Saving Country Music runs down the best country music songs from the Academy of Country Music’s reigning Entertainer of the Year, Luke Bryan. From Leesburg, GA, Bryan was signed to Capitol Records in 2007, and has released 3 EP’s, and four full-length albums, his latest being “Crash My Party” in August of 2013.
To All The Girls is Willie Nelson’s third album to come from his recent partnership with Sony’s Legacy Recordings, and the second to come out this year. The record features an ample 18 tracks, each constituting a duet with a female counterpart drawing from a wide swath of talent that includes both legacy names like Loretta Lynn and Emmylou Harris, and some new names like The Secret Sisters and Brandi Carlile.
Justin Moore’s 2011 album Outlaws Like Me was declared the worst album ever by Saving Country Music up to that moment in time; a diagnosis I still stand behind with puffed chest. Despite a few moments of respite, Off The Beaten Path is like an expeditionary campaign to discover and exploit every single worn out modern lyrical trope of American country music, and to try and make some new ones.
It’s so easy to get swept up in stereotyping mainstream country as being completely void of anything worth your time these days, but in truth there’s still a lot of great music in the popular music world, however a small percentage it might be of the total package. Saying the mainstream has nothing good to offer is narrowing your musical experience no different than saying that music is bad because it’s not popular.
Once again the Europeans out class their cross Atlantic counterparts with the newly-launched Country Music Magazine from Team Rock—the same people who’ve brought the UK the long-running and widely-distributed Classic Rock Magazine. Despite the generic name, this magazine is anything but, with 132 extra wide glossy full-color pages, accompanied by a free, 15-track CD with music from Sturgill Simpson and Guy Clark.
Somewhat weird, certainly smart-assed, but seriously entertaining, The Defibulators from New York, New York have unleashed their latest album Debt’ll Get ‘Em, ripe for weird looks and rank misunderstanding, but filled with some really good times. The line between where the sarcasm ends and the seriousness begins with The Defibulators is hard to define, and they appear to like it that way.
Don’t be spooked too much by the Haight-Ashbury circa 1967 album cover on this record. There’s no acid trips or space jams inside, though in its own way the cover conveys the laid back mood that the music of High Life embodies, and the harkening back to the cowboy hippie vibe of Austin in the mid 70’s that this album evokes. What you do get with High Life is some damn fine Texas country.
You talk to most any independent country, roots, or Americana artist, and to a man they will tell you their fortunes tend to be better in the European market. With so many European tours and the continued spread of American country music, it was only a matter of time before country began to rub off on the locals and American roots music spread like wildfire throughout the Old World.
Whereas Lindi’s last album had a definitively dark, Gothic tinge, Tin Star is more of an equitable, neotraditional take, though the dark shades still tickle the edges and emerge from the shadows here and there. In fact Tin Star is downright boot stomping in places, traversing the carnivorous streets of Nashville defiantly, taking a trip down to Louisiana, finding inspiration in the tragic character of Frida Kahlo.
The fate of the sideman in music is one of always playing second fiddle to the big star. But one of the things we love about the other players in a country band is they generally don’t care. Though many times they do an equal share, if not the majority of the heavy lifting for the music, they’re just fine blending into the background.
To have Alan Jackson—3-time CMA Entertainer of the Year winner, and a man that has sold more than 60 million records worldwide—release a straightforward, traditional bluegrass album with no caveats, no tangents, simply straight ahead acoustic instrumentation in a traditional style, is a feat and a victory all on its own. And the music ain’t too bad either.
Originally cut in Nashville in 1996 and sitting on the shelf ever since, Old 97’s & Waylon Jennings is a remarkable little gem unearthed these many years later, offering a window into a time right before Waylon’s health began to fail him, and right as the Old 97’s were rising in the alt-country tide alongside bands like Wilco and Whiskeytown.
