Just Shut Up and Get Chris Stapleton’s “Traveller” Already
Well isn’t this cute. So the same guy that’s written songs for Luke Bryan, Lady Antebellum, and wrote that terrible Thomas Rhett single “Crash and Burn” decides he wants to release a traditional country record. I guess we’re all supposed to just hop to attention and try to forget all the trash that he’s carved his name into with songwriting credits and sally forth, huh?
Actually, that’s exactly what we’re supposed to do.
The only thing I’m cheesed off about at this point is why this all took so damn long to see the light of day. What is going on in country music where a talent like Chris Stapleton is slaving away in the songwriter stables until age 37 before he gets his big break? I know he took the long way here, playing in the Steeldrivers and Southern rock bands and such, and it might not all be the Nashville machine’s fault his maturation process took so long. But Chris Stapleton’s astounding talent has been the worst kept secret on Music Row since what, 2010? Good Christ just get the man in the studio and let him shine.
It’s a national embarrassment that an artist, singer, and songwriter like Chris Stapleton is just now getting his feet onto the ground floor of stardom while the morons he’s penning super hits for are out there starring in their own prime time televised specials. Forget the reams and reams of songwriting credits Stapleton’s accrued for a second; this dude can sing the pants off of anyone else mainstream country music can shove out on stage right now. Anyone. And yet he’s been pulling desk duty for the last half dozen years. Thank goodness Mercury Nashville finally pulled their head out of their ass and got this record out.
The robust stable under the producership of Dave Cobb better beware. Jason Isbell over there polishing up all of his Americana Music Awards? Sturgill Simpson suckling off that sweet Atlantic Records teat? Those bastards better look alive, because Chris Stapleton just released a monster of a record that’s going to give them and everyone else a run for their money in 2015. Insert your favorite plaudits here: Chris Stapleton’s Traveller is a candidate for Album of the Year right out of the gate.
There’s not a slacker in this bunch folks. I mean, pretty much every song can make its own case for the best of the record, even the Charlie Daniels cover of “Was It 26,” even the final track “Sometimes I Cry” that was recorded completely live in Nashville’s historic Studio ‘A’ while a bunch of media and invited guests looked on and can be heard cheering at the end. “Traveller,” “Fire Away,” “Parachute,” “When The Stars Come Out,” “The Devil Named Music,” it’s all excellent stuff.
Even if you consciously try to hate this album, it’s still impossible. When I heard the familiar verses of “Tennessee Whiskey” made famous by George Jones and David Allan Coe, my eyes set to rolling, especially since Stapleton had tricked it up to have some kind of Motown vibe or something. Man I hate obvious covers to begin with, and then to screw with something so iconic really takes a lot of gall. But when Chris lights into the chorus, if you don’t get a tingle on the back of your neck or goosebumps or something, then you’re listening to it wrong brothers and sisters. This man has the voice of the Staple Singers stuck in his throat mixed with the soul of 1,000 sharecroppers. Holy shit I could sit around all day and just listen to this man sing slop and it would still sound heavenly after being purified through those pipes. And such range and control, from hushes to screams, there’s not a lyric he can’t turn divine.
When I got to the song “Outlaw State of Mind” I thought “Ah ha! Finally a song that is less than stellar!” Sorry, but it just felt a little cliché to me. And just a little insider’s knowledge: If you’re feeling less than 100% about a song and decide you want to bury it in the track list, put it next to last like they did this one. But then as the song elongates into an extended instrumental, all of a sudden you find yourself sucked in, and it gave the album an unanticipated amorphous moment. Great dynamics on this record, taking you from the highs of “Parachute,” to the hushed moments of “Whiskey and You,” Traveller fills every mood of your musical appetite.
That brings us to the music itself, and let me tell you, for a guy who can veer more into the classic rock realm if you let him, there’s nothing else to label Traveller than traditional country. Yes there’s some soul here, and a little bit of Southern rock with a song like the spectacular “Parachute,” but this is the real country stuff traditional country fans clamor for. And Dave Cobb, who sometimes can dial too much into the vintage textures in records, gets the audio concoction just about perfect here, where it’s nice and warm and alive, but not filmy or faraway feeling. Mickey Raphael comes in with some harmonica, and the vibrating reeds sound like the harps of ethereal redneck angels.
Is there a little voice in the back of my head that says, “Okay, this guy just knows how to write songs so well that he can hoodwink us into believing he’s the real deal, just like he hookwinks the rest when he’s writing pop country material?” There used to be. But the thing about Chris Stapleton is you can’t fake the passion behind that voice. There is something there that is tied so deeply with inspiration, it’s unavoidable as anything but an original and heartfelt expression of authentic emotion.
All the years of anticipation, all the showcases and live shows where people walked away in shock or in tears, all the stutter steps as Nashville tried to figure out what the hell to do with him, it was all fulfilled, and it was all worth the wait for Traveller. The only question left now is, with the raw power of Chris Stapleton finally captured and out there on a wide release, will the Nashville machine once again drop the ball, or will they do his talent justice and push him as the preeminent country music artist of this generation that he is?
Two guns up!
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May 5, 2015 @ 10:00 am
Good review Trigger! I’ve been listening to it on and off all morning. I had the same thoughts on a couple of songs, like Outlaw State of Mind. But as I kept listening to it it has become a very decent track to me.
Stapleton’s voice is certainly one of kind and I agree he deserves a little pub from the mainstream country crowd.
Great album and good luck to Chris!
