Album Review – Jason Aldean’s “Old Boots, New Dirt”
Yeah I know I’ve been rough on ol’ Jason Aldean over the years. But I’m sorry, I think his latest release Old Boots, New Dirt is the best damn R&B/sexytime album I’ve heard all year.
Silly me for thinking that the experience of having his home ripped apart by his own selfish actions, and his entire life smattered across tabloid covers would elicit at least a slight recalibration of priorities for Jason Aldean, or for goodness sakes, at least stimulate a few moments of introspection or something close to the semblance of a deep thought. But instead what we get with Old Boots, New Dirt is a doubling down of Aldean’s errant behavior. The album is the singer breaking free of the repressive sexual bonds of marriage and country music’s rigid moral regime to reclaim his wild 16-year-old post-adolescent oats at the age of 37. On Old Boots, New Dirt, Jason Aldean proclaims the world his oyster, and presents such a flaunting of the human id, even Charlie Sheen would cock an eyebrow and give it a nodding approval.
Bad mouth Jason Aldean’s previous accomplishments all you want, but heretofore his career has been defined by the defiant spirit of interior America’s lost populous—disenfranchised and forgotten in the age of technology as they unflinchingly continue on with their way of life inherited down from generations. It was the rumination on water towers and wondering what if they could talk, the troubling thoughts at watching grain silos slowly run empty and fall into disrepair just like the towns that sit in the shadows of them. It was starring at the dirt underneath your fingernails every evening and the age slowing cracking across your face, while you brood in the same house your grandparents lived in. And yes, it was even driving down dirt roads, swerving like your George Jones, with memory lane up in the headlights, and pondering your place in this fast-changing world and the intimidating passage of time.
Now what do we get from Jason Aldean? A simple enumeration of his sexual conquests one after another, with very little respite.
“I knew the minute that I picked you up, it was gonna be a wild ride,” the very first song “Just Gettin’ Started” starts off. “You kissed me like you couldn’t get enough. Barely made it out of your drive.”
The second song “Show You Off” unfolds just about as you would expect it to. “I just want to show you off. Drive them all crazy, watch all the boys hate me. This ain’t so wrong, come on.” This is what passes for Aldean being “sweet.” This leads into the lead single from the album, the already much maligned and ultra-sexualized “Burnin’ It Down,” …and on and on from there.
And all of this is punctuated with these softcore-style bubbly, smooth jazz R&B electronic sex beats that are the sonic foundation for this album. Jason Aldean has apparently morphed into the country music equivalent of the classic Saturday night Cinemax lineup—showing just enough skin to get you somewhat steamy-feeling, but not conveying enough of either truly revealing material or depth of story to leave you either satisfied or fulfilled. It’s all froth.
Old Boots, New Dirt sees Jason Aldean doing what he did with “Dirt Road Anthem,” which went on to become a landmark moment for rap in country music. Where artists like Jerrod Niemann and Sam Hunt tried to push country music aggressively towards an EDM era, Aldean and his production team understood that to truly take the idea mainstream, you have to smooth off the edges and homogenize it so when you serve it up en masse to the public, they don’t gag as it is getting shoved down their throat. That was at the heart of the success of “Dirt Road Anthem,” and that is what’s at play here. Country rap had already been around for years, but Aldean figured out how to make it palatable for white America’s corporate country consumer. “Burnin’ It Down” (which has been widely successful) and Old Boots, New Dirt do this for country’s new EDM/R&B era.
This all begs the question of what mainstream country music is going to do next since it’s burning through genre bending ideas at about one genre per year. Before we know it, someone will be figuring out how to work polka into pop country (and god knows it would probably be an improvement). But for now, EDM/R&B country is likely to be very financially lucrative for Aldean and others.
There are a couple of moments where Jason tries to evidence some vulnerability and depth on this album. “Tryin’ To Love Me” seems to talk about reflecting back on relationship fights and understanding that the conflict was really coming from love and not spite, and could be taken in the context of Aldean’s recent marital troubles as something true to his personal experiences. But of course this is immediately followed up with “Sweet Little Somethin'” that makes the sentiment behind Maddie & Tae’s “Girl In A Country Song” feel so very timely, and songs like “Laid Back” and “Tonight Looks Good On You” are every bit as awful as their titles imply.
The second half of the album is a little better though, and ends with the best song, “Two Night Town,” which is so classic and well-written, it’s a shame someone like Aldean had to cut it and bury it as a final track. But it is too little too late for this epilogue to Aldean’s era of enumerating the simple virtues of the Heartland ideal and the everyday injustices perpetuated against it through the march of time. Old Boots, New Dirt is Jason Aldean’s Benedict Arnold moment. It is the moment the corn farmer’s son comes home wearing a flat-brimmed baseball cap and listening to Wiz Khalifa. It’s inevitable, but still somehow a shame—not because Wiz Khalifa is evil necessarily, but because it symbolizes the end of an era. Once upon a time, this was something that made for good Jason Aldean songs.
Two guns down.
October 9, 2014 @ 12:25 pm
Previewed the whole album, skipped most songs after 1 minute due to the electronic drum beats. Honestly used to love some of his songs especially the ballads, next thing jason aldean should be “burnin’ down” is his ego
October 10, 2014 @ 2:55 pm
I also liked some of his earlier stuff, and in his earlier interviews he came across as a real genuine, humble guy.
These days his songs are all either regurgitated versions of what he’s already done or just plain bad, and his ego is bigger than the Amarillo Sky.
And I still think he looks like a dark haired version of John Anderson with less talent.
October 10, 2014 @ 8:05 pm
Yes, the earlier stuff……BRANTLEY GILBERT IS ONE HELL OF A DAMN GOOD SONGWRITER !!!!
Now THAT is one talented, upstanding country boy with TRUE INTEGRITY.
His voice, concerts,songwriting and PERSONALITY blow Jason HasBeen out of the ball park.
Time for him to retire (or join Taylor Swift over in the ‘pop’ world….)
October 14, 2014 @ 2:22 pm
I think that people need to realize that Jason is just doing his own thing, like he should. His life is changing and so is his music. He has always been know to push the envelope and cut some controversial songs. This is what he is doing people. If you don’t like it, don’t listen to it! Just let him do his thing. Like he said, “You know my story, not what I’ve been through.”
March 28, 2018 @ 3:46 pm
If you didn’t call it Country Music, it wouldn’t matter.
but since you do, you’re wrong and deserve to be mocked.
