the Jompson Brother record. As cliche as some of that stuff is, there’s real fire in those tracks.
December 1, 2017 @ 11:07 am
When I am listening to an album I am looking for songs that make me feel something. Every song in this album makes me feel something. And the songs get better when you listen to them more. Innovation is good. I think Chris is being innovative by being true to himself despite what all of us want him to do.
I do not agree that the production is uninspired. The fact that it is bare is rather refreshing ( its still refreshing for me after 3 albums). I think the production style is a throwback to the old days when the music was more important than the image or chasing radio airplay. It makes his albums a rare things in the current music climate where everything is formulaic and fake.
As some one who is not a typical country music fan, the fact that Chris does not chase airplay make me like him more. I don’t listen to the radio and specially country radio that much. From what little I was able to tolerate, I don’t think he fits in that format. And he should be trying to fit in.
December 1, 2017 @ 11:34 am
this:
” When I am listening to an album I am looking for songs that make me feel something. Every song in this album makes me feel something. And the songs get better when you listen to them more.”
December 1, 2017 @ 11:09 am
I agree with you.
You reminded me of the discussion surrounding the Colter Wall release.
Taking nothing away from it, it is great, astounding, etc but would it be with a lil more behind it?
Then on the other side, I think you can see what a lil something behind it did for Tyler Childers.
Stapleton is what he is, I don’t take anything away from him, but sometimes a lil more spice isn’t too much.
December 1, 2017 @ 12:13 pm
Interesting comment. Perhaps he should consider locking himself in the studio for a week with Sturgill and force himself to come out on the other end with a full album’s worth of material. Worked well for Childers. I still don’t see how it’s possible to track an album that quickly, but somehow sturgill has done it several times, and done it well.
December 2, 2017 @ 5:57 am
I really hope we get a “Highwaymen” like album with Sturgill, Isbell, and Chris at some point. Sturgill already said he’s interested in it.
December 2, 2017 @ 12:40 pm
That would be brilliant. I’ll bet Chris would love that too.
December 1, 2017 @ 10:33 am
I completely agree with this review. It’s a good record, and I will happily put it into my rotation, but it shows that Stapleton has no arc as an artist. Trigger nailed it- Stapleton is perfectly content performing old songs with the same band. I’ve seen him live, and I got the same impression. The show I saw earlier this year could very well be the exact same show someone can see ten years from now. Two years into his solo career, Stapleton is on the verge of becoming a nostalgia act already.
If he doesn’t have any interest in developing himself, maybe a good direction would be to work with new talent, like Sturgill did with Tyler Childers. Or maybe he could make what I know a lot of fans have been waiting for… a true duet album with his wife Morgan. Maybe if he isn’t inspired to write material for himself, maybe he would be inspired to showcase her. However, she has stated she is perfectly happy just singing harmony for Chris for the foreseeable future. They are both capable of producing more greatness, if they ever get that creative spark again.
December 1, 2017 @ 10:37 am
I’ll agree that these songs are of a similar style and feel to those on Traveller and Vol. 1. But dated and lacking in passion? Come on, These are damn fine songs sung by a man blessed with an amazing voice and a really tight band. I’ll take more of the same from Stapleton every chance I can get it.
December 1, 2017 @ 11:15 am
I don’t know that I would characterize this record as “dated.” I pointed out that some of these songs were written a decade or so ago, but a good song, and a good performance is timeless. I also wouldn’t call Stapleton’s performances lacking passion. It’s more the vision that was brought to the approach of these two records that calls into question the passion. Also, that lack of passion is an opinion inferred by Stapleton’s own words, not just my assessment of his music.
But I hope the conclusion of this review is not misunderstood. An unhungry Stapleton cutting older songs with his road band is so much better than most everything else.
December 1, 2017 @ 10:41 am
It may sound like heresy to some, but I’d be happy to see someone else other than Dave Cobb produce his next record. I’ll now go listen to some Tracy Lawrence records to hear what outstanding production and Nashville at its best once sounded like.
December 1, 2017 @ 11:01 am
Those old Tracy Lawrence records are underappreciated. Sticks and Stones was one of the best records of the 90s.