October 28, 2015 @ 1:56 pm
I agree he is anot amazing singer/songwriter but he was wayyyy better with the steeldrivers then by himself
January 2, 2016 @ 6:49 pm
I loved him with the The SteelDrivers and theyre just not the same without him, but I love his solo album. It’s the classic country we grew up on, he just might save country music.
May 5, 2015 @ 10:06 am
I’m not gonna call you the slightest bit off base on Stapleton’s talent level. I’ve been singing his praises as I’ve followed him for years, but as I’ve followed him for years, I’ve read every word that he’s ever spoken about his own career, and it’s just that… his own. The man had a publishing contract within a week of landing in this town, which is hardly an insult and he was hardly a slave. Since that time, he has played in every talented band he has wanted to while sitting back not at all jumping when offered a major label deal as he has said it wasn’t even on his mind at the time. He has packed his bags and wandered the country with the wind while creating this current album’s music and flat out went into the studio under his own terms with his choice of producer when he was damn good & ready. If you think it took too long to get Traveller into your hands, blame the vagabond with the pipes and beautiful words himself. There are plenty of other things to blame music row for. In terms of Chris Stapleton, you ought to be singing his praises for doing things in own dang time in his own dang way. I suspect that he will continue to do so whether he fails in his unasked for role of Country Music Savior or not.
May 5, 2015 @ 11:51 am
Well… Let’s first acknowledge that it appears we’re both in agreement about the quality of Stapelton’s music, so let’s not get our pulses raised too much and graze each other with friendly fire.
As for the timeline for this album becoming a reality, as I expressly stated in the review, “I know he took the long way here, playing in the Steeldrivers and Southern rock bands and such, and it might not all be the Nashville machine”™s fault his maturation process took so long.”
So I acknowledged a lot of this was at the behest of Stapleton. Still, I think if the right people on Music Row were doing their jobs right, this album could have been a reality a couple of years ago. The single “What Are You Listening To” was released in 2013, so he was in studios and on people’s radar. If he wanted to take some extra time to make sure all the planets were aligned before he recorded and released this record, hey, as I said, it was all very much worth the wait in the end result, so I’m happy. For whatever reason, this review took on sort of a colloquial voice (I didn’t plan it, it just kind of happened), so I was trying to give an average fan’s perspective, not aided by whatever inside knowledge others might have about the specifics of the Stapleton contract. As a fan, I just wanted to hear the music.
As for when you said, “I suspect that he will continue to do so whether he fails in his unasked for role of Country Music Savior or not,” I really don’t appreciate the characterizations and implications of that statement. Never did I anywhere frame Chris Stapleton as being a “Country Music Savior,” and furthermore, I have gone out of my way with other artists, specifically with Sturgill Simpson, to preach to readers of how unfair it is for us to lump our personal expectation on an artist like that. Even so, it has been exhaustively mischaracterized by other media outlets that an artist like Sturgill Simpson is “Saving Country Music” or a “Country Music Savior,” basically implicating me whenever they make these assertions (and pissing off Sturgill in the process) when in truth I’m on record saying I’m against them. I know that it can be easily assumed from the name of this website that I want an artist like Stapleton to be a “savior” of country and that by default I’m lumping that burden on his shoulders. But trust me, this is not the case whatsoever, and I would never do that.
Now that all that’s said, I do think that country music right now is suffering from a lack of leadership, and some artists are in a better positions than others to assert some of that leadership. Country music is a community like any other, and needs voices and people who care about it to keep it healthy and vibrant. But in the end that’s the choice of the artist if they’re willing to be a part of that community in whatever capacity.
May 6, 2015 @ 8:01 am
The Country Music Savior statement was not directed at you directly, though I understand that most of my statements were and I should have clarified that I did not mean to insinuate that you personally are part of the current trend of treating artist after artist that music row haters deem to be of quality as though they may be “the savior”. It was directed at the music row haters in general.
Let me explain my point of view and why I am as frustrated with modern country music’s detractors as I am with its supporters.
I am born and bred Texan and have been listening to “Red Dirt” since before it a had a name and before TX had their own charts. I have lived in Nashville for approaching 20 years and have worked in the music industry. I am frustrated with the ever growing divide and the lack of understanding. TX and independent fans everywhere hate Music Row. They speak hateful words of Nashville in general and blame labels and every other person associated with mainstream country music. Let me explain something…. NASHVILLE didn’t fail people. Labels didn’t fail people. Music Row didn’t fail people. Music Row has been steadily going out of business for years. Artists, writers, studios, and yes…. labels have been approaching starving compared to where they used to be. And…. it’s not just country music. Between the changes in station ownership laws (1996) and changes in technology in the industry, every genre in music existence has been floundering in their efforts to adjust. Their are so many factors in the equation right now that it’s a discussion that goes on at length, daily, in offices on the Music Row that traditionalists hate (and by the way… almost everyone I know that works on the Row listens to “Red Dirt” and all the other indies everyone loves). The discussion happens every year at Billboard country music seminar and at Country Radio Seminar among the very people who live their career lives demonized as being the problem.
All in all, my frustration is this… Stapleton is a talent, one of my faves. It’s a solid album, and I hate that far too much discussion already is revolving around it’s place in being anti-pop country, and his place as a “traditional” voice (which by the way… I disagree with considering the sounds integrated in a pretty diverse country, blues-y, rock-y, folk-y collection of songs). This discussion of people being forced to somehow forgive him for his songwriting career and herald him as being “traditional”, quite frankly, makes me feel little like…. “here we go again…..”. When oh when, can we begin to let artists make music and then keep the discussion to the music they’ve made… at least for a few weeks upon a new album drop?