December 5, 2020 @ 8:10 pm
I loved Jason Aldean the first time I heard him sing, he has a great voice with that country twang, his sexy eyes drives me crazy , he’s just got it, the whole package, he be around for a very long time, the man’s got it all, I will always follow his music.
October 9, 2014 @ 12:27 pm
Speaking of polka, Tom T Halls ” I like beer” is a great song. Very polka yet very country. Hmmmmmmm
October 9, 2014 @ 12:52 pm
I can’t really say that I expected anything different. Since he cheated on his wife and became a sugar daddy to the American Idol reject, he just comes across as a total slimeball. His attitude sucks, his music sucks and obviously his morals suck. All of these juvenile lyrics just come across as a sad, balding, 40 year old trying to write sexy songs to prove to the world how hot his new relationship is. I can’t wait until he produces an album for her. Probably will have to wait until she secures her financial future, I mean has a baby.
October 10, 2014 @ 1:20 am
Jason is balding?
October 10, 2014 @ 5:58 am
Looks like it, unless he just has a really high hairline.
http://www.pinterest.com/pin/566116615630562674/
October 9, 2014 @ 1:32 pm
Good review. I skipped Burnin’ It Down since I already knew how bad it was. I think I made it 3 seconds into Sweet Little Somethin’ before I had to skip it. Aldean had good album cuts in the past, but this album only has two that stood out for me. Two Night Town (Tim Nichols, Brett James) and Too Fast (Chris Stapleton, Lee Thomas Miller). Chris Stapleton’s background vocals on Too Fast made me actually pay attention to what I was listening to 8 songs in.
It’s sad that you could probably look at the track list with the songwriters listed and know which would be good and which would be bad. Zac Brown was right about that.
October 9, 2014 @ 1:50 pm
It’s a shame that Chris Stapleton is doing background lyrics for anyone. He blows 99% of today’s artists out of the water.
October 9, 2014 @ 1:58 pm
Yeah, it irritates me that he writes these songs and sings background vocals on them while a weaker singer gets all of the credit for it. Drink a Beer was a prime example. Although, he has a bunch of good songs to use still if he ever ends up putting out his solo album.
October 9, 2014 @ 2:53 pm
For years I’ve been hearing about how awesome Chris Stapleton is and just wait until his solo album comes out and blows everyone out of the water. And meanwhile he constantly shows up as one of the songwriters on one pop country song after another. I think Chris has got some great songs, and some great solo material. But the simple fact is he’s buddies with Jason Aldean. He’s buddies with Luke Bryan. Is he better than Dallas Davidson as a pop country songwriter? Yes, he probably is. But he is still a pop country songwriter, and that’s all he’ll ever be unless he extricates himself from that situation and starts releasing songs of substance.
At some point as a songwriter you have to shit or get off the pot. Brandy Clark made the leap from songwriter to performer. So did Kacey Musgraves and Charlie Worsham. I have a sense that Chris Stapleton songs are given this immediate elevation by fans just because they saw a badass video of him on YouTube a few years back. Guess what, he’s just trying to earn a paycheck just like the rest of these guys are. If he wants to be known as something more, then he’s going to have to do something to earn that respect, and stop doing the things that erode it.
October 9, 2014 @ 3:36 pm
If you want to hear ” The Good Stuff ” from Chris S. check out the early Steeldrivers records . Don’t get no better . And while you’re at it check out the Stapleton-less Steeldrivers albums . Every bit as good . That band could launch its own radio station playing just their own stuff 24/7 and REAL music fans would get a fix like they never thought possible. Excellent songwriting , incredible solo-ists , amazing vocalists and a sonic stamp that ensures they won’t be confused with anyone musically-ever . Stapleton is a huge part of their sound and whatever level of success they are riding . BTW ..I caught them live several months back and it all holds up beautifully in performance .
October 10, 2014 @ 2:08 am
Ain’t that the truth. Dude’s got one heck of a strong voice though.
October 13, 2014 @ 7:11 am
Trigger, I always respect your opinion but do you know that he is “buddies” with the people you mention or does having them cut one of the songs he wrote mean they are automatically “buddies”? If that’s the case, then he is buddies with George Strait and Kellie Pickler too. Call Chris’s songs pop-country if you want, but I’ll take “What Are You Listening To”, “Ring For Sale”, “Love’s Gonna Make It Alright” and “Your Man” over the bro-country stuff. If you aren’t familiar with the SteelDrivers when he was the lead singer I’d recommend checking out some of those songs.
As far as shitting or getting off of the pot, I think Chris falls victim to the nonsense that goes on with radio stations and labels. “What Are You Listening To” failed to gain traction on radio. It’s interesting to see YouTube videos where mainstream artists have him share the stage on a song and praise his talent while he can’t seem to get a song to stick on radio or have an album released. It may unfortunately be an image thing. It seems like a young, attractive, backwards baseball hat wearing anybody can go to number 1 with crap songs.
October 13, 2014 @ 9:40 am
I am fully aware of Chris Stapleton’s work with the SteelDrivers, and that is one of the frustrating things about when his name comes up, is it’s always proceeded by how he’s done all this awesome stuff in the past. That’s all great, but he’s still working with Luke Bryan and Jason Aldean right here, right now. Maybe he’s not buddies with them, I really have no idea. But he certainly isn’t putting an effort out to disassociate himself with the absolute dreck of the genre.
I like hate Chris Stapleton, and I’m glad he’s finding some success as a songwriter in the mainstream. But at the same time, I’m tired of see the apologies for some of his current decisions based on past accomplishments.
October 9, 2014 @ 1:36 pm
I’m sure this album could be the movie soundtrack for the new 50 shades of grey movie.
October 9, 2014 @ 1:50 pm
Yeah, I can’t say I agree with this, Trigger.
Yeah, for the first six or so songs the songwriting doesn’t tend to go beyond Aldean getting laid, but to call that a Benedict Arnold moment considering the back half of this record is ridiculous. Unlike most bad electronic production (looking at you, Blake Shelton, Chase Rice, etc.), Jason Aldean at least knows how to interject real drums onto a song and midway through this albums the drum machines pretty much evaporate and we get significantly more organic instrumentation. Furthermore, he’s got a focus on melody, which means that the electronic elements never overshadow the rest of the production.