December 1, 2017 @ 4:57 pm
Can’t forget “Alibis”. Possibly my favorite country album of the ’90s.
December 1, 2017 @ 8:06 pm
Agreed! “Sticks And Stones” is such a classic album. Just great early 90’s traditional country from start to finish. And yes, “Alibis” is another really good one!
December 1, 2017 @ 12:43 pm
Pair that with Killin’ Time and you’ve got the best of that era.
December 1, 2017 @ 10:52 am
“somehow, inexplicably, the albums keep selling”
You already have your answers:
“this is the age of the voice, and the age of the song in popular music”
“a blues and R&B singer in a cowboy hat”
Chris is a singer. He hasn’t established an artistic ambition of his own. Don’t overthink it. You can’t expect people to realize ambitions they don’t have.
December 1, 2017 @ 11:19 am
Agree with your assessment. I only gave him a casual listen because he was in the Steeldrivers. My Steeldriver connection began with Tammy Rogers and her connection to the original group of Dead Reckoners. The group of musicians that were and revolved around the Dead Reckoners played and sang music that, for myself, drew me in. Stapleton doesn’t draw me in, maybe because it sounds like something I’ve heard many times before. If I want to hear Blues or R+B I will go closer to the source.
December 1, 2017 @ 12:09 pm
I’ve heard some of that Steeldrivers stuff and liked it a lot. One of the things it did for Chris’s voice is put it in an environment where his SOULFUL INTENSITY ALL ON VOLUME approach could be seen as part of a more complicated landscape. That is, if you look at his voice on the scope, it’s almost exactly like looking at a track with modern compression for radio: it’s maxed out from stem to stern. If you like that, I’m happy for you. To me, it gets tiresome pretty quickly. I have ears that predate the internet, so to me, happy listening is full of peaks, valleys, and little paths. More detail, I guess, and wider allowances for dynamic range.
December 1, 2017 @ 10:56 am
I’ve verbalized this before. Chris has created a modern day Red Headed Stranger concept. Like Willies acclaimed masterpiece, the last two albums are deliberately understated. Sparse. And that’s the point. He’s following his muse, his vision. Fine and dandy. But Willie didn’t stay there, he moved on to try many other concepts. One wonders if Stapleton will also move on and try new sounds and explore a bigger production. It seems for now though, this is where his head is at. Chris the songwriter with a stunning voice. It’s not a bad thing, but for those of us who attended live Steeldrivers shows, we remember what that voice was like singing Outlaw songs coupled with fiddle, mandolin and banjo. We remember how rowdy those crowds were back then and how nobody in their sane mind would say he wasn’t “country” enough. As a Steeldriver , Chris put me in hillbilly heaven so to speak at those shows singing about guitars, whiskey, guns and knives, civil war battles, trains, killin and down and out characters. I miss the old Chris.
The Scarecrow in the garden song is seriously heady stuff though. There’s a hidden depth to it, that you pick up with each subsequent listen. Hard Living is pretty great as well. Chris is giving me some glimmers of hope. Go see him live, you won’t be disappointed.
December 1, 2017 @ 11:00 am
I don’t care if it sounds the same, it’s great! When you’re this good sounding the same is ok by me.
December 1, 2017 @ 12:28 pm
That’s pretty much the gist of the review, haha
December 1, 2017 @ 11:31 am
The problem I have with this album is the instrumentation and production. A lot of the songs feature the same basic instrumentation which consists of an acoustic guitar strumming, a basic back beat, and his singing (which he often over does). His music is starting to sound factory produced- done quickly without great arrangements. Instead of the overused duet sound with his wife throw in a churchy choir- instead of the basic repetive acoustic strumming throw in a steel guitar or even a b bender. It upsets me because I’d like to believe he is capable of arranging these songs better. But like trig said it’s the era of the voice and the voice is all that matters- regardless of whether the music itself sounds tired and uninspiring.
December 1, 2017 @ 11:33 am
If you can’t put out top level stuff every time your either falling off or just not as good as previously thought. This album proves hes not a Tyler Childers or a Turnpike. Traveler was a great project but honestly these last two albums could have been better.
