Album Review – Ronnie Dunn’s “Tattooed Heart”
Ronnie Dunn’s solo career has been sort of like the story of a jock in high school who decides he wants to be a stoner skater dude all of a sudden, or an investment banker who tries to be a badass by purchasing a $55,000 Harley Davidson and adopting motorcycle fashion on the weekends. He might have all the style and posturing down, but when you dig right down to the substance of it all, it just doesn’t seem right.
Dunn started his own little revolution around his last record Peace, Love and Country Music, twisting off in regular rants on Facebook about the unjust way mainstream country shuffles aging talent to the side, and how radio has an iron grip on the gates of the industry. His rhetoric was on point, if not at times inspiring. But when the first singles from Ronnie Dunn’s revolution went public, you figured out it was mostly talk. He was more about pandering to the current country trends by playing the young man’s game himself as opposed to challenging the status quo through his music.
When you’ve had such incredible success like Ronnie Dunn has for most of his career, it’s hard to leave that spotlight behind. So even though Ronnie knows what’s right and wrong, he’s still not ready to make that shift to doing it for the love of the music instead of another big payday. There’s a huge mansion to pay off and Polaris just released a badass new Tracker just in time for deer season, and all of a sudden you’re not so quick to put up a fuss with the producer when he wants to add drum samples to your song. In the case of Tattooed Heart, that producer happens to be Jay DeMarcus from Rascal Flatts, which should tell you a lot about this record.
Ronnie Dunn’s revolution ended when sales of Peace, Love and Country Music failed to register a whimper, and soon he was saddling up with Scott Borchetta’s NASH Icon outfit that despite the yoke of his failing partner in Cumulus, continues to inch forward. NASH Icon is just about perfect for Dunn. He’s got the name, the legacy, and the fan base. He just needs the excuse to not attempt to pander to the young crowd, and perhaps try to reconnect with his own voice, whatever that is in this strange post-Brooks & Dunn world he finds himself in.
Ronnie Dunn’s Tattooed Heart would be pretty damn good if it wasn’t for a few songs. There are shades of what you would hope someone like Ronnie Dunn would develop into later in his career, meaning song choices that are both traditional, and fresh sounding. As much as “I Worship The Woman You Walked On” is one of those “Oh, I see what you did there” songs, it’s really powerful in the way Ronnie Dunn delivers it, the production is spot on with the call of adding strings, and the swaying waltz beat makes it tantalizing to the heart.
One thing few have ever questioned is the power of Ronnie Dunn’s voice, and Tattooed Heart makes sure you get flourishes of that talent throughout the track list. Dunn comes from the era of country music when you actually had to be able to sing to land a singing career, and insiders know he carried Brooks & Dunn through most of those marquee years. His voice, quality song selection, and once again good calls in the studio result in two solid tracks to end the record, “Only Broken Heart in San Antone,” and the super traditional “She Don’t Honky Tonk No More.” The latter even goes as far as to keep the crackle of a dirty pot on the vintage tube amp on the masters. If nothing else, these two songs are worth cherry picking off this record and moving on. They might be two of the best traditional country songs released by a mainstream artist all year.
However it’s questionable if the folks who will find the most appeal in Tattooed Heart‘s final two selections will even make it that far if they have to run the gauntlet of songs like the first couple of singles, “Damn Drunk” and “Ain’t No Trucks in Texas.” The hackneyed songwriting is almost unbearable, and the drum machine production can kiss off. Oh, but it gets worse. Along with a few too many songs whose lyrics rely too much on tired drinking themes (here’s looking at you “That’s Why They Make Jack Daniels”), there are a couple of songs that are just downright terrible on this record.