Not only that, the subject matter shifts as well. I’ll be blunt, if Aldean wants to cater to his female fanbase by writing relationship tracks which by the standards of bro-country (or modern R&B) are no way near as leering and creepy as Thomas Rhett, Tyler Farr, or Chase Rice, I’m not going to begrudge him that, and I’ll certainly take it over southern pandering dreck like ‘Flyover States’ or outlaw pretensions like ‘The Only Way I Know’. Especially when he spends the second half of the album trying to deal with the aftermath and on songs like ‘Can’t Change Gone’, the title track, ‘If My Truck Could Talk’, and ‘Miss That Girl’ he shows real regret and remorse. Yeah, it’s more polished than I normally prefer my country music, but the material is stronger. Hell, I’d even argue the finale track doesn’t stand up as well, basically because it’s a poor man’s recreation of everything Jason Eady did on ‘Daylight & Dark’.
Eh, to each his own, but there are far worse country records that were dropped this year than this. My review: https://www.youtube.com/watch?v=axFmtDfTjmE
October 9, 2014 @ 2:31 pm
“Flyover States” is more directed at the general Heartland than at the South. Three of the five mentioned in the song are outside the South (two in the Midwest, and one in the Interior West).
October 9, 2014 @ 2:36 pm
A few things:
Is the second half of this album better than the first? Sure. But I don’t think that in any way makes it good, or even passable. Aldean makes a point of contrast to where the first half of the album is so awful, all of a sudden we think patently mediocre material in the second half makes the effort salvageable. 6 of the first 7 songs are complete garbage, and those are the ones they want us to listen to first and foremost. Furthermore, I’ll bet dollars to doughnuts this is where all the singles from this album will come from. Any substance on this album was purposefully buried, and was only put in there to throw pundits off the scent of what the point of this album is, which is to be a vehicle for Aldean’s new sexy sound, and he has said is much in interviews while flipping the bird at anyone who may criticize him for this new direction. And who am I to not follow the guideposts set up by the producers to listen to this album in the order presented? You won’t hear the songs on the second half of this album in concert. Aldean’s already forgotten the lyrics. And let’s not pretend that just because something does NOT have EDM elements or that it has a melody that this is somehow redeeming or refreshing. This is country music. Melody should be a given, and EDM stuff shouldn’t even be part of the discussion.
And as for Aldean’s remorse, please. He’s out there presenting himself as the victim in the media. In his mind, he’s the one the injustice has been done against vis a vis his infidelity. His small town material may have been “pandering,” but it was him. It was the reason Aldean’s fans identified with him, and he sold them out to release a blockbuster pop album.
Florida Georgia Line and Cole Swindell are just doing country music the way they’ve always known it. Jason Aldean knows better.
October 9, 2014 @ 5:03 pm
“You won”™t hear the songs on the second half of this album in concert.”
I thought that singers generally perform almost the entire album in the tour that supports the album.
October 9, 2014 @ 7:16 pm
I’ve never seen a major, established band perform more than half the songs from their album on tour. And that’s a bit much. Normally they’ll play the lead single, some other single candidates, and maybe an album cut or two. But time constraints would make it impossible to play most of an album, and also fit in the hits.
October 9, 2014 @ 8:02 pm
I saw Eric Church in the Blood, Sweat, and Beers tour and he performed ten of the eleven songs from his latest album which was Chief
October 10, 2014 @ 5:26 am
Went to see Jethro Tull a few years back and they performed ALL the songs from their most recent album. I could see long-term fans being polite about the new music but the hall only really came alive in the last 45 minutes when the old classics were played.
October 10, 2014 @ 2:58 pm
Depends on the size of the artist’s body of work. A new artist with just one album under his belt will usually cover the whole thing, or pretty close to it. A guy who’s been around as long as Aldean has generally won’t play anything that’s not expected to be released as a single.
October 9, 2014 @ 8:51 pm
I think most of the more popular artists stick to radio singles and might throw in one or two off the album. I saw Dierks in July and with the exception of 2 songs, the rest were radio singles. Same with Keith Urban.
October 9, 2014 @ 3:54 pm
” there were far worse country records that were dropped this year ”
Its sad when this is the best thing that can be said in summing up a record by one of the biggest country acts on the radio . And sadder still cuz it may be true. Not one of the titles you ‘ve mentioned would even get past a publisher’s filter if they weren’t by an A-list act .
October 9, 2014 @ 1:50 pm
I can’t wait for the release!!! I love the song burning it down! Congrats Jason Aldean!!!!
October 9, 2014 @ 1:59 pm
Considering it already released, you won’t have to wait long.
October 10, 2014 @ 6:12 am
Yaaaayyy!!!!!
October 10, 2014 @ 6:27 am
Just out of curiosity, what brought you to this site? It seems to me that a fan of “Burnin’ It Down”, would have no interest in the preservation of country music.
October 10, 2014 @ 7:22 am
I think it was a joke…
October 9, 2014 @ 2:08 pm
Ok can we please stop calling this R&B influenced country. This isn’t R&B. Maxwell wouldn’t touch these songs with a ten inch stick. This is country pop that is influenced by R&B-influenced-pop. Like the bland, commercial semi-R&B that gets played on pop radio because it is non-offensive enough that nobody objects to it. It’s not influenced by actual R&B.
I think you can mix R&B and country in a way that is interesting but you need to be creative and smart. Just because you have a slow song about sex doesn’t mean you have an R&B song. Please stop associating R&B with this crap.
October 10, 2014 @ 7:32 am
I think we should instead call this “Metro Bro” because the music has roots in the bro country style but ditches some of the pickup truck lines in favor of an attempt at modern day sexiness. Also, if we call it “Metro Bro” we know longer have to call it country. Please support the Metro Bro naming effort.
October 9, 2014 @ 2:38 pm
I agree with this review for the most part. Except i think the song “Too fast” is one of the lone standout songs along with”Two Night Town”. This album is basically the same as the last three albums Aldean has put out. Mostly pop country/checklist garbage with 2-3 quality songs on it.
October 9, 2014 @ 2:41 pm
please tell me polka country is a thing…
October 9, 2014 @ 3:51 pm
Let’s start a thread with our favorite country polkas!!! Buck Owens- Buck’s Polka https://www.youtube.com/watch?v=Y2j8oUgsV_k
October 10, 2014 @ 5:14 am
Hank:
https://www.youtube.com/watch?v=Qwn0koX7SoI
October 10, 2014 @ 5:29 am
That’s brilliant but could you actually polka to it?
October 9, 2014 @ 2:41 pm
“Jason Aldean has apparently morphed into the country music equivalent of the classic Saturday night Cinemax lineup”
Classic line, Trig, classic. I turn this bum wipe off at the first note.