December 1, 2017 @ 11:46 am
My favorite by far right now is “Nobody’s Lonely Tonight.” And I can only imagine how great “Midnight Train to Memphis” would be live.
December 1, 2017 @ 12:15 pm
I’ve seen him 4 times and Midnight Train is awesome live. I like it better than the album version. But I think I still prefer the SteelDrivers version the most.
December 1, 2017 @ 11:48 am
Agree with you- wish he would mix up the tempo a little bit. His vocals are still outstanding, but feel like everyone’s gotten accustomed to his voice by now
Good album, several great songs. Not overly wowed but certainly not disappointed. I guess i would say im satisfied
December 1, 2017 @ 12:08 pm
“Frankly, as time goes on, the whole Chris Stapleton arc has begun to feel a little bit lifeless and unimaginative—or feel like there really is no arc at all, just a flat drone of same sounding songs. Even uninspired.”
Well put. Chris is talented and all, and I love that he has made inroads into the mainstream “country” arena, but none of his albums have ever really made me want to come back to them after a few listens.
December 1, 2017 @ 12:14 pm
I’ll give this to Chris. When it’s time to stand and deliver, he stands there and delivers.
But can you imagine him singing a fast shuffle about him and his wife kicking back and making fun of each other? Is there that kind of emotional range in his voice?
Or is it all whiskey voice soul singer belting, all the time?
December 1, 2017 @ 12:30 pm
A ton of his Steeldrivers stuff is uptempo and upbeat, with a ton of emotional range.
December 1, 2017 @ 12:18 pm
I am a fan of Chris but I am not a huge fan of these two volume albums. Loved Traveller and listened to it a lot. Just songs are starting to sound the same to me. Not taking away from chris at all but I honestly did not think it should have won the CMA album of the year over Mirandas The Weight of these Wings. I listen to that album every day. Talking about putting your feelings heart and life into an album and how it relates to people I cspany ways. Just a amazing album that deserved the recognition. As well as derserved a Grammy nomination but didn’t. What’s this industry becoming. Obviously doesn’t like ten to the music when deciding nominations. Pretty sad. And you don’t have to agree with me it’s ok we all have opinions but I feel like a lot of people would agree.
December 1, 2017 @ 7:39 pm
Chris and Morgane are among my favorites. I don’t buy an album by anyone unless I can just turn it on and listen all the way through it, and I’ve bought all three of Chris’s albums. I like Vol. 1 & 2. As Trigger said, I love the songs and the voice(s). Doesn’t matter to me when he wrote them – just glad to have them. Probably wouldn’t have known the difference, if he hadn’t said so! Ha. Love the covers Chris has done as well. Miranda is also at the top of my lsit of favorites. Their voices and sounds are not only real but distinctive, immediately recognizable and good. I agree wholeheartedly that Miranda’s TWOTW deserved AOTY. It is truly the best album of the year. It certainly deserved a Grammy nomination and also deserved to win, imo.
December 1, 2017 @ 12:22 pm
My local independent radio station (which I only follow on Facebook ironically) published its albums of the year!!!
Stapleton and Neil Young were released today. I’m sure there are other albums outside my wheelhouse still yet to be released. There seems to be a rush fir publications and institutions to release these listed sooner every year.
I don’t mind solicitations and drafts because that may help me find and album or three I over looked, but I’d rather wait until December 31st to give all albums a fair shake.
December 1, 2017 @ 3:30 pm
Yes, the end-of-year lists keep getting earlier and earlier every year, just like the start of the Christmas season. Some have had their lists posted for weeks. You don’t want to be the last outlet to post your list.
December 1, 2017 @ 12:54 pm
One other song we’ve heard before: the lead single “Millionaire” was on Chris LeDoux’s 2002 album After The Storm.
December 1, 2017 @ 1:14 pm
For me, I heard that song first on Solomon Burke’s 2006 album Nashville. Buddy Miller produced it and I think he was the song curator.
December 1, 2017 @ 1:10 pm
This review pretty much sums up my feelings about this record and the previous, really good, but nothing exciting. There are moments and songs that I really enjoy, but most of it is familiar background noise.