Give Ronnie Dunn a little credit for not pulling a Keith Urban or Luke Bryan by rapping lyrics about themes only surrounding activities folks in their early 20’s encounter while the performers themselves are pushing into their 40’s and 50’s. Instead of singing these types of songs in the present tense though, Ronnie broaches the same stupid subjects and buzzwords by looking back, or reflecting on the young and unabashed of today from a more mature perspective. For example “Still Feels Like Mexico” with fellow NASH Icon signee Reba McEntire is a way to shoehorn in a young beach love song without acting like its something Dunn is experiencing presently.
This brings us to the worst song of Tattooed Heart, the quite unfortunate “Young Buck.” Though you can appreciate what songwriters Jaren Johnston and Jeremy Stover were trying to go for here about an older man looking at a young man full of life, the lyricism is all wrong.
Hey young buck, with your Jack in your Sonic cup
She thinks it’s strong so you cut it with Sprite
Next thing you know it’s all going right
Dirt on your hands, dirt on your soul,
dirt on your truck, dirt on your road
And it only gets more pandering when this “young buck” get portrayed as going off to war. The protagonist of “Young Buck” doesn’t convey an interesting character at all, it portrays at dunderheaded redneck kid who’ll knock all of your neighborhood’s mailboxes down from boredom, then date rape your daughter before spray painting “Go Cowboys” on the side of a 120-year-old historic building. Yes, I understand the acquisition of rookies Dak Prescott and Ezekiel Elliot is exciting, but that’s no reason to be an asshole. The electronic drum beat and synth splashes of “Young Buck” only make this travesty worse.
Tattooed Heart is not a great record, but it is not a total loss either. More so than other projects that may pass under your nose, this one has some tracks worth picking up or checking out, principally “Only Broken Heart in San Antone,” “She Don’t Honky Tonk No More,” and “I Worshiped The Woman You Walked On.” But aside from that, it’s a few forgettable tracks, and a few tracks you would love to forget.
Ronnie Dunn has the voice and the name to where if he wanted to transition into a legacy act or do like Tim McGraw and make the best of the opening up of the format to better songs, he could really do some damage. But he has to really commit to it. His days of #1 hits and CMA Awards are unfortunately in the past, and if he would just stop chasing this and settle into making good music, both his career and country music might be better off for it.
November 15, 2016 @ 9:38 am
I think your last paragraph sums up the Dunn enigma succinctly Trigger. Although I haven’t heard the new album in its entirety , I’d have to agree with your breakdown above.
Ronnie is a singer so much better than just about anyone else in the game right now . His vocal talent , uniqueness and command of a delivery set us up to expect far more from him than we are getting of late . He’s one of the guys all of the wannabes should be aspiring to be like , ….. not the other way around . Surely a guy this experienced , gifted and wealthy should be taking advantage of those things and doing it HIS way every time he comes outa the gate . RD guy could easily have achieved what Stapleton has achieved in terms of solo success if only he’d had a vision for it and the balls to risk a little more to realize it.
Because you can sing a nursery rhyme and make it sound incredibly entertaining doesn’t mean you SHOULD or that you feel obligated to .And it just bewilders your believers that you’d even want to .
I love Ronnie Dunn . His performance on the song ” Cost Of Living ” set the bar VERY high for himself as a performer/writer and for the songwriting community in general . THAT’S what I want and that’s what I’ve come to expect from this artist ….talent , inspiration and a radio-be -damned attitude.
November 15, 2016 @ 9:38 am
Jeff Bates sang “I Worship The Woman You Walked On” on one of his albums. I prefer his version much better. This album really didn’t do it for me. Good review.
November 15, 2016 @ 9:40 am
I really like the two singles in a modern country sense, but they definitely don’t sound right coming from somebody over 40. I plan on checking this album out as soon as I can.
November 15, 2016 @ 9:49 am
I enjoy this album. His work is damn good but wth do I know huh?
November 15, 2016 @ 10:12 am
As I’m sure Albert would agree with me. A good song or two doesn’t make up for a glut of bad ones. It’s the logic that Puke Bryan and Jason Al-D-wad use to justify bad records.