October 9, 2014 @ 3:00 pm
Good songs: Tryin”™ to Love Me, If My Truck Could Talk, Old Boots, New Dirt , I Took It With Me, Too Fast , Don”™t Change Gone , and Two Night Town. Not so bad.
October 9, 2014 @ 3:35 pm
Of all the awful country singers today, Aldean and Bryan are the worst excuses. The Fla-Ga Line, etc crowd simply don’t know what they’re singing about, and have no respect for the genre. Aldean and Bryan KNOW BETTER. They were once decent performers/ songwriters respectively. They “sold out” so to speak and used the new country trend to elevate themselves to places they would’ve never seen in the pop or rock scene. They’re too old to join boy bands, and too corny to be rappers. So they betrayed the only genre that accepted them and ruined it. Here are other examples (Blake Shelton, Craig Morgan) of people who “know better” but I see them as folks who’s time had come and gone somewhat and were/ are looking for a resurgence. Aldean had some downright decent tracks buried in the middle of his earlier albums. Luke Bryan once wrote sincere, honest music. Oh well, I’ve long since left mainstream radio behind and I don’t miss it one bit,
As for Chris Stapleton, he should have never left the Steeldrivers.
October 9, 2014 @ 4:38 pm
I almost didn’t even read this review, because I just don’t give half-a-shit about the dude – but man! I would have really missed out!!! Definitely one of my favorite reviews you’ve written Trigger! 😀
October 9, 2014 @ 4:41 pm
This CD doesnt totally suck. I thought trying to love me, if my truck could talk, two night town, and most of OLD BOOTs NEW DIRT are really really good songs. Old boots may be the best song on there.
October 9, 2014 @ 5:04 pm
Old Wife, New Floozy?
October 9, 2014 @ 5:41 pm
This is disappointing, but so was his last album, and you could see that this one would be even worse from a mile away. I liked Aldean’s stuff up until a few years ago. I think I’ll pass on this one and keep his old stuff in the rotation. Trends are a bitch.
October 9, 2014 @ 5:44 pm
Any plans on reviewing Blake Shelton’s “Bringing Back The Sunshine”?
October 9, 2014 @ 6:16 pm
I’m sure we’ll get one up eventually.
October 10, 2014 @ 1:37 am
Along with Big & Rich? 😉
October 9, 2014 @ 6:10 pm
Jamey Johnson said today that he is going to have a huge announcement soon.
October 10, 2014 @ 12:05 pm
Any more info on this….please keep us updated on any new developments…I haven’t heard anything new.
October 9, 2014 @ 7:56 pm
Haven’t heard “Two Night Town” yet but really like “Don’t Change Gone.”
October 9, 2014 @ 8:37 pm
Hey, maybe you’ll end up being featured some promotional material for this album:
“It’s the Skinemax of country music!”
— Savingcountrymusic.com
October 9, 2014 @ 8:41 pm
Look, I may as well address the elephant in the room… we all want to see a polka revival.
October 9, 2014 @ 9:22 pm
A lot of non-country affiliated music sites and organizations have been applauding “Burnin’ it Down.” This confuses me, because bad music is bad regardless of the genre. The badness of that song transcends it’s genre tag. Can anybody come up with any single reason that that song can be called good? Anything? Try me. I want to hear it (I really just want a good laugh).
For the record, I’ve been waiting for McDonald’s to promote the annual return of the McRib with this song since Trigger’s review of it came out. Can’t you just see the sandwich bouncing up and down, splattering barbecue sauce all over the place to the guitar tones of that song? Ick.
October 9, 2014 @ 11:21 pm
“Wash me down with some cold Jack Daniels…” -__- -__- -__-
October 10, 2014 @ 12:13 am
He and his music are so freakin embarrassing and disgusting nowadays (and that’s coming from someone who was once a huge fan). “Two Night Town” is a good song, but I don’t like hearing it from him. “She’s Country” was the straw that broke the hopeful camel’s back with his music.
October 10, 2014 @ 4:59 am
This may be slightly off-topic but you touched on something that has never say well with me: George Jones had a legendary career and made timeless, authentic country music yet all these pop / country rap douchebags remember him for is his wild behavior. Shows how much they know about the roots of the genre they claim.
October 10, 2014 @ 7:37 am
The sad thing Is, I went and snagged 7 of the better songs that I thought were not terrible off the album on iTunes, at which point I had payed for the price of the album and It automatically downloaded (pardon my French here) the rest of the fucking shit on the album. Spot on review.
2 guns down for sure.
October 12, 2014 @ 4:26 pm
So let me see if i got this straight: you paid money for half the album but consider it two guns down? that just seems to make you stupid. Personally, i just don’t get all the hateraid served up on this site towards Aldean. do i think he is deep? no. Do i think he is country? not particularly. Do i think he does a nice mix of rock and country and have some good, even some great, songs? Yup. i know, i know, he is ruining country for you. boo hoo. That’s like hating on Bon Jovi and Poison because they ruined hard rock. From my perspective, G’n’R had the depth that made them a classic and time has shown that to be true. Bonjovi and Poison were commercial crap comparatively speaking, but at the time they were fun music. No depth, no creativity, but fun. Same here. I get it, Sturgil Simpson is maybe, MAYBE, creating something lasting of depth and value. His music makes you think. But Jason Aldean is creating something people like. If you don’t like it, don’t listen. …and really, why is his private life even a factor. I bet half the bozos blahhhgging on this site can’t get a girlfriend and visit a massage parlor once a week for a happy ending, but i am not holding that against y’all. So the guy’s marriage ended and he screwed around, if only he who has clean hands on this site were to cast the first stone, i doubt any would be thrown. Its usually the vocal church goers and bible thumpers that are the biggest sinners around. Go pound your pulpit somewhere else. Deep in your hearts i am sure you all know you are just a bunch of hypocrites. …and just to be clear, i love this site and have found tons of great music by coming here, including Cody Canada and his various bands, Blackberry Smoke, Holly Williams, and a host of others. i just think y’all might trying being a little more positive.
October 12, 2014 @ 4:50 pm
That”™s like hating on Bon Jovi and Poison because they ruined hard rock.
No, it’s more like hating on Bon Jovi and Poison because they gave metal a bad name, to coin a phrase. They made music people liked too, but 20-plus years after Nirvana and grunge came along we still hear people talking shit about metal and pointing to bands like them to justify it and not saying anything about bands like Dio, Queensryche, and Iron Maiden, or, worse, lumping all of them under the same umbrella.