I guess what bothers me about Stapleton, not that it’s his fault, is his rise in the “country” scene. I saw Stapleton play to a room of 200 in a basement years ago, and it was sublime. Watched him last summer, and it was the same old bro-country drunk fest that you would see with any other current artist. It pulled every jacked-up truck bearded 25 year old and girlfriend out for a 15,000 person show of the same stuff that I’d heard the last time I saw him.
Part of me is happy that he’s seeing success, you nailed it with a “shot of variety”. However, the other part of me is waiting for the fall so that I can see catch him in a dive bar again instead of PBR spilled on me by two shirtless “bros” who are booing Anderson East (opener).
December 1, 2017 @ 1:16 pm
Drunkards prayer and untangle my mind r the 2 best
December 1, 2017 @ 1:22 pm
I love the guy, heck i love this record also. Love seeing the southern rock elements come back, but i too feel he has stagnated a little.
Is it just me or what, but i cant help but see a little jamey johnson syndrome happening. Lonesome song and traveler, brilliant debuts, then guitar song and from A rooms volumes come out. Then contentment sets in and the they disappear! Hopefully Chris doesnt disappear for awhile but its shaping up so similar its mind boggling to me.
December 1, 2017 @ 2:44 pm
Didn’t he say on a Podcast earlier this year that he hasn’t written any songs at all since Traveler? I don’t want to speculate too much, but that doesn’t sound like a great development for a previously prolific songwriter. I guess it’s not too uncommon for a songwriter to become famous and then spend the rest of their career singing other people’s songs – will be interesting to see how his career develops.
December 1, 2017 @ 2:59 pm
He said on Wheeler Walker, Jr.’s podcast that he has been writing since he caught on. He said he had such a “vault” of good material, he just wanted to play it. I’m thinking he has been happy or uninspired, or else been too busy on the road to sit down and write.
December 1, 2017 @ 3:33 pm
In multiple interviews Chris has said that he hasn’t been writing, or that his writing has slowed down, and that he’s accomplished everything he’s wanted in his career and is content. There is nothing wrong with that at all, I am happy for Chris. But hunger and fire is what births good music. Jamey Johnson syndrome is a good way to put it, but I think it’s still too early to give Stapleton that diagnosis. The next 18 months will be very important.
December 3, 2017 @ 6:42 am
This is almost exactly what I was thinking after reading this article and putting the pieces together from various interviews and podcast I have seen/heard featuring Chris. I am a little nervous that he will fall into the same category as Jamey Johnson but as far as we all know he isn’t in a dispute with his record deal which is why Jamey stopped putting out new records.
There was a comment on a Reddit thread about 10/10 rated albums and someone pointed out how many of them were the artist or bands first album. It makes some sense because of you have been in the writing game for a long time you likely have a huge catalog but when you go to produce you’re first album you cherry pick some of the best songs so you hit a home run and gain a lot of traction right out of the gate. Then when it comes time for the 2nd album there isn’t as much material and you have to live up to the hype of a the huge 1st release, if that is what happened. The other issue for some artist and bands is having to push albums out by a specific date which puts a rush on the writing unlike the 1st release where you have had your entire career to that point to write songs. Stapleton will likely never have another album that comes close to the sales of Traveler.
I believe he likes what he is doing now, no pressure to write songs for others is making more than enough money to be comfortable. Can play what ever he wants, we can argue all day how country it is or isn’t. Chris really probably doesn’t care what genre it is. If you have seen him live he loves the striped down, simple versions of his song with lots of guitar solos and it makes fora great show IMO. Hopefully he continues to write and release music so we don’t have to hear the same 10 songs at every show or the same covers every time.
Also Scarecrow in the Garden is a phenomenal track and I like the album. If Margo’s was a 6.5 this should have been rated a little higher. I thought her album was so boring in comparison to From A Room Vol. 2.
December 1, 2017 @ 1:26 pm
I can’t give an honest judgement until we actually get new material. We haven’t heard anything new since at least 2015 when Traveller was released. Tough to judge.
December 1, 2017 @ 2:01 pm
For my money, “What Are You Listening To?” is still my favorite solo song he’s released.
December 2, 2017 @ 6:07 am
definitely agree with that Lester, that’s still one of my favorite go-to Stapleton songs
December 2, 2017 @ 6:33 am
Love that song too. May I suggest that, if you haven’t heard it already, find the version of him playing it acoustic on you tube, it’s even better than the studio version.