“You just have to listen to the whole thing man. we, we put some serious stuff on there too. we aren’t all about beer and trucks we did that one serious song too.”
Point is that nobody cares and nobody falls for it.
And let me tell you, Ronnie Dunn’s only selling point is the fact that he can sing.
He sings real well but his song selection has never been great.
If you look at Country Music from a future perspective, in twenty years Country Fans (real ones, not trend chasers) will STILL be listening to Haggard, Jones, Willie Nelson, Patsy, and maybe Vince Gill or Alan Jackson.
They won’t be listening to Brooks and Dunn.
It will be the same stuff that true blue Country Fans have been listening to for nearly three decades now. and it will be largely unchanged, with maybe the addition of Dale Watson, Wayne the Train Hancock and Daniel Romano to the list.
At this point being “able to get a record deal” is neither a selling point nor sufficient.
And anyone who willingly picks bad songs and/or can’t tell bad from good songs is a dinosaur in this era of easy access music.
We live in a world in which so many great songs have already been written, and are being written by people not part of the establishment, that the establishment is the new world equivalent of Fred Flintstone living next door to George Jetson, who has a jetpack, a flying car and a housekeeping robot, and still uses his footpowered car and his elephant vaccuum because that’s the way he’s used to doing it.
Except that in this case he’s doing it because he’s paying huge gratuities to Top Cat and Yogi Bear who have outsmarted him into ignoring Jetson’s technology and convincing him that the old way is still the way people do things. The powers that be in the music industry are ignoring progress and trying to hold on to an obsolete business model while the people have jumped ship for either newer and more convenient and useful technology and/or have gone back to the old ways (like vinyl, which still sounds better than digital)
And Ronnie Dunn, and his ilk prove how out of touch they are. OR how despite his great singing abilities he really doesn’t know shit about music.
Bad songs is no longer acceptable in this day and age and while one or two bad songs can be chalked up to personal preference, the fact that an overwhelming number of songs produced by “industry artists” suck implies an obliviousness to the world.
Why would I buy an album with three bad songs on it from Ronnie Dunn when I already have my old Clancy Brothers tapes that only have one bad song that really isn’t so bad by comparison?
Why would anyone bother to listen to this record when the best of the best is two clicks and a set of headphones away in this modern era?
I just ordered Michael Cleveland’s new album this morning.
I just got the new Wayne Hancock album a couple days ago.
Who is listening to Ronnie Dunn anymore?
And therein lies the conundrum.
Older fans won’t listen to this new-age pandering meat-pageantry music, and newer fans won’t listen to it because they have a whole world of music right in their phones.
An album like this just proves how broken the industry is that it is still using a broken business model that operates on the presumption that bad songs are acceptable because people have to sit through them because they have no other options.
We didn’t have as many options in the seventies, or even in the nineties.
We didn’t have as many options even six years ago in 2010.
We DID have to put up with songs we didn’t like because we didn’t have as many alternative sources.
We do now, and this album proves that the system is out of touch and no-longer relevant.
Ronnie Dunn’s next album needs to be a return to form, based on quality songs.
Vince and Alan knew it, and we got the bluegrass album and bakersfield, and bakersfield is one of my top fifty country albums.
Ronnie Dunn can either go out with the wash of people who only have record deals because a lack of options meant that they could get away with bad songs on records, or quit putting bad songs on records.
It’s a whole new world we live in. (everybody wants to be a master.)
And artists can’t get away with lazy output anymore because we the listeners don’t have to put up with it.
We can go someplace else now.
And most of us have. the radio industry is falling faster than Eric Clapton’s kid out of a window.
It’s gonna go splat soon if it doesn’t cut the meat-pageantry and get rid of shitty songs and artists and go the streaming way of giving people what they want and sidestepping the throwaway material.
Because nobody listens to throwaway material.
But who cares? “Woman you Walked On” is a great song.