Ok, I’m ready for the backlash I am about to take on for my daring to somehow defend those who work on the hated row. 😉
May 6, 2015 @ 12:08 pm
I can’t dispute much about how you characterize Music Row. I myself have spilled much ink trying to explain that the way to truly save country music is by taking pragmatic approaches to the problems that do exist in the Nashville machine, and giving credit for when something is done right. My Album of the Year two years ago was released by Big Machine. I call Scott Borchetta the “Country Music Antichrist” but give him credit for giving more artistic freedom to his artists than most anyone else on Music Row. I agree not all that happens in the industry is terrible. I just touted a song from Love & Theft. But for every positive there’s plenty of negative, like Gary Overton’s recent comments about how if you’re not on the radio “you don’t exist.”
Saving Country Music gets lumped with the stereotype just like Music Row and Nashville does. I do my best to seek out the positives and champion them as well, and Chris Stapleton might be the best example of that. There are people who will never give his music a chance because he wrote a Thomas Rhett hit. THAT is why I started this review out like I did, to challenge that mindset and attempt to bridge differences between independent and mainstream.
May 6, 2015 @ 8:21 pm
In no way would I cry or even feel a little bad for labels failing, or radio hurting. It is their own doing. Every consultant that a station has, and many times it’s covered at crs- play a wider mix of songs, and not the same mix. The fans are out there, they just may not be tuning into country radio. They’ve missed the boat time and time again.
Instead of asking themselves what are we doing it right and patting ourselves on the back, can ask themselves what are we doing wrong? Chris is the guy who has been in the done wrong category. Along with countless other artists.
Trigger takes that part of it out in his writing on a mostly general basis. He is telling you, labels, and country radio that whatever it is you have a monster talent and figure out how to make it work. Taking money out of the equation. Quality of his writing music for the record and singing should standalone.
The radio programmers gave him a standing ovation this year at crs. As soon as they got home the next week it was all but forgotten, and only the singles he wrote were played.
May 6, 2015 @ 5:39 pm
“Ooh OOOHH OOOOOOHHHH” Trigs On FIRE
This dude is the real deal. Sometimes you have to almost sell out yourself before you know who the fuck you really are. It’s the result that matters.. Im all in.. Good one Trig… Yelawolf piece too here we go summer 15 comin HOT
May 5, 2015 @ 10:13 am
What an elating review. A few questions/concerns:
1. When was this album cut? Was it sitting on the shelf or was it more that the label wouldn’t give Stapleton a chance to record?
2. As others have said, this guy is something of the Jamey Johnson of 2015. He started out penning less than reputable songs and then turns the tables when he finally gets his moment. Sell-out or not, I’m thinking all of those pop country credits were just to keep food on the table while he wasted away trying to get his debut released. He comes across as being a great writer that can pen filler when needed in his sleep.
3. Does anyone think that this has the potential to turn into another Sturgill Simpson situation? Sure, everyone’s raving about the music so far, but we do that about hundreds of artists that the public never bats an eye about. What are the predicted sales and impact at this point?
4. Tying in with #3, I went to Best Buy yesterday to pick up my copy. They ordered four that had arrived on Friday, but had gotten lost in the shuffle when they were supposed to be displayed with the new releases. It took an employee 40 minutes to find me one. I went to another Best Buy and all four copies were in the standard country section, not the new releases section. What are we expecting this one to do before positive word of mouth boosts its profile?
5. How major or independent a label is Mercury? Obviously if Stapleton was lucky enough to net even a low level deal with a major or at least a moderate label, that will go a long way for his career if the music appeals to as many people as seems to be the expectation.
6. I can’t wait to read Clint’s opinion of this guy. Something tells me he’ll be unimpressed.
May 5, 2015 @ 10:16 am
Ah, and as I said: please keep Montgomery Gentry’s upcoming album Folks Like Us in mind for a review, Trigger. If you already know that you aren’t interested or something, let me know and I’ll let it go.
May 5, 2015 @ 10:44 am
Goodness, I feel like I’m back in school having to answer all of these questions.
1. The album was recorded just a few months ago. Once Stapleton got in the studio, it was a pretty quick turnaround so at no point was the material sheleved and allowed to go stale.
2. I’d resist calling him the Jamey Johnson of 2015. He’s much more of a dynamic performer compared to Jamey. It’s really two different approaches, though I understand with the beard and the traditional country sound why people would compare the two. But Chris is Chris, and Jamey is Jamey. Stapleton never had a song as big (or bad) as “Honky Tonk Badonka Donk,” which as many will point out, was written in jest.
3. Stapleton is on a major label right now. That always makes a difference. And don’t discount Sturgill as not making the public at large pay attention. The dude is big and getting bigger, and will have his own major label release this year.
4. Stapleton’s fans are album buyers, and there’s not a ton of release competition this week, so I would expect this to post between #1 and #3 next week on the Billboard Album’s chart. Where it goes from there probably has to do with how much Mercury decides to push it. He’s on tour right now with Eric Church, so that might help too.
5. Mercury Nashville is a major label. Label should not be an issue. Whether they want to put any money behind promotion or radio play is a good question.
As for Montgomery Gentry, I’d be lying if I said it’s a top priority, but I will likely listen and review it if I hear one.
May 5, 2015 @ 11:34 am
Can we stop Badonka Donking Johnson? Yes, that was a radio hit 05. But, it was “Give It Away” winning the ACM’s Single AND Song of the year awards in 07 that fats-tracked Johnson’s momentum ahead of That Lonesome Song.