December 1, 2017 @ 2:00 pm
I’ve been really looking forward to this review, and you nailed how I’ve grown to feel about Stapleton. Just a few days ago I was talking with my sister (Kelly Hunt, YouTube her; I’m not above repeatedly advertising for family) about Stapleton’s value to the independent scene. He’s an enormously talented vocalist – probably transcendent – and a skilled musician whose songwriting is simple, reliable, and occasionally poignant. But as a figure in the industry, his infiltration of Nashville is the single most important development in the push to publicize more traditional artists.
NPR’s First Listen article was incisive, if a bit enamored of its own adjectives, when it made this point about Stapleton’s tendency to revisit the well of his creativity rather than plumb it anew:
“The Stapletons have been country music’s busiest couple since 2015’s Traveller, so it’s by both necessity and inclination that they sifted through Chris’s vast back catalog for songs they felt had held up over time, threw in a few choice covers and returned to the studio with Cobb to record as though they had nothing in particular to prove.”
I’m in no position to judge a busy family man for managing music output in the most convenient manner possible, but I look forward to new efforts from him. Doubtless, this new season of his life will have laid fertile ground for the perspectives of his songwriting.
In my personal pantheon of contemporary independent country artists, Sturgill and Childers are the visionaries, Isbell is the preeminent wordsmith, and Stapleton is the unmatchable vocalist. If all of these talents were resolved into one artist, that would be ideal. But until that happens (if it even does), Stapleton will hold serve – for me, at least – as a comfortably staid country figure, who isn’t afraid to consolidate all the musical traditions of his region, whose vocal versatility never disappoints, and whose ear for melody is one of the best around.
Maybe that compares favorably to Sturgill’s experimentalism and growing hubris.
December 1, 2017 @ 3:28 pm
Don’t forget Turnpike: The Total Package.
December 1, 2017 @ 7:37 pm
Joseph Huber is the preeminent wordsmith.
December 6, 2017 @ 8:00 pm
He is a Nashville insider through and through tbh. Il give Isbell and Simpson way more credit for infiltrating than Stapleton who was just waiting in the stables.
December 1, 2017 @ 3:17 pm
I mostly agree. But should point out that he plays a Fender Jazzmaster (not a Mustang).
December 2, 2017 @ 6:22 am
Jazzmasters, Jaguars and Mustangs are all often mistaken and bungled in identification unless you are a guitar guy. They do look alike from a distance. Yes, the pickups and configurations are different, but I will let Trig. slide on this, he’s not a guitar geek from what I can tell.
December 2, 2017 @ 9:28 am
I am a guitar geek, but I’ve made this mistake before. The reason is (after doing some research) the Jazzmaster ’62 reissue that Stapleton plays looks EXACTLY the same as many of the Mustangs I have come in contact with. Same pick guard, same pickup configuration, everything. Basically, they’re the same guitar. It’s easy to lump Fender electrics in three categories: Telecasters, Stratocasters, and Jags, Jazzes, and Mustangs because they look so similar. Guilty as charged.
December 2, 2017 @ 1:32 pm
You’re right, and guitar folks around my parts always refer to the three as the Fender “offset guitars”. I always thought that was a good way of thinking about them.
But Mustangs really don’t do it for me. I think they have the most distinctive shape of the three, and look kind of kitschy. Was always surprised when Cobain used them.
Jaguars/Jazzmasters can roar though.
December 1, 2017 @ 3:24 pm
“He’s happy, he’s content, and he’s not writing any new songs” …… are we looking at another Jamey here? Seems like when he found success and happiness he quit writing??
Jamey had the release of that lonesome song, which IMO is twice the album of aTraveler and possibly the greatest country album released ever. Then Jamey came back with a double album, where Stapleton came with vol 1 and vol 2.
Dean Dillon said you always want to find the songwriters coming out of a divorce. Maybe happiness kills that creative mindset for some.