Surely I don’t have to spell out the parallels to today’s “country.”
(Granted, more shit was probably talked about the likes of Slaughter and White Lion, but it’s hard to argue that the latter wasn’t a “natural evolution” from the former. And it was all just a bunch of fluffy pop with electric guitars at the end of the day, anyway.)
October 12, 2014 @ 4:54 pm
Any true fan of rock music would never lump Maiden (probably the greatest heavy metal band ever), Dio or the others you mentioned, in with BJ or poison. Only a moron would do that and who cares about them anyway.
October 12, 2014 @ 6:09 pm
For what it’s worth, I don’t just listen to Sturgill’s music because it “makes me think.” Sure, ‘Metamodern’ is stimulating, but I also get a pure, visceral pleasure out of listening to it. It’s not as if we’re discussing some kind of avant-garde free jazz here. The majority of Sturgill’s recorded output so far consists of raucous, crowd-pleasing honky tonk. I get tired of people acting as if expecting a modicum of quality or ingenuity from music is asking way too much.
As for Aldean, I don’t listen to his albums, but some of his singles are absolutely horrible. I agree that his personal life is irrelevant, but come on, leave the stuff about “I bet you guys can’t get laid” to the Brantley Gilbert fans who leave angry comments on Trigger’s articles a year after he writes them.
October 13, 2014 @ 6:33 pm
Applejack, i will accept your last few sentences, that was a tasteless way on my part to make my point. i just get tired of people judging music based on some moral observation about the artist (i know, i know, y’all don’t consider Mr. aldean an artist). again, if only the people with clean hands commented on Jason, the site would be pretty empty of comments. I am not a fan of 1994 (or whatever year it was), i wish he had not put it on the album, no less released it as a single, but he has plenty of good country and country/rock songs on almost every album. Everyone on this site focuses on the extremes, the few really awful songs. But most artists (sorry, there i go again using the “A” word in relation to Jason) have a few songs that are pretty laughable. I can point to a few pretty bad stones and zeppelin songs. …and to Eric, i think wanted dead or alive and every rose were great songs and excellent efforts by bonjovi and poison to make a lasting song of some depth. probably if they tried, they could have made entire albums of substance. but they didn’t they focused on commercial. i’ll still queue up a little Jon Bon now and then. But i go back to G’n’R all the time.
October 13, 2014 @ 7:59 pm
“Everyone on this site focuses on the extremes.”
It is my experience from running this sties that not everyone does or believes anything here. It is far from an autocracy, and your comments are proof of that. There’s quite a few people offering differing opinions here from mine or the majority, and I am proud of that.
October 13, 2014 @ 6:44 pm
…and for the record, while i do like his albums, i would love it if he would make a pure country album filled with songs like asphalt cowboy. i’d buy that in a second. Dierks is a great example of an artist following the gold but still stepping up and showing his true love for the music with his blue grass album. i guess i doubt Aldean will ever do that at this point, but one could hope.
October 13, 2014 @ 11:06 am
The idea that Bonjovi had no depth is ridiculous. Here’s one of their most famous songs:
http://www.youtube.com/watch?v=lDK9QqIzhwk
October 13, 2014 @ 11:08 am
Here’s a great Poison song:
http://www.youtube.com/watch?v=j2r2nDhTzO4
October 10, 2014 @ 8:13 am
One could argue that Tejano music is a kind of country music and accordions are very prevalent. So polka influenced country if it ever came about would probably be accused of riding the back of Tejano.
Merengue music if you listen to the traditional stuff from the 1930’s had lots of accordion. Merengue still does have accordion.
Just sayin’.
Aldean? can take him or leave him. But Burnin It Down is just horrible.
October 10, 2014 @ 9:29 am
In my region, western PA, WV, and eastern OH, there is a huge Polish, Italian, and eastern European population. Country music and polka music have always been linked. At my wedding we had a country band that played equal parts country and polka music. Most country bands in the area know numerous polka songs, as well. I think there are numerous similarities….
October 10, 2014 @ 11:20 am
I think if you look back at the evolution of what became modern country music, there has always been a relationship with polka. Back when people actually expected to dance at shows, many acts with astute instrumentalists included polka songs. Bill Monroe did polkas.This was particularly true in Western Swing. Hank Thompson did polkas. Bob Wills did polkas. Willie started out in a polka band. He recorded Bobby’s rendition of Beer Barrel Polka. He has recorded several songs with Jimmy Sturr.
October 10, 2014 @ 10:09 am
Wooo-eeee 54 comments and counting. the Fair Weather Fans always support the bro-country album reviews.
October 10, 2014 @ 11:33 am
He is a pig! End of story!
October 10, 2014 @ 1:56 pm
My opinion on this album is somewhere in-between Trigger’s take on it and Mark of Spectrum Pulse’s take on it.
It’s as though Aldean had a Jekyll and Mr. Hyde moment in recording this album: where one half of him, being his ego, was tempted to fully subsume him and write an album posturing to the hormonally-challenged bros…………but the other half of him, being the wide-eyed spirit of the child in him that still is drawn to cutting teeth into the pure love of playing music and more personally-enriching flair, then intervened and demanded some decent material make it to tape. Then the two sides clashed and Broken Bow intervened and forced them to a compromise that is this album.
*
As far as the first half of the album is considered, I’m much more inclined to favor Trigger’s side. “Tryin’ To Love Me” is the only one of the first seven songs I’d give a thumbs-up on in that it conveys true emotion and even the use of electronics blend cohesively enough with the understated production. Otherwise…………..six of the first seven songs are absolute garbage that panders to the faux bad-boy persona Aldean has established for himself since the onset of his recording career despite the fact that the vast majority of his material is much more dewy-eyed, reflective, rock-tinged easy-listening.
When I was listening to the “instant grat” tracks preceding the full stream of this album, I thought: “Wow, is sex all Aldean has on his mind now?” There’s no need to revisit “Burnin’ It Down” here, but then you also have “Sweet Little Somethin'” obviously bearing a sexual innuendo right there in the title, “Gonna Know We Were Here” referencing “might make a few marks, might leave a few stains” (eeeewwwww!!!) and “Just Gettin’ Started” including the line quoted in this article. Aside from “Tryin’ To Love Me”, Aldean comes across playing the mac-daddy card full throttle………….yet sounding smug as opposed to charming with his eternally self-serious vocal.