May 5, 2015 @ 11:43 am
Two things: Trigger included the caveat that it was basically a joke song so as to let Jamey retain a bit of his integrity. Secondly, the issue here is not necessarily that it was successful but that Johnson’s name was on the ticket at all. The success just makes it that much worse but it’s not the kicker.
May 5, 2015 @ 11:54 am
Yes, I was not trying to “Badonka Donk” Jamey. I’m 100% in the “let’s move on” camp when it comes to that song. I was simply answering the question posed by Acca Dacca.
May 5, 2015 @ 12:02 pm
Sure. My comment was half in jest; that’s why I used “Badonka Donking.”
May 5, 2015 @ 11:39 am
Well, in point of fact you don’t HAVE to answer my questions. I’m just doing my part to help you feel younger 😛 . And I almost forgot: remember that Jamey Johnson was also signed to Mercury, yet another similarity. By the way, most of us are comparing the two men’s career trajectories more than anything else. I suppose if Stapleton releases a double album and then stagnates for five years because of a contract dispute we can close the book.
On MG, yeah I know they are past their commercial peak and point of relevance. Don’t get me wrong, I love reading about all of these newer independent acts and finding quality music because of your informative writing. But it’s also nice to get journalistic opinions on what is and isn’t working in the mainstream albums world, not just the odd single that’s a slap in the face (though those are obviously entertaining). Like I said before, I’m expecting something of a train wreck. But unlike other, more prominent or “trusted” artists, a Montgomery Gentry train wreck would have considerably fewer casualties and mainstream shockwaves.
May 5, 2015 @ 10:15 am
Done.
May 5, 2015 @ 10:24 am
I admit.. I’ve been on the fence about this guy for a while. While I enjoyed his time with the Steel Drivers I just couldn’t get past the pop stuff he had penned. I was determined to write him off it seems. Last week when he announced Traveller was streaming on NPR for some reason i went over and gave it a listen. It has not stopped palying since and the album arrived in the mail yesterday..! When I saw Tennessee Whiskey I thought oh great, Another cover of that song and it turns out that he ended up owning that song. Awesome album..
May 5, 2015 @ 10:26 am
I just saw him Thursday night in Boston – he was fantastic! I couldn’t wait to buy it today! Love that Eric Church has him on tour – which also helped open my eyes to Brandy Clark.
May 5, 2015 @ 10:50 am
I knew of Chris from Steeldrivers first. I was aware of his talents as a writer, singer , picker long before I was aware of the mainstream stuff he’d written And I loved what I heard from that band . I still love what I hear from that band even since Chris’ departure and LIVE they are as good or better than the records.
But I digress.
Chris certainly didn’t NEED to make this record to generate an income . His pop stuff has done that more successfully than almost anyone out there right now in terms of writer’s royalties . He didn’t need to do this record to create an awareness of his talents in the Nashville ” artistic ‘ community of writers , artists producers and labels. He didn’t need to make this for the REAL fans who already knew how good he really was. I really think he didn’t NEED to do this album for anyone but Chris Stapleton . Sometimes as a writer you have tons of music that doesn’t ” fit ” an ‘accepted’ format and it needs to find a home . His stuff certainly FIT the Steeldrivers home it found a few years back but since then I’m sure the backlog of material radio WASN’T interested in has been building . I also think it serves as a palette cleanser for a writer to wash away the taste of the trite generic bullshit radio wants .
Saying all of that , I love this album for what it is -an honest throwback to songs of substance : heartache , dilemma , blues , yearning…all of it . I love it for the GREAT singing and playing featuring lots of trad instrumentation by incredibly talented musicians . I love it for its rawness , its purposeful under-production and its no holds barred artistic approach to the material and performances .
I love it so much I almost hate to bring up this next observation . I DID find it a little bit cliched in the writing department . I know that’s a critique usually leveled at his pop stuff….but I couldn’t escape that thought after listening to the whole album , the feeling that I had heard it before . Good news is that I hadn’t heard it for a LONG time and I hadn’t heard it – maybe since George – done with as much heart and conviction and reverence as Chris offers it up here. This is a GREAT record ….there is just NO denying that . If it doesn’t move you you are comatose and I’d venture to say that even some of those cookie-cutter’ Bro-Boys’ would agree when they listen to this ‘Pro-Boy’ .
May 5, 2015 @ 11:19 am
Yikes! I had a way different experience listening to this album. I nearly shelved it after 5 songs, got pulled in, then for the first time ever, I was offended by a song. That’s a big statement coming from a Hank 3, Bob Wayne, Leroy Virgil, Drive-By Truckers fan!
Like I stated, I was about to shelve the album after the first 5 songs:
“Traveller” – underwhelmed me – the message is trite and Stapleton can rhyme dirt and shirt – congratulations!
“Tennessee Whiskey” – I thought Stapleton out-punted his coverage here. I hate covers, but I’ve seen Jamey Johnson cover this song in concerts and it was understated and beautiful. Stapleton vocal antics distracted from the song, IMO.
“Whiskey and You” – Did Stapleton really have to include this song on this album. Jason Eady just included a formidable version of Tim’s version on his album last year. It couldn’t have waited a few albums?
Parachute – a dumpster fire.
Then, “Nobody to Blame” pulled me back in. The beautiful “More of You” justified my stay. I thought “Good thing there’s 14 tracks on this album, cause I’m liking it.” I freakin love “Daddy Doesn’t Pray Anymore.”
Then, something that has never happened before happen – I was offended by the lines in “Might as Well Get Stoned” – a song by the title alone I should love. If the only value Stapleton sees in bring back to life a dead soldier is to have a smoking partner, then fuck you Stapleton! Not since Zac Brown Band’s “Chicken Fried” have a heard lyrics more pandering then those in “Might as Well Get Stoned.” A song that mixes dead soldiers with getting high is the epitome with everything that is wrong with country music today.