December 1, 2017 @ 3:45 pm
Drunkards prayer is excellent, other than that the album doesn’t do much for me. After 3 albums, I feel the same I did after his performance with Timberlake : great talent, but he just doesn’t do it for me. Just not country enough, I don’t know how to explain it. Traveler was really good and had a few excellent tunes, vol 1 high point was a Willie cover, and vol 2 is worse than vol 1, which didn’t do anything for me. To each his own I guess.
December 1, 2017 @ 3:49 pm
Pretty much agree with everything in this review. I think the truth is Stapleton is a little miscast as a “savior”. He’s very talented, but personality wise I think he’s mainstream…laid back, happy, wants to sell albums, and tickets. And by the way, their isn’t anything wrong with that, even if it means he’s less exciting musically for me. Also he feels authentic, like he isn’t trying to trend chase, or be someone else (which is a feeling I get from a lot of the younger artists on the Americanna scene).
December 1, 2017 @ 6:55 pm
I agree. Chris seems like he’s completely happy just being himself and making his music. He’s not going to wear skinny jeans and v-necks singing about spring break. I can’t ever see him chasing trends. I’ll buy everything he releases because his voice speaks to my soul.
December 2, 2017 @ 8:06 am
I’d say his music is mainstream in the way someone like Tom Petty was mainstream. He’s making very accessible music, but with soul.
December 1, 2017 @ 4:25 pm
I could listen to him and his wife’s version of Amanda and Please Don’t take My Sunshine Away over and over and over and over and over and over….. in fact, I do. LOL
December 3, 2017 @ 3:37 pm
Agreed. Their version of Amanda on the Don Williams tribute album is incredible!
December 1, 2017 @ 4:41 pm
I went back recently and listen to 4 consecutive Willie albums all released within a 2-year period: Shotgun Willie, Phases & Stages, Red Headed Stranger & Sound In Your Mind. Band was the same, tempos varied only slightly, each about 35 minutes. Just a simply arranged & produced group of really strong songs. I’m pretty sure I could do the same with Waylon & Hag.
The good stuff is all in the song. I bet you Chris goes away for a hot minute when his babies are born, and then we can all bitch when he gets a horn section & makes his Sailors Guide…!
December 1, 2017 @ 4:52 pm
It seems like Stapleton is both massively over exposed and at the same time woefully underexposed and that explains the long legs ‘Traveller’ has had. For a certain audience he has been everywhere doing the same things for what seems like eons now but then for an almost totally different audience that is into mainstream country radio he is almost unknown or at least little known but enough of these people discover him via awards shows and other venues to constantly stoke sales.
Not sure I remember a major country star with this kind of career trajectory.
December 1, 2017 @ 5:43 pm
I agree.
I pre-ordered the record when it went on sale, but against my better judgement i listened to the NPR stream a few days ago. I never do that – usually if I’m excited about a record I wait until it arrives.
I think one playthrough is enough. It arrived today and I don’t even want to put it on the turntable. I just feel ripped off because I paid for the same record twice.
December 1, 2017 @ 7:17 pm
He’s done got too popular for this site to give him praise anymore.
December 2, 2017 @ 4:09 pm
Says a guy with the name strait country- the most popular country singer of all time (except maybe garth)
December 1, 2017 @ 7:36 pm
I wonder if this album would have been released with Volume 1 as one 18-song album, would we feel different. I know I am in the minority, but “The Weight of These Wings” by Miranda is a double album and I feel the sound and “sameness” makes me feel bored by the end. I suggest going in a different direction for album four or his fan base will become bored.
December 2, 2017 @ 6:43 am
I agree with you Ray. Both albums to me are boring cause of the sameness.
December 2, 2017 @ 11:31 am
I think this is a prime case of there being ONE incredible record in these two volumes , Ray , which is exactly how I felt about TWOTW and pretty much every double album I’ve heard back to and including The Beatles’ White Album . Outside of ego ( or perhaps capturing a complete live show ) I’m really not sure why artists do this. Especially in these times when there is such a glut of music and a sameness to much of it that many worthwhile writes just fall through the cracks . In fact in a case such as Chris Stapleton ,I think his uniqueness in the contemporary music landscape is at risk of wearing thin releasing so much similar -sounding material in a relatively short time.