*
However, once we get to the mid-way point of the album at “Too Fast”, my opinion very much parallels Mark’s take. Keep in mind, firstly, this is an ALBUM review. While I agree with Trigger that the majority of tracks from the latter half of this album will never be represented in a live setting, it is imperative we approach album reviews without preconceived speculation as to how the tracks will surface in other mediums.
And aside from the aforementioned goddess-awful “Gonna Know We Were Here”, the latter half of “Old Boots, New Dirt” is above-average and even compelling at times. “Too Fast” would be my personal favorite with its breezy, ruminative glimpse into yearning to sink one’s roots into the soil and settle down as opposed to searching endlessly and raising hell and a country-rock blend. “Don’t Change Gone” definitely comes close, though, with its stripped-down and succinct, yet hard-hitting, glimpse into a narrator trying to get over a break-up by switching up his daily routine but clearly still going through the motions, while “Two Night Town” is a poignant and haunting album-closer with understated flickers of electric pulse to give it an air of edge and ambiguity. And the remaining tracks, as Mark pointed out, do have nuance to their credit and are also respectable: even if their production schemes are a bit dull overall (despite there being a notable abundance of steel guitar tinges and Hammond organ)
*
So, if I were to rate this, it would honestly be One Gun Up, One Gun Down. And, if the seven decent songs on this album were released instead in the form of an EP, I would probably give it 1 3/4 Guns Up.
October 10, 2014 @ 3:46 pm
I may have been a little hard on the second half of this album, but part of it was from the same sense that you have that it was a completely different set of songs from the first. For the record, when I said that he may not play any of the songs in the second half of this album live, it was simply a passing example of how the second half material was not something that would be a focus moving forward. It was not the basis for anything in the review, but simply one point of many in response to a comment someone left.
This is my completely wild-eyed theory based on no true evidence or information:
Like we have been seeing from a lot of artists lately, Jason Aldean was making an album, and then someone, whether he or his label, decided that to make a big commercial impact, they had to go in the EDM/R&B direction we hear hard and heavy in the first part of this album. When it came time to cut the album, they had two album’s worth of material, which is not uncommon in the biz. In fact many album projects start off with 30-40 songs, many of which are fleshed out all the way to finished products, until they are whittled down to the final cut. Broken Bow had already invested heavy into this early material, and decided to put some of it on this album, but didn’t want it to distract from what the emphasis was, and buried it in the track list.
I am hearing a lot of albums like this lately—a symptom of the rapidly-changing trends, and how long it takes to get a song from page to stage. Kenny Chesney said he had an entire album full of Bro-Country stuff and scrapped it completely. Brantley Gilbert took incredibly long to release a new album, possibly trying to gauge the longevity of Bro-Country and where to be in regards to that trend. Even Taylor Swift’s album “Red” seemed to be the tale of two worlds, with the Max Martin tracks being the very last songs added and feeling interjected in the mood of the album.
That sense of “oh, okay, here’s a few songs that don’t totally suck” in the second half of this album is one of the reasons that I was unimpressed. Either you’re going to take this material seriously and give it a fighting chance to be heard, or you’re going to simply put it out there to attempt to earn back some of your production costs.
October 10, 2014 @ 6:50 pm
I have a feeling that Taylor’s new album “1989” will be similarly dichotomous. Half of the tracks are produced by Max Martin and Shellback and will likely feature a modern pop sound, whereas the other half will probably sound like authentic 80’s pop-rock.
October 10, 2014 @ 7:51 pm
I think that would be a rosy forecast. Since Max Martin is the executive producer on the album, and from what I understand, produced the majority, if not all of the tracks himself, I personally am not expecting a split. I am expecting a cohesive Max Martin project throughout. I’m also expecting there to be better and worse songs, but not that rigid line where you feel like two autonomous projects were crammed together.
We’ll see.
October 10, 2014 @ 10:07 pm
From what I hear, many of the songs on the album were produced by Jack Antonoff, who previously produced “Sweeter than Fiction” (which actually sounds like an 80’s song, as opposed to “Shake It Off”).
Max Martin’s style, with its heavy emphasis on electronic beats over instrumental melody, simply does not reconcile well with the 80’s pop-rock sound.
Therefore, I predict that the album will feature some combination of “Shake It Off”-style songs (produced by Max Martin) and “Sweeter than Fiction”-style songs (produced by Jack Antonoff and a few others). The real question is the ratio between the two.
October 10, 2014 @ 5:08 pm
Someday, sometime in his future, he’s going to look back at these “Burnin it Down” type songs and realize how hurtful they were to his daughters and ex-wife.
Severe mid-life crisis playing out in front of millions…
October 10, 2014 @ 6:54 pm
Judging from the behavior of certain long-divorced males I know, I think you’re giving him too much credit…
October 10, 2014 @ 6:59 pm
I’m a long time lurker, but first time commenter. I’m sorry this is so long, but I have comments on several different points.
I don’t know what effect Jason’s “new sound” will eventually have on our genre. In today’s mainstream country music everyone is trying to be the next big thing. If Jason is not that new influence, someone else will be, and who knows whether that would be better or worse. Many of Jason’s fans on Facebook and Instagram are picking songs like “Tryin To Love Me” and “Two Fast” as their favorites, and so many express relief that there is variety and the whole album isn’t like “Burnin It Down”. The songs on the first half are almost interchangeable and don’t seem to be as memorable, based on these fan comments. The sheer number of songs with similar themes early in this album could have already saturated the market and might even serve to lessen the long term impact of “Burnin It Down”.
It’s easy to see why most here dislike the first half of “Old Boots, New Dirt” (except for “Tryin To Love Me”). It’s unusual for an album to be so front-loaded with one type of song. Many (here and elsewhere) have mentioned that the album seems to be divided in halves (almost 2 separate albums) and this may be a marketing decision that Aldean’s team already regrets. But, I don’t understand how we can be critical of individual songs in the second half, just because we don’t approve of the first.
The Target Deluxe Edition includes 3 additional songs for a total of 18. That’s as many as some artists give their fans on 2 albums. You could choose to think of the first half as a free EP (that you don’t like and might immediately delete) and the second half (plus the Target songs) as an actual album. Most reviewers have criticized the same few songs, but it’s never more than 6 or 7. That leaves at least 11 songs. Can’t we just delete or skip the ones that we don’t like?