November 15, 2016 @ 2:43 pm
Mostly valid points. Then, with the Eric Clapton’s son reference, you proved what a complete and utter fucking idiot you are. Your arguments hold merit, too bad you had to try to be cute to make them. Once an asswipe, always an asswipe.
November 15, 2016 @ 3:57 pm
Really, trigger already made the points. I don’t think your an idiot, I think you are a weak ass bitch that talks shit on the internet he wouldnt have the guts to say in the world. Why would you make a comment like that, you think you’re a comedian or something? Someone lived a life they never got the shit knocked out of them for running their mouth.
November 15, 2016 @ 4:54 pm
Calm down hotshot. geez y’all need to take a break. I thought it was funny. We’ve got enough stuff bending us all out of shape that we don’t need to get so damn riled up on a music site.
Deep breathes scott. deep breathes. just enjoy the music and let people live their own lives.
You don’t need to get nasty.
November 16, 2016 @ 6:04 am
If you thought that was funny, Spleen, it says more about you than it does Fuzzy. If you thought what I said was nasty, it says more about you than it does me.
November 15, 2016 @ 4:39 pm
Haha, Fuzzy kills me too, man! This dude gives serious critiques to stuff that isn’t supposed to be seriously critiqued.
November 16, 2016 @ 3:35 pm
Or maybe you’re just kind of thick and don’t comprehend the points he’s trying to make.
November 15, 2016 @ 6:36 pm
I do agree with the Eric Clapton jab, that was a complete low blow, even for someone as intelligent as him.
And if any of you want to call me a SJW or Politically Correct for calling him out on that, you can suck my dick because I really don’t give a shit.
November 15, 2016 @ 6:43 pm
I’m with Electric and Scott. What a piece of shit joking about that. This clown needs to fall in front of a fucking bus.
November 15, 2016 @ 6:04 pm
Fuzzy, my frenemy, you never cease to intrigue me. Indulge in some scattered thoughts with me.
———-
Good point about the bros. But as always, you present your often bewildering and myopic perspective as cold hard fact, and it ain’t. I understand your distaste for ’90s country, but don’t take it for granted that everyone (or anyone) agrees with you. The assertion that “real country fans won’t be listening to Brooks & Dunn in twenty years” is just plain wrong in terms of sheer numbers, much less actual subjectivity. Their debut album, Brand New Man, sold six million copies all by its lonesome. If that were their only album ever released the sheer exposure would guarantee that several people would remember them years from now. That they had several more million-selling albums and twenty number one singles just seals the deal. Like them or not, that assertion is asinine. Same goes for Alan Jackson, and to a lesser extent Vince Gill. Like it or not, for many listeners Jackson is right up there with the all-time greats of country music and there he will forever remain, regardless of the curmudgeons who think that ’90s country music wasn’t up to par. Meanwhile you name-drop artists that half of the commenters of this site likely haven’t heard of in any capacity like they’re big names. I think someone’s a little confused. It’s kinda like if I were to assert that no one will be listening to Sturgill Simpson in twenty years, but EVERYBODY will remember Brett Detar.
———-
And anyone who willingly picks bad songs and/or can’t tell bad from good songs is a dinosaur in this era of easy access music. GREAT point.
———-
And let me tell you, Ronnie Dunn’s only selling point is the fact that he can sing.
He sings real well but his song selection has never been great. Who is listening to Ronnie Dunn anymore?
Jumping around a bit here, but one person that still listens to Ronnie Dunn (though mainly through the lens of that one duo he was a part of that’s destined to be “forgotten” in twenty years time) is me. “Cost of Livin'” is a damn great song, a favorite of mine from the past decade of country music, mainstream or independent. Of course, I’ll concede that the majority of his solo output hasn’t been great or consistent.