Which leads me to the question, what are all these hit songs or “reams of songwriting credits” Stapleton has amassed anyways? From what I can gather, his biggest co-songwriting credit is for a forgettable Kenny Chesney song in 2007 which probably had more to do with Chesney’s stature at the time than the song itself. After that, it’s a bunch of album cuts for mainstream country music artists. I get a man’s got to eat, but he’s been painted as some songwriting genius in the media.
May 5, 2015 @ 12:00 pm
“Parachute ”“ a dumpster fire.”
I totally disagree, but I laughed out loud at this assessment.
Hey, not every album is for everyone. I can hear how some would find Stapleton’s vocal approach as grating. I don’t, but I can understand it.
Nobody’s trying to act like Stapleton is Bobby Braddock or anything, but he has gotten some big cuts both on albums and singles. It’s felt like I’ve seen his name all over the place, especially for the last two years. And “Whiskey & You” is Satpleton’s song so I don’t blame him for cutting it. Frankly, I’m not sure Eady has the reach to burn it out beyond a hardcore gaggle of traditional country fans. It’s a good song. Hell back in the day you’d have the same hit song cut by three major artists in the same year.
May 5, 2015 @ 12:10 pm
“Whiskey & You” – this version is so understated. This guy is good. Believable.
May 5, 2015 @ 12:12 pm
Chris did a solo rendition of “Whiskey & You” at the very first taping of WDVX’s Tennessee Shines radio show back in the early days of The Steeldrivers.
We still get calls to the station asking about that song.
As a friend and a fan, I’ve been waiting for this album for some time. I’m thrilled with how it turned out
May 5, 2015 @ 12:05 pm
He has incredible talent, but I am not going to complete absolve him and hand over an indulgence to forgive his questionable songs just because of one good album. I have seen people on this site crucify some singers for one bad song. Jamey Johnson still has “Honky Tonk Butt Song” as a black mark on him here. No singer is going to be perfect. I love Eric Church, but I skip “The Joint” on “The Outsiders” every time.
Stapleton has talent, but he is playing both sides of the war. I think part of this positive outpouring is our desperation for good music. I do love “Come Back Song” though.
May 5, 2015 @ 4:18 pm
Bro, do you even Steeldrivers?
(His songwriting with that group was amazing.)
May 6, 2015 @ 12:43 pm
So?
He has still written some drivel for mainstream acts. He is talented, but he doesn’t mind writing anything or anyone as long as it sells.
As I have said, plenty of singers here get nailed by posters for releasing one poor song (usually a fun song, I swear some people only want emo music in the world), so I am not going to ignore his sins because of one album. Heck even some bro-country singers have great songs, that some folks refuse to listen to because of the artist. It is a two way street.
May 11, 2015 @ 10:58 am
I gotcha. I just think that whenever he is physically part of an act and is given full creative freedom, the results are nearly always great. His tenure with the Jompson Brothers, Steeldrivers, and now as a solo artist showcase his immense talent. Even if he’s written some real duds for other singers, he saves a lot of the best for what he performs himself.
May 6, 2015 @ 8:48 am
I can honestly say, as a two-tour Marine Infantry vet, the song did not come close to offending me. I lost 17 friends and was wounded along the way. The verse that you are referring to:
Now every time I watch the TV
Another soldier dies
Another brother”™s gone
Another mother cries
Now I know they”™ve got a job to do
But if I had one wish
I wish they”™d all come home
So we could all get stoned
That says nothing about bringing the dead back, rather it speaks of bringing all of the forward deployed home and Stapleton would like to get stoned with them. I guess perception is reality. Everyone is entitled to their opinion, but I think that you misinterpreted the meaning of the verse.
Everyone mentions the SteelDrivers, which Chris fronted and made amazing music, but he also rocked his ass off with the Jompson Brothers. I do not agree with the statement that it was a “national embarrassment” that Stapleton is just now, with the release of Traveller, “is just now getting his feet onto the ground floor of stardom.” He has established a following before going “solo” through touring and writing great music. I look at his questionable songwriting for the mainstream as an ends to a means. He was smart enough to know what Music Row, Country/Pop Music Radio, and the masses wanted and he used those proceeds to do what he really loves to do…write, play, sing, and perform the way he wants to.
The album is great. I, too, am tired of hearing the JJ comparisons. I think that Dave Cobb is the paradigm shift that country music needs; he’s a low-key guy doing what he loves and producing amazing records. Don’t forget that Isbell’s new record is coming soon.
May 6, 2015 @ 11:55 am
I didn’t mean to insult Stapleton’s early career with those statements about him just getting started. The point I was trying to make is that a guy of his talent should be on the very top tier of stardom in my opinion, not slagging it out in the independent ranks or as a songwriter for years and years before he gets his chance. I understand part of this was his own decisions, but I can see any reason why this guy can’t be headlining his own tours.
May 15, 2015 @ 8:46 pm
Stapleton wrote “your man” and “Drink a Beer” and had Adele cover one of his Steeldrivers songs. To name but a few big cuts.
January 2, 2016 @ 6:56 pm
Idiot
May 5, 2015 @ 11:25 am
He aint fake. He’s Eastern Kentucky just like Sturgill,Keith Whitley,Gary Stewart, Loretta Lynn etc etc. Hard to fake the soul and struggle you hear in their voices when you grow up there.It gets passed down through the generations. Chris is for real and he’s excellent.