Its a ‘singles’ world again …..only REAL music fans take the time to actually focus and LISTEN to complete sets . Most people I know and speak to in clubs , friends , students etc…..especially young people ……are far too engaged with other things …music becomes background more often than ever and is usually played on headphones or satellite streams in the car rather than a high end home audio system .
I’m no business guy , of course , but I really don’t understand how releasing so much material from one artist ( Joe Nichol …16 tracks on his last record and I can download it for 8.99 in 2017 ……a record that would have cost me nearly 20.00 as a CD 25 years ago in 1992 dollars ) is a good thing . And yet its done quite regularly still . Add to the big label stuff all of the indie , home recordings, back catalogues , box sets , etc…and man ….who has the money or th time to consume all of this stuff …good or bad ?
December 3, 2017 @ 11:56 am
I loved Jamey Johnsons “the guitar song”, but I had the same issue with the double album there. It’s too long to digest in one sitting.
December 2, 2017 @ 3:27 pm
Chris is doing something right cause his fans buy and stream his music in huge numbers. The Traveller has been at the top of iTunes and Spodify off and on again for over 2 years. My nephew is young and likes blue grass music and alot of non mainstream music and has no idea about most country music artists but loves Chris. Chris must have a big younger fan base cause many country fans just don’t stream music as much as pop fans or fans of other genres music do. I’m not a fan but it’s impressive.
December 3, 2017 @ 11:35 am
Yes NCF …I think that quite simply put people – no matter their age or musical preferences -will always respond to honesty and conviction . Chris is one of the very, very few artists out there who can deliver both every time they come to bat and in doing so he stands apart from the musical herd. You cannot listen to a Luke Bryan and even consider him in the same league as Chris Stapleton when it comes to the aforementioned. And yes, my observation is that he does indeed have many younger fans who you might expect would be into more contemporary mainstream acts . They are constantly bringing him up in music conversation . He is , like George Jones and few others, I believe, a force of nature that transcends time and trend with his ability to evoke emotional response .
December 1, 2017 @ 8:20 pm
Am I the only one waiting for a Chris Stapleton/Travis Tritt collaboration?
December 2, 2017 @ 6:31 am
Damn! That would be something to hear.
December 6, 2017 @ 7:53 pm
Stapleton sorely needs to put some drive in his country!
December 1, 2017 @ 8:48 pm
Picked up my copy today, listened to it already 3 or 4 times, really good album, but that is my .02. I also have Volume 1 and Traveller. All similar but works for me.
December 2, 2017 @ 6:40 am
Good review. Nothing really new with this album but it will do well cause he seems to have a big fanbase. Just boring for me as his music all sounds the same to me..Honestly not that big of a Stapleton fan but my nephew is a huge fan. Has been for years. Stapleton has what most other country artists dont have. Fans that stream his music. I believe he may be the country artist on spodify that is streamed the most there. That is a problem area for most other country music artists. I do think Stapleton is on the verge of over exposure. Which could be an issue for him in the future being the type of country music artist he wants to be.
December 2, 2017 @ 8:13 am
I’m happy enough with this album and volume 1. And the version of Midnight Train to Memphis on this album kicks ass. Turn it up to 11.
I guess we’ll see if he’s hungry artistically when he comes out with his next effort or whether he’s content being a high quality craftsman and performer. Either way, I’ll probably still be on board.
December 2, 2017 @ 8:28 am
I agree. I think that he is building a formidable base audience with the 3 albums. Then people who are fans that of that can dig into the older Steeldrivers stuff I love so much. So when he does decide to mix it up a bit, when he feels like it, I guess, with a duet album with Morgane mentioned earlier, it will be fresh and sell like heck. Or geez, I am a huge Allman bros. Fan, and with Gregg gone be could slide a little in that direction too.
December 2, 2017 @ 8:43 am
It’s his best album yet. Traveller has too much filler. Volume 1 had that stupid Stems song. THIS album kicks ass the entire way through.
December 2, 2017 @ 12:10 pm
I take issue with the order of the tracks on the album…feels haphazard. Stapleton is good at making songs, not albums.