Few things get people talking in the independent channels of country music like a Hank3 release. From his neotraditional days in the early 2000’s when he had traditionalists singing his praises, to his magnum opus Straight to Hell from 2006 that saw his punk and metal influences bleed over into a hard country approach, to his last few releases that have become a polarizing subject with many fans….
Did you know the first song to ever be featured on Breaking Bad was a classic country tune by Stonewall Jackson? They may not play real country on the radio anymore, but there’s many different ways you can skin a cat. As popular and critically-acclaimed TV series like Breaking Bad breathe new life into television, they have become an invaluable market for showcasing quality country and roots music from the past and present.
It’s not that there aren’t some token homages to mark her move into the country format, but overall, except for one song that we will get to in due course, there is very, very little contrast between Feels Like Home and what Sheryl Crow was calling rock for the body of her career. But that doesn’t necessarily paint Feels Like Home, or Sheryl Crow, or her career as bad.
In the 12 years since Hillstomp’s inception, John Johnson, and guitar player Henry Christian have become one of the Pacific Northwest’s most well-known underground roots duos, garnering a loyal following and making fast fans from their avant-garde approach to blues that combines elements of punk, trance, and most notably, a beat that is delivered by a drum set centered around a bucket instead of a snare drum.
Hank3 is poised to release two new albums next week, and embark on an extended tour of Texas, the West Coast, and upper Midwest. Brothers of the 4X4 and A Fiendish Threat come on the heels of an extended touring hiatus after Hank3’s drummer Shawn McWilliams required shoulder surgery. Hank3 was gracious enough to sit down with us ahead of the tour and releases to talk about what fans can expect…
There’s nothing worse than inadvertently coming within ear shot of one of those songs—the idiotic country music laundry list / checklist ditty, or even worse when the performer is inclined to get all hip-hop on your ass and start rapping the lyrics over a drum machine beat. If you find yourself bent over and fighting back a gag reflex from Class A country checklist exposure, these songs will help cure what ails you.
The 22-year-old Texas native Sarah Jarosz symbolizes a victory by so many measures, even before you delve into the substance of her new album Build Me Up From Bones. Build Me Up From Bones is a bold work of progressive bluegrass that showcases young Jarosz’s developed songwriting and adeptness at composition, while not sacrificing the whimsy and fun an album from a 22-year-old must have to be genuine.
Nope. And that’s how you know it’s good. If you like country, and I mean country, then Jonathan Parker’s They’ll Never Play My Songs In Nashville has you covered. This guy has a country growl that’s like Waylon Jennings mixed with the DNA of a hard-nosed bulldog. This is hard country, honky tonk music in its purest incantation. No frills, just lean forward and belt it out.
On August 15th, the plans for the upcoming Outlaw Country Music Hall of Fame and an accompanying Outlaw Music Association were made public. The announcement stimulated a lot of speculation about what direction the upcoming Hall of Fame would take, but not many serious answers. So Saving Country Music reached out to Gary “Sarge” Sargeant, the spearhead of the Outlaw Country Hall of Fame.
High Cotton: A Tribute To Alabama gets right what so many cover and tribute albums get wrong, including its 2013 counterpart Alabama & Friends. A good tribute album doesn’t just pay tribute to the band or artist. It should be a 50/50 proposition, with the contributing artists also benefiting from the name recognition the tributee affords.
No ladies and gentlemen, Western Swing is not dead; not when Davy Jay Sparrow is on the job, doing his level best to keep the distinguished country music sub-genre fresh and fun by forging ahead with his fast-paced and frolicking take on one of country music’s original modes. Sparrow has migrated west from Indiana to Portland, OR and traded in his “Well Known Famous Drovers” for a gaggle of “Western Songbirds”.
The underground country movement initially formed around the mid 90’s not because somebody launched a website or a record label. It wasn’t because of a festival or because someone came up with a special name for a new genre. It came from the songs artists were writing, recording, and performing; songs that spoke very deep to the hearts of hungry listeners.