Of course, it would be better if these songs didn’t come pre-packaged together. But, surely we’re discerning enough to judge the merit of an individual song and not feel that the entire album is completely tainted by the first half. With respect to the order of songs on this album, it’s possible that Jason chose to get the obligatory “froth” over with first, and save the best music for last, so the second half (and the similar Target tracks) could be the songs that stand out and remain in the listener’s mind.
I found one radio station that must agree about the weakness of the first half of the album. They’ve posted audio for Jason’s full album (whole songs not 30 second iTunes previews) and they play the songs linked together in reverse order. Track #15 “Two Night Town” is first. So, if you want to experience a front-loaded version with the better songs played first, go listen there. The only problem is, the Target tracks are not included. I don’t know how long it will be available, but you can listen to that audio here: http://www.kickin925.com/index.php/jason-aldean-old-boots-new-dirt-listen-here/
Of course, it depresses me when I hear songs without substance, but I actually do want Jason to keep performing and releasing at least some music that I want to hear. How many singers do we have today that could maintain this degree of commercial success by releasing only the type of songs on the second half of this album? I think we may expect too much of Aldean, because we know what he’s capable of.
If I get 9 or 10 songs that I like on an album (the “good” tracks several others here have mentioned plus Target), I don’t feel it’s necessary to like each and every song. Some of them are simply meant to appeal to a totally different segment of Aldean’s diverse audience. I’m OK with that, as long as songs that I enjoy are also included. I always expect some “arena ready” tracks from any Aldean album. His touring is a huge part of his success. I love “Too Fast” and “Tryin To Love Me”, but a whole setlist of those songs could not maintain an audience’s attention. When Jason performs “The Truth” or “Why”, concert reviewers very often remark that “he slowed the energy level down” like that’s a bad thing.
I was excited when Jason pre-released “Two Night Town” on iTunes a month ago. Then, I watched as the other more recent pre-releases (from the album’s first half) surpassed “Two Night Town” in both Youtube views and iTunes sales popularity. Apparently much of the public does not share my opinion, so I’m just pleased that the songs on the second half are included on this album.
Jason actually has already been pushing “Two Night Town”, so it’s not being buried as an album cut. He’s been playing it in his concerts for weeks (there are many Youtube examples). He has even posted special acoustic performances of “Two Night Town” and “Burnin It Down”. Before anyone completely dismisses this album, please watch that version of “Two Night Town” https://music.yahoo.com/video/artist-spotlight-jason-aldean-two-235811951.html
I’m not pleased with Jason’s recent behavior and comments, but I’m trying to base my opinions only on his music. If you don’t listen to the Target edition, you’re missing some of the best songs on the album. If his track “Ain’t No Easy Way” was released as some unknown country artist, I bet many here would love it. Can’t we still give credit for good work, even after we see the Aldean name? When we discussed FGL’s “Dirt”, I thought the idea was to listen to each song individually “in a bubble” without considering the artist and their other work, and then give them credit whenever they produced something that is good (or at least better).
I haven’t found anything other than short previews of “Ain’t No Easy Way”, but I did find audio of the full Target “Fast Lanes” track: https://music.yahoo.com/blogs/our-country/hear-it-first–jason-aldean-premieres-new-bonus-track—fast-lanes-133019752.html
October 10, 2014 @ 9:11 pm
I would agree with you, but his last two albums have been tainted by absolute stinkers (Burnin’ it Down, obviously, along with 1994 and That’s the Only Way I Know on the otherwise very good Night Train). You can’t overlook absolutely terrible songs, songs that are not good in any kind of context, not good in any other genre, not good under any circumstances, whatsoever. Jason Aldean records songs that are that bad, at times, and unfortunately, almost always releases them as singles. As lovers of good music, we can’t pretend that those songs aren’t on his albums.
As much as some people hated Dirt Road Anthem, at least it was tolerable, and at least he didn’t actually try to “rap” the verses so much as recited them as spoken word. As a matter of fact, you could say that he found the perfect balance with the “My Kinda Party” album. Some of the songs were difficult to appreciate, but at least the Chorus of Dirt Road Anthem was well done, on his part. At least the song My Kinda Party came with a really sick guitar line and a nice outro solo.
Then Night Train comes around and it’s two stinkers that have no redeeming qualities, whatsoever, and on the following album, he releases by far the worst song to ever find itself on country radio as his lead off single. He’s not appealing to a variety of people with songs like Burnin’ it Down. He’s appealing to the stupid, gullible, 15-25ish crowd of musically challenged numbnutses who populate frathouses and Escalades.
October 12, 2014 @ 9:16 pm
Maybe my use of the word “tainted” could be confusing. When I said “surely we”™re discerning enough to judge the merit of an individual song and not feel that the entire album is completely tainted by the first half” I was using a stronger meaning of the word, as in “to spoil, ruin, or destroy”. I was referring to a song (or songs) ruining or destroying the value of all the other songs on that same album and making it impossible for any of them to be fairly judged on their own merit (guilt by association). If we actually accepted the premise that an individual song could (or should) destroy the value of everything else on an album, then there would be no reason to even review the rest of these songs.
I understand that one or several “stinkers” could change the way that someone views the overall quality of an album, and agree that we can’t just ignore them. This may be what you meant when you said “his last two albums have been tainted”. You apparently didn’t mean that those entire albums were “ruined”, since earlier in this review you said that you “really like “Don”™t Change Gone”” and also commented on “the otherwise very good Night Train”. I think we essentially agree, because you do seem to separate your negative impression of even a “tainted” album and your view of the individual tracks on that album. And, I also agree with you on liking “Don’t Change Gone”.
You might be pretty accurate about the people that “Burnin It Down” appeals to, but I wish we had some evidence. Earlier, you said “Can anybody come up with any single reason that that song can be called good?” I know that comment was probably just rhetorical, but it’s related to a question I’ve been asking: Can anybody tell us who actually bought over a million copies of this single, and why? We worry about the impact of Jason’s “new sound”, but don’t we need to know who these people are, before deciding how much concern is warranted? And so far, the album doesn’t seem to be selling as well as the single.
Demographics may have already been compiled, but that’s not something I can access. One thing we can easily monitor is social media, although it’s subject to a lot of interpretation. Maybe because of the age group, social media could be a better indicator on “Burnin It Down” than some other areas of country music. It seems like so many of the group supporting (and opposing) this song feel the need to comment on Facebook or Instagram, plus Jason and his life have been pretty much all over both of them lately.
based on Facebook/Instagram fan comments, many of the guys say they hate “Burnin It Down”, and tell Aldean “you need to get back to your roots”. The vast majority of females commenting on this song either like or love it, and not just in the age group you mentioned. You can almost anticipate whether they will be pro or con based on gender (although a few guys do like his new sound while some girls miss the old Aldean style). Of course, it could be that the guys who do like this song don’t bother to comment and the girls are all just trying to impress or support Jason.