May 5, 2015 @ 11:31 am
Another thing to note is that all the more popular folks he writes for will probably feel obliged to promote this album. Thomas Rhett already is.
May 5, 2015 @ 11:40 am
This is a damn good record and probably the best one I’ve heard this year.
May 5, 2015 @ 12:12 pm
Love this album. I was super excited for it, to the point I refused to listen to the NPR early release, I forced myself to wait and take the time to sit down and listen to the thing from start to finish.
I don’t think I have been this excited for a mainstream Country release since “That Lonesome Song” or “The Guitar Song”. Don’t get me wrong, plenty of independent artists have been releasing really good albums in recent years and especially recent months/weeks (see John Moreland, Hold My Beer), but for a MAINSTREAM record label like Mercury records to release an album by and artist and producer that is strong from start to finish is a damn rare sight now.
I’m not sure it will be my favorite album of 2015, I love “Hold My Beer” and I am greatly anticipating the new Whitey Morgan album as well as a potential albums by Jamey Johnson, Turnpike Troubadours and Sturgill Simpson, but right now I am just enjoying the combination of a very good songwriter, a great singer and a great producer releasing an album that shows what the genre SHOULD be doing with itself. Stapleton may not have any major hits off this album, but I hope it sells well enough that the labels start to realize that not every mainstream male Country singer needs to wear skinny jeans, look like a underwear model and sing to EDM back beats.
Hey, a guy can dream…..
May 5, 2015 @ 1:20 pm
Good point that here in 2015 to get a major label release like this is very very rare, especially from a male performer.
May 5, 2015 @ 8:46 pm
The most remarkable thing about this record to me is that it is being released on Mercury Nashville – not Warner Brothers Los Angeles, not Sugar Hill Records or Thirty Tigers.
I have felt for while now that one of the biggest reasons mainstream country is so artistically bereft is because the major Nashville labels have tethered themselves so completely to terrestrial radio, they don’t know how (or simply refuse) to market artists outside the context of that system. Unless an artist has a chance at radio success, Music Row isn’t interested.
I’m not saying it’s impossible for Chris Stapleton to get a song on country radio, but basically everything about this record – from the vocals, to the production, to the cover art, is a stark contrast from what is happening there at the moment. And in allowing Stapleton the creative freedom to do his thing and record whatever he wanted with Dave Cobb, I would think Mercury had to have been aware of that fact well in advance. So, I give them some major credit for releasing this album. (Although, in an ideal world, it would be a no-brainer.)
Maybe the Chris Stapleton situation is just a fluke, or maybe, just maybe, if this album is a big success, it could open the door for some of the major Nashville labels to realize it’s a worthwhile venture to invest in interesting artists and market them outside the utterly restricting confines of country radio.
No, no, that could never happen, it would make too much sense.
May 5, 2015 @ 8:51 pm
Also, I know Jamey Johnson is the obvious precedent for this, but I would argue that there is an even greater contrast between Chris Stapleton’s music and the bro-country and metro-politan of today than between Jamey Johnson and the pop-country of seven years ago.
I guess the other point of comparison would be Brandy Clark, another Nashville songwriting ace who has recently transitioned into a solo career, but she had to release her album through the tiny indie label Slate Creek.
May 6, 2015 @ 6:36 am
But Mainstream Country OWNS Terrestrial Radio.
Why pay for something and not use it?
May 5, 2015 @ 12:23 pm
Okay, the record is out. It is absolutely fantastic. The album is Trigger endorsed!. We need the song “Traveler” to climb the charts so Chris can release other great singles. This is it. Chris Stapleton is going to save country music or help push the split. Not a bad track on this record! If he can get any radio play, he will be the next big mega star. He could be a George Strait or Alan Jackson. He is the answer we are looking for. Chris Stapleton can save country music. His voice will hit music listeners like a ton of bricks. Get ready this is what we need (real country music album that radio will have to play because it is so fucking good).
May 5, 2015 @ 12:31 pm
I guess what I am trying to say is this guy can fit into country mainstream and he plays traditional country. Therefore, he can save country music from the pop-country hell (I know what songs he has written). His music is likable, relatable, and marketable.
May 5, 2015 @ 12:43 pm
I guess I’ll be the devil’s advocate here, the album didn’t completely resonate with me on the first listen. My take-away was similar to what hoptowntiger wrote above, the album was kind of hit and miss to me.
I think this album belongs in the southern rock genre, despite all the traditional instrumentation. On the country side of southern rock I guess you could say. I still find Stapleton’s vocal style a little out of place in combination with the instrumental style. Although both vocals and the instrumentation were rich with talent.
Of course, I reserve the right to change my mind at any time. I’ve only listened to the album once and the next time I hear it, I might have a completely different reaction.
May 7, 2015 @ 9:56 am
But Southeastern is much more Southern Rock/Roots than country, as well.
May 5, 2015 @ 12:50 pm
They guy is great live too. Saw him open up for Charlie Worsham one night. Yeah let that sink in. I bet over half the audience left after Stapleton’s set was finished. Just an amazing talent.
May 5, 2015 @ 12:51 pm
ive been looking forward to this album since it was “rumored” he was working with Dave Cobb. Oh man did the days drag once “Traveler” (the single) was released and the album release date was announced. This past weekend I searched high and low on all the pirate sites looking for a leak (I have the LP ordered and it wasn’t leaked until a few hours before iTunes released it). The album is well worth the wait. I too looked for a weak song (after the 10th listen) and couldn’t find one. Looks like the majority of my music listening time will be devoted to this album much like Sturgill had my attention most of last year.