Also, I don’t really know what everyone is talking about as far as sameness goes. He sings the same on all three albums, but that’s about where it stops. Traveller is very clearly an outlaw country album, Vol. 1 has a lot of R&B/Pop elements, and Vol. 2 was more folk-ish on the slow songs and a blend of blues rock and outlaw country on others.
December 2, 2017 @ 2:17 pm
I wish he had released maybe a 12 or 14 song album,both separate volumes seem to have a few clunkers.While I do like both releases overall,it kinda seems like a cash grab to me.
December 2, 2017 @ 4:55 pm
Or by doing the two part release, maintaining public interest or anticipation for longer than a single release. I am looking forward to getting past this period of whatever the right word is, to see what the next step is. If it is more of the same, it would be a missed opportunity for him.
December 2, 2017 @ 4:52 pm
I wish this guy would kick the labels to the curb and start recording with the wide American crazy variety of great players out there.
December 3, 2017 @ 7:45 am
I will buy as many more volumes of “A Room” as it takes to get all of Stapleton’s catalog of previously written songs out there… supposedly he has a 1,000 more… his writing in genuine… his guitar playing is underrated, and the stripped down, under produced sound is what makes all of this great! He has decades of written work that we, as fans, did not get to enjoy over the last 20 years or so… and these “old” songs… that are coming out as “new”… prove his stuff will is already standing the test of time.. and are not the “flavor of the month” pop stuff we are inundated with on a regular basis. Angus Young of AC/DC once said in an interview that the band was accused of having 6 albums that all sounded the same… he corrected them by saying,,, no its actually 7… I went back thru Hank Jr’s 20 plus albums released between the late 70’s and thru the 80’s and the same formula was true… couple of covers, a ballad or two, some rockin tunes, some blues tunes…. if it ain’t broke, don’t fix it…. hoping for Volumes 3 and 4… hell give me a double album titled “Cover2Cover, Mine and Theirs” and put “What Are You Listening To, Drink a Beer and Comeback Song on it just to start… give me some Allman Brothers and Skynard on it too… and I would buy two copies of that… will take live album after that…. after he is all “caught up” then have him sit down and write some new stuff and we will see if all the success and money and fame and awards have changed him… but I doubt all of that will impact his genuine, sincere, humble songwriting genius!!!
December 4, 2017 @ 11:15 am
Absolutely agreed! Well put.
December 3, 2017 @ 9:49 am
I believe once the touring cycle is over for Vols 1 and 2, he will take a break with their soon to be born kid, change record labels, overexposure will die down, and album #4 will be a more musically diverse effort with more new original songs. Most newly signed artists only get a 2 or 3 album deal and I suspect same is true with this Mercury deal since he was mostly unknown when he signed it. No one stays with Mercury for long.
December 3, 2017 @ 3:52 pm
For those curious HDD is projecting a bit over 100k in album sales for Chris. Without a touring bundle those are great numbers, but still a 50% dip from Vol 1 this summer. When you constantly put out music, you saturate yourself a bit.
He’s not touring though at the start of the year (and hasn’t released any tour dates for 2018), so maybe with some time off he’ll get back to writing.
December 4, 2017 @ 12:35 pm
It’s likely going to be MUCH higher than that. 250k+…
December 4, 2017 @ 8:22 am
I agree with this 100%, good because it Stapleton but more of the same. Good review.
December 4, 2017 @ 8:23 am
I wish he would release the album her never put out with “What are you listening to” on it.
December 4, 2017 @ 6:18 pm
good review
December 6, 2017 @ 7:47 pm
More safe, bland, uninspiring, milquetoast adult-contemporary snoozefests ala the last two. No wonder Nashville is eating it up. There is nothing below the surface. Same critcisms apply here to his previous two as there is no growth. Three albums in and its even more clear Stapleton isnt fit to even carry Jamey Johnsons guitar if one is inclined to compare his career arc to Nashville’s previous bearded outlaw. May aswell call his next one ‘Music for Mom’s to Drink Red Wine To’.
Also the line about the scarecrow looking like lucifer is so forced and cheesy gets a major eye roll whenever I hear it.
Finally he lacks the wit (among other things) in his writing to ever stack up against the greats tbh.
R&B singer in a cowboy hat indeed! Ive been waitin for the country record to come since Traveller was announced.