———-
The biggest lesson of life I’ve learned in my relatively short time on earth is this: perspective is everything. Or, to put it a bit more clearly how I actually see it: perspective is everything. Rant about “bad” songs and the deficiencies of ’90s country music all you want, but ultimately your opinions are just dust in the wind that may stick out to you as important or profound but don’t register as anything at all to somebody else. I don’t particularly care for the style of Tattooed Heart but to somebody else it’s genius.
Have you even listened to the album?
———-
Overall, I think you’ve made some good (if insular) points that were more or less undone by a tasteless reference to Eric Clapton’s son.
November 15, 2016 @ 6:48 pm
Acca: thanks for commenting. I enjoy good, wholesome discussion that doesn’t devolve into immaturity.
My point, and I admit to sometimes being a bit incoherent and prone to rambling, but to condense my original point, I would say, and I read this somewhere but forget where, I read that “if you take what the big classical orchestras are playing in fifty years, it’ll still be Brahms, Bach and Beethoven. the same stuff they’ve been playing for 200 years. with maybe one or two new pieces becoming part of the canon.”
If you know where I read or heard that kindly enlighten me.
I twisted it a little to apply it to Country Music.
My overarching theme was that most “true” Country fans in thirty years are going to be listenting to, mostly the same old stuff, Hank Jr. Patsy Cline, Willie Nelson, and probably Vince Gill, with the only “new” artist from the “current” era (being a little abstract here to feel free to interchange dates as you see fit) being, I would say either Stapleton or maybe Wayne Hancock. (I like Wayne Hancock a great deal.) That’s not to say that other new artists or poor or destined to be forgotten… but in thirty or fifty years will people still listen to them the same way we listen to Patsy, Dolly, Willie and Waylon?
I exclude Sturgill and Isbell because they aren’t really “Country” artists.
So in trying to make my point I’ve been kind of exclusive to a lot of worthy artists, not because I don’t like them but because I was trying to make a point.
I’d never put Vince Gill on par with Porter Wagoner, his overall output doesn’t do it, but his work with Tim Jumpers is gold, and Bakersfield is one of my top fifty Country albums.
The point about the bad material (and I apologize for naming some unknowns, I was making a point, pardon my being unclear) is that with all the options available, bad songs can’t be excused. I grew up on Brooks & Dunn. “My Maria” was one of the songs I grew up hearing. Loved that song as a kid and remember it fondly now.
My point is that with all the options I have for good music, a fond remembrance for Ronnie Dunn based on a few songs is insufficient. Trigger gave it a “less than stellar” review.
Why would I get it, if I can get a CD from a “more responsible” artist who records more material I think is good and less material that is objectively bad? (like Michael Cleveland, whom I’ve seen live twice now)
And with the state of the industry (which I compared to a certain incident and was inexplicably derided extensively for) I was saying that it is reflecting my theory. album sales are down while streaming is up, and even top-tier stars are seeing reduced returns due to the sheer number of alternatives.
and lots of independent artists who take more care and more effort into not cutting songs that are just flat out “bad” are getting their due.
And I’m not trying to sound like “songs I don’t like are bad, give me Willie Nelson, get off my lawn you stupid liberals with your baggy shorts and your Justin Bieber.”
I will confess to never caring for “Excuse Me, I Think I’ve Got a Heartache” or for that matter I really don’t like the theme from Dukes of Hazzard, which is Country Music Blasphemy.
Is it a “bad” song?
No. But I don’t care to hear it. it doesn’t do anything for me.
But “Burning it Down” or “Kick Up the Dust” are pretty bad songs, by standards that I would assume are accepted by a majority of people who actually understand music.
The chief “deficiencis” of 90s Country Music, as far as I know, is that basically following the end of the “Outlaw” era Country Singers added way too many musicians.
Porter Wagoner and Mel Tillis days was maybe two guitars, fiddle, steel, drum, bass, maybe a harmonica or a banjo.
After the eighties there was a bass, at least two maybe three guitars (one or two electrics, and one or two acoustics) a steel, a fiddle, bass, drums, keyboards, and about a half dozen backup singers.