May 5, 2015 @ 1:19 pm
A national embarrassment is Josh Turner’s delayed album!
May 5, 2015 @ 1:36 pm
One thing I like about this album is that it shows you can still make a good whiskey-soaked record and it still feel meaningful and authentic. I had begun to wonder if both pop country’s incessant and inordinate references to whiskey (and all things alcohol) AND underground country’s references in the recent past (the “whiskey, drugs, devil” stuff) had numbed (no pun intended) my mind to what can be a powerful reference in a song. But I never once thought Stapleton’s use of whiskey to be trite.
May 5, 2015 @ 1:36 pm
The song posted above sounds absolutely beautiful.
There are a couple issues I have with the marketing strategy here:
1) There don’t appear to be any previews for the songs, other than “Traveler” and “Fire Away”. This is not a good business decision when the artist in question is largely unknown.
2) The singles are priced on iTunes at the higher level of $1.29, rather than the standard 99 cents. Once again, for an artist whose songs are not yet in high demand, this is an economically questionable decision. Furthermore, it hurts his blue-collar cred. Neither Stapleton nor Mercury Records are in particular need of the extra money.
May 5, 2015 @ 2:02 pm
iTunes pricing is predetermined by the label/vendor agreements. It has nothing to do with artists. Mercury artists fall under the Universal Distribution umbrella and all Universal artists are priced at $1.29 on iTunes. The perils of being on a major.
May 5, 2015 @ 2:10 pm
I see. Thanks for the information.
May 5, 2015 @ 1:39 pm
There’s no doubt that Chris is a great singer/songwriter and that this album is amazing. but I don’t understand why every single country artist seems to hate the fiddle these days. It is my favourite instrument, it’s what made me fall in love with country music along with great storytelling and it’s something that can touch my soul every single time I hear it. This album doesn’t feature any fiddle in it, even tough there’s a lot of room for it here. seriously, it’s not funny. and what about Jamey Johnson and Kacey Musgraves? why the most important traditional country stars hate the fiddle??
May 5, 2015 @ 1:58 pm
It may not be as much about hating the fiddle as just not hearing it in their music. Willie & Waylon rarely used fiddle. Fiddle seems to be something you have, or you don’t, and it can be expensive for a small-time artist to carry out on the road. Funny that you would bring this up, because the Zac Brown Band has a full-time fiddle player, and a good one at that, and their latest record has fiddle in like two songs. Yet I just reviewed a hip-hop album from Yelawolf and there’s probably just as many fiddle tunes on that album.
I think fiddle is the secret weapon of the Turnpike Troubadours. It gives their music a sound that separates them from most everyone today.
May 5, 2015 @ 3:56 pm
I’m not saying that fiddle automatically makes a song good (country girl shake it for me by the country music butt-shaker diva Luke Bryan does feature it but I’d rather listen to justin bieber than that stupid and mindless garbage). what I meant is that Chris has worked with the Steeldrivers and he’s recorded very beautiful songs, the kind of country music I love to hear. Even after he left them, they’ve recorded three amazing Stapleton-penned songs: “How Long Have I Been Your Fool”, “Lonsome Goodbye” and “When I’m Gone”. If you listen to these tracks you will be amazed by the fiddle work. It brings the songs to a whole different level. I am disappointed because I was really hoping Chris would have included at least two or three songs with that kind of sound on this album, but he opted for another sound. It’s still great, but to me it could’ve been better. just my opinion. I don’t know very well The Turnpike Troubadours but I will check them out. with their new album Zac Brown Band tossed their credibility into the dustbin.
May 5, 2015 @ 6:25 pm
If there is a secret weapon fiddle out there, in my opinion, it is played by Brady Black. ☺
May 5, 2015 @ 8:41 pm
Brady is one of the best I’ve seen! Especially when it’s just him on stage with Randy Rogers. Truly a special sound
May 6, 2015 @ 8:54 am
Brady Black is nothing short of a prodigy. I have had the pleasure of watching him perform for over a decade in the early days of RRB when I was working at the Blue Light. He’s probably one of the nicest artists that I’ve ever met and his chops are unmatched.
May 5, 2015 @ 7:39 pm
Most of RRB’s best songs are killer because of Brady Black tearing it up on the fiddle as well.
May 5, 2015 @ 4:52 pm
I like fiddle, but I’d get pretty sick of it if it was being crammed into everyone’s music. As it is, half the stuff I hear with fiddle in it just makes me yell, “What the fuck is THAT doing in there?!?!?!”
May 5, 2015 @ 1:52 pm
Pre-ordered it after hearing it on NPR, and it’s been playing steadily since it showed up in my Amazon download. Outstanding stuff.
May 5, 2015 @ 2:24 pm
The scary wonderful thing about country music right now is that I’m all but certain that Something More Than Free will be better than this. Two transcendent albums in one summer? Goddamn.
May 5, 2015 @ 3:03 pm
I’m just listening to ‘Traveller’ now (great song by the way) but there’s something that’s starting to bother me. Why do they call people like Stapleton ‘Traditional’ country instead of just ‘country’. Then we could call that modern noise something like…actually, noise would be a pretty good description. Just a thought.
May 5, 2015 @ 3:14 pm
thanks trigger.
never been to Kentucky but it sure seems like this is true from Shon
“Hard to fake the soul and struggle you hear in their voices when you grow up there”
This is outstanding music.
May 5, 2015 @ 3:25 pm
I could not belive my ears when I just heard my local country station us 99.5 out of Chicago play traveler , since they mostly play pop bubblegum crap labeled as country aka sam hunt. now all we need is some sturghill on the radio!!!