But, I do think most guys who actually purchased “Burnin It Down” did so because they truly liked the song. I’m not sure that the same is true for the girls. Based on the comments, some female supporters already “knew” they would love Jason’s new song, even before they heard it, and many said “I’ve always got your back” (against all the haters) and promised to support him, no matter what he did. That’s more than just liking a song, that’s blind allegiance to the performer.
With the extreme criticism (often coming from Aldean’s own fans) and the equally extreme loyalty of some other fans, I do wonder who actually bought this single. Many commenters claimed they were long time fans, have loved all Aldean’s music, and always purchase any new release. Some said they didn’t even preview and were disappointed after they actually downloaded and listened. A fairly common refrain was basically “Give the dissatisfied purchasers their money back, then re-count the sales numbers and see if it’s still #1 on iTunes”.
Given the album sales for “Night Train” and “My Kinda Party” and the fact that Aldean’s facebook page has 9.5 million likes, it wouldn’t take such a large percentage of his devoted fans to push a single to platinum. After all, they’ve waited 2 years for new music, are extremely eager to show support for Jason, and the cost of a single download is negligible. A new facebook post from Aldean can get 50,000 likes in a couple of hours (over 250,000 on a Happy July 4th message). Since the “Burnin It Down” release date, Aldean has frequently posted “Go get my new single” or “Have you gotten my new single yet” messages, always followed by an endless string of “I did”, “I did”, “I did” responses. Maybe part of what we’re seeing is the power of social media advertising, not just support of this song. Jason has also pushed the album equally hard for weeks, so I would have expected huge sales numbers, but maybe this age group usually buys singles.
Whoever the “Burnin It Down” supporters actually are, I hope they’re more of an anomaly, because that could determine the impact of this single and “new sound” on country music in general. If these supporter’s devotion was primarily to Jason and his first new release, instead of this song in particular, the influence could be much less. Imitators wouldn’t be as able to easily duplicate that. There are new Youtube videos of a recent performance of “Burnin It Down” by FGL. If they had released this song instead of Jason, I doubt it would have generated much buzz.
Many of the reviewers (not just here, but across other media outlets) seem to be doing a fairly good job on this album. Jason’s getting mixed reviews. The reviewers are often being specific and criticizing the first half, but going on to say that the second half is better, and then selectively giving him credit for songs like “Too Fast”, “Don’t Change Gone”, “Tryin To Love Me”, and “Two Night Town”. The newer projected sales numbers are not nearly as high as earlier in the week, maybe even trailing Church’s “Outsiders”. I assume that the reviews and the sales numbers will give Aldean’s team plenty to think about. They just have to decide whether they blame his new sound, his personal life being splashed all over the media and internet, or unusual marketing strategies (like first vs. second half album arrangement or making the entire album available free on CMT for a week prior to release date.
October 13, 2014 @ 9:47 am
Just for the record Kat, I am not discounting the songs in the second half of this album simply because the first half of the album is bad. In my opinion, there were two songs that stood out from the crowd, and the others were stretches and simply average at best, made to look better because of the contrast with the other more inferior material. If I was going to name a third best song, I would probably say it is “Too Fast.” I did judge all the songs on their own individual merit. As I have said in previous comments, maybe I was a little too harsh on the second half of this album, but I still hold pat that the material there does not significantly elevate this album enough to where it materially changes my overall opinion.
October 11, 2014 @ 9:09 am
Polka-country is a thing. Check out Baltimore’s The Polkats:
https://www.youtube.com/watch?v=CLV5cc-Lx88&list=PL24vazCL9sc9sRZ8bfBy8Nb75E-K-B6uY&index=10
Really great band.
October 13, 2014 @ 10:46 am
I think what makes Trigger’s site work is that while championing traditional country he’s not ignoring the elephant in the room. It’s there and needs to be acknowledged. And like it or not, “Burnin’ It Down” does have a hook, as non-country as it is. As country as Bon Jovi and Poison were “metal”. I like that analogy further up in the comments.
October 14, 2014 @ 11:10 pm
Man ….I put on the local “country’ station in the truck today for the first time in weeks and BURNIN IT DOWN came on . Not only did it sound totally out of place on the station even amongst the mostly bro-crap but I was reminded again just how BAD this lyric is on all levels. Stunningly so , in my opinion . When this kinda garbage gets on mainstream radio its an absolute insult and offensive to REAL songwriters trying to get cuts and make a living . This shit just discourages an experienced writer from even being associated with the business at all . If I wasn’t completely convinced before that payola was a huge factor in this garbage getting airplay I AM without a doubt now . There is no other reason on earth that this song and this performance would have found a place on ANY station much less one itself ‘country’ .
February 21, 2015 @ 8:47 pm
Stop doing “wallpaper” around your face onstage and bubbles like your travelingthrough space. It’s not appealing. Thanks bye
Ps- your voice is awesome!
February 22, 2015 @ 5:06 pm
This is the current free album at Google Play. Think I’ll pass. Why didn’t he name it 15 Pop Songs About My Hot New Wife?
July 15, 2015 @ 12:03 pm
People! If you are not a fan of this album, that’s fine because that is your opinion. Did you ever have an experience of talking with people about a particular kind of food and one person loves it, but another person, at the mere mention of it, starts the gag reflex? Who’s right? They both are. Stop with the hate filled insults. You’re viciously mad at Jason because he didn’t produce an album up to your standards/liking? Just say you don’t like it – because that is your opinion. I just ask that you don’t treat him like some moron/criminal/sloth/slug/vermin/POS as some of you have espoused here. I am a person that LOVES this album. That is my opinion. Based on what? I can’t wait for my train ride home to listen to it. I love his voice, I love the songs. Favorite song is Old Boots, New Dirt. Thanks JA et al.
March 28, 2018 @ 3:50 pm
No. I’m viciously mad that POP Music is being called Country Music.
It doesn’t matter whether or not anyone likes it..
if it’s on Country Radio, everyone who liked it is wrong and deserves to be mocked.
April 8, 2016 @ 2:40 pm
On the Target cd there are three additional songs that I wish replaced three songs on the ‘original’.