And it sounds “crowded.”
And yes, Ronnie Dunn can really sing, and sing well. but in this day and age that isn’t sufficient. The days of people being able to coast on star power without quality output is over.
and it applies to all artists. The broken industry is spinning faster and faster while it loses more and more money.
and people who care about music have quit paying attention and are buying “the good stuff.”
November 15, 2016 @ 7:05 pm
Dumb joke aside I seriously doubt anyone will remember the name Daniel Romano in 10 years. He has already moved on from country music anyways. Hell people likely will forget about Ray Romano by then. He is like a Johnny Corndawg – a blip.
November 15, 2016 @ 11:13 am
When I was following him on FB, all he really talked about was how scared he was! He was upset with the government, and complaining about it, but in a whiny baby kinda way, that completely turned me off. I told him what a man-bitch he was and unfollowed. I used to love Brooks and Dunn, but that, and his whiny music got on my nerves. I can see why Kix booked it the hell outta there. If I’d had to listen to that all day every day for weeks at a time, I’d be ready to strangle him!
November 15, 2016 @ 11:40 am
I think Dunn is a great singer. But if he wanted to make it as a mainstream solo artist, he probably should have embarked on his own a good ten years before he did. Age-wise, Dunn is a contemporary of George Strait (although he got a much later start). That’s a few years older than Garth and Alan Jackson and Toby Keith–and certainly McGraw and Chesney.
If Dunn wants to make alt music, great. But he’s not going to be a singles act in the late 2010’s.
November 15, 2016 @ 6:10 pm
It’d be interesting to see where his career might have gone if he split from Kix around 2000 rather than 2010. Granted, Brooks & Dunn had pretty much become a one man show in terms of radio long before the pair called it quits, but on their albums they were still splitting it more or less evenly. Ronnie did pretty decently out of the gate in 2011, but changing tides and a lack of direction did him in. Not that he’d still be on the radio circa 2016 no matter WHAT he did, but it would be interesting to see where he’d be.
November 15, 2016 @ 2:03 pm
That pic makes him look like Wheeler Walker Jr.
November 15, 2016 @ 2:25 pm
When I heard the ugly Rascal Flatts dude produced this record I laughed my ass off.
November 15, 2016 @ 3:13 pm
how many songs about alcohol do you need?
November 15, 2016 @ 9:23 pm
I have a playlist of about 300 country songs about alcohol that I play when I go camping with my buddies. I know it’s redundant, but we have fun singing along to them. You can never have enough drinking songs in my opinion, no matter how cliche it may be.
November 15, 2016 @ 3:59 pm
Ain’t no trucks in Texas??? What does that mean? Is this on YouTube yet? I noticed no link.
November 15, 2016 @ 4:27 pm
I haven’t heard the song, but the “contra-factual” lyric is a pretty standard motif in songwriting. See “I Never Cared for You”–Willie Nelson, “She Thinks I Still Care,”–sung by George Jones, “I’m Over You,”–sung by Keith Whitley, “(I’ve got some) Ocean Front Property (in Arizona)”–sung by George Strait. It’s hardly unheard of.
And Dale Watson had a very similar song subject fairly recently: “There Ain’t a Cow in Texas…Or a Cab in New York City.”
November 15, 2016 @ 4:35 pm
Apparently Dale Watson “adopted”: “There Ain’t a Cow in Texas” from a similar song of the same name sung by Merle Travis at least half a century ago.
https://www.youtube.com/watch?v=05539iw18yk
https://www.youtube.com/watch?v=mfGfz0U1xiQ
November 16, 2016 @ 6:22 am
“There Ain’t A Cowboy Hat In Dallas” by Charlie Daniels is very similar, also
November 15, 2016 @ 5:34 pm
I fucking HATE it when singers do songs and albums that are beneath their talent. Ronnie Dunn has an iconic voice. It should never have to pander in order to stay relevant. It’s sad that Nashville has done this to country music.
November 15, 2016 @ 6:33 pm
Similarly to Aaron Lewis’ rhetoric about modern country music (much as I enjoyed his latest album), I get the impression that Ronnie got his feelings hurt when he figured out that nobody was paying attention to him in the mainstream after a while. So he hopped on the “outlaw” train and started braying about injustice in the music industry and how there’s no real country left on the radio. Correct or not, I get the impression from both of them that there’d be nary a peep if they were getting number one singles, awards and big album sales. The difference is that Aaron has been steadily aligning his money and his mouth, whereas Ronnie still has no idea what he’s doing in a post-B&D world that he seems to think still owes him a career. I hate saying that, but that’s the way it appears to these eyes. I think Aaron Lewis has had an easier time adjusting to a non-radio career because he never really had one with country music to begin with. Ronnie seems to think it’s just within reach every time he cuts a new record, which is why we end up with albums like these that are produced by a member of Rascal Flatts (whom I enjoy every now and then, let it be known — but they are lightyears away from Brooks & Dunn) and feature title tracks that are covers of Ariana Grande songs. Apparently no amount of reading articles from places like SCM (and even linking them to his Facebook) are getting the message through to Mr. Dunn. He keeps waiting for everything else to change rather than going after the change that he himself is going to have to make to stay relevant and have a legacy worth remembering.
As for the idea of Ronnie carrying B&D, I can’t help but feel bad for Kix Brooks. I’m not really debating the point as much as I’m lamenting how Brooks never really gets much credit for his 50% of the deal. If you dig into the duo’s catalogue, there’s plenty of songs that he sang lead on that stand out. But they weren’t the big hits for the most part, and that’s the difference. Obviously that’s due to Kix’s voice not really holding a candle to Ronnie’s; whereas the latter has one of the greatest voices ever to grace the genre, the former has an everyman quality and a timbre that makes every note he hits sound like a strain, even if it’s well within his range. It should speak volumes that, thus far, Kix’s three solo albums, Kix Brooks, New To This Town and Ambush At Dark Canyon, easily trounce Ronnie’s three. The first of those has the benefit of being a product of the late ’80s, but the final one is a soundtrack and it STILL holds its own (much more than the movie it was attached to), and none of them have any thematic baggage to deal with.
Great review.
November 15, 2016 @ 6:54 pm
Dunn without Brooks just sucks. Brooks without Dunn sucks too. I love their old stuff. I’ll be listening to them 20 years from now, probably not any of this album though. I’ll have to check out the cherry pickers before I call that good though.
November 15, 2016 @ 9:16 pm
I never liked Brooks and Dunn but gave his last album a chance and liked about a third of the songs. It was solid but not a top rate album in my opinion. I picked up this one the other day but haven’t had time to give it a good listen yet. I expect it to be about like the last. We’ll see.
November 16, 2016 @ 1:24 am
Your closing paragraph sums it up perfectly! Thank you!
November 16, 2016 @ 3:08 am
This is a weak record for sure. It’s slightly less painful than reading Fuzzytwoshirts 6,000 word essays on 90’s country music.
November 16, 2016 @ 5:26 am
All this discussion over Ronnie Fucking Dunn? WTF?? Where’s my lighter. I’m gonna set my monitor on fire. And then shit on it.
November 16, 2016 @ 6:18 am
I was listening to this over the weekend and I when I heard ‘Young Buck’ I thought ‘man, Trigger is going to hate the shit out of this’ lol.
November 16, 2016 @ 10:31 am
There is nothing wrong with be exciting to use your polaris to get to your favorite deer stand!!!
But besides that yet another spot on review as usual trig thanks.
November 18, 2016 @ 8:35 am
Without reading the title, I clicked this article thinking it was about the new wheeler walker jr record
January 1, 2017 @ 2:12 pm
Ronnie Dunn is great country singer. His voice is amazing. I don’t care what anyone says.