May 5, 2015 @ 5:54 pm
Whoa! US 99.5 is the worst, but playing this would redeem them a little bit!
May 5, 2015 @ 9:30 pm
Yes chicago has the worst country radio except if your in the southern suburbs and u can pick up 98.3 wccq they mix it up and play george Jones and even the marshal tucker band sometimes
May 6, 2015 @ 12:37 pm
I can’t stand 98.3. Other than early Sunday mornings, the music line up is garbage. I think I was most pissed when for some reason they were talking about Ragweed, Roy said…”I think their a hard rock band” or something stupid like that. Anyhow, if you can reach 100.1, they are great.
May 6, 2015 @ 12:39 pm
were is 100.1 out of I don’t get that were I’m at in the Northwest suburbs
May 6, 2015 @ 11:22 am
And they have only themselves to blame. Before 95.5 came along very recently, US 99 had a monopoly on playing country music for more than a decade. It would have been more than easy to throw “classic” country tunes onto their [now] automated playlist, but the programmers didn’t bother. It’s not like their audience had any where else to turn for years and years.
May 6, 2015 @ 11:26 am
So true. I had the slightest of hopes that the new station might improve things at least a teeny bit, but that doesn’t seem to have happened. They’re equally awful. I just love the 95.5 billboards that say “New Country Choice” with Luke Bryan & Jason Aldean on them. They can’t even see how absurd that is.
May 6, 2015 @ 1:03 pm
100.1 is out of Mendota I think.
May 6, 2015 @ 3:01 pm
At least u can always get wsm 650 on a clear night
May 5, 2015 @ 3:36 pm
Warning to vinyl fans_ the vinyl copy doesn’t come out til the 26th!
May 7, 2015 @ 6:53 am
That’s good to know. I’ve been cursing Amazon since Tuesday.
May 5, 2015 @ 3:56 pm
I listen to a lot of the mainstream music that you pan here, but this was my most anticipated album of 2015 and Chris didn’t disappoint. My only regret was that “Right Ones” didn’t make the album, but that is obviously splitting hairs. That first chorus line of Fire Away doesn’t even test his real range and that is amazing.
May 5, 2015 @ 10:45 pm
I’m very disappointed that The Right Ones wasn’t on the album too. That’s one of my favorites of his. Another one that didn’t make it on was You Should Probably Leave. Excellent song as well. Hopefully they’ll will make it onto his next album.
May 5, 2015 @ 4:00 pm
Easily the best album of the year so far.
May 5, 2015 @ 4:35 pm
I must just be in the minority regarding this album. Though a SteelDrivers fan, to me this was merely ok. Hate to be a Debbie Downer… (Shrug). Comparisons to Sturgill or even Jamey Johnson? Not even close. Just one man’s opinion.
May 5, 2015 @ 5:04 pm
Interesting , people’s tastes and perspectives . Not to offend you or anyone else whatsoever …but I didn’t feel that Sturgil’s record hold’s a candle to Stapleton’s. I WOULD , however put him in the same camp as Jamey Johnson . To each his own , of course .
May 5, 2015 @ 5:19 pm
Yep– It’s always a matter of personal taste 🙂
I certainly didn’t mean to imply that this album was without merit. Different strokes…
The good news is that the more original, heart-felt music we get , the better off country music is. And in that regard I can certainly appreciate this work.
May 7, 2015 @ 10:07 am
Stapleton does have a “wow” voice in a way that Johnson and Sturgill really don’t, though.
May 5, 2015 @ 4:39 pm
I didn’t want to like this album because of some of the co-writes he’s penned for mainstream acts and if I remember correctly he popped off at Tom Petty when he criticized modern country music ( somebody may remember more about that than me, that’s just off the top of my head ) but I’ve now listened to about 3/4 of Traveller and it is damn fine. I think there are some definite country elements in this but, I guess my ears just keep hearing a sound more like southern/bluesy rock. I still am enjoying Randy and Wade’s album more but, I get more of an 80s / 90s country feel from it. That’s just what my ears hear. Somebody else will think different. ” Hold my Beer ” is still my #1A but this is right near it at maybe my #1B. I saw he’s touring with Eric Church which is cool for Stapleton for some added exposure , but then again I haven’t cared for his music since his 2nd album. Would much rather see a Stapleton show with Blackberry Smoke IMO.
May 7, 2015 @ 6:56 am
He did “challenge” Tom Petty a while back. Which I thought was a little odd since he always says that his all time favorite record is Tom Petty’s “Wildflowers”
May 5, 2015 @ 4:44 pm
This immediately shot into the top two of 2015 releases for me. Not sure if it’s one or two right now.
I really don’t hold anything against anyone for what they’ve done in the past. Nor do I give them a pass. To me it’s all about what the current record brings. And for me, Traveller is fantastic from beginning to end. I’ll be getting a physical copy soon.
May 5, 2015 @ 5:22 pm
Regarding the “what they did in the past” issue, remember : these guys have to earn a living. They have to eat. “We” are a small market. And it’s a good practice to be mindful not to accidentally cast stones when an otherwise talented guy does what he has to do to make money.
May 5, 2015 @ 6:39 pm
Well, I was one of the ones that posted about previous penned songs that maybe you are referring to. Don’t get me wrong. When it’s on the line and you gotta do what you gotta do to provide for the family, you will do it. No fault in that at all. Can’t blame him for some of those songs to make money to support himself and family. Most people would do the same. I guess I just see how a lot of the Texas guys do, ie Wade Bowen, Aaron Watson etc that have never had a hit anywhere near country music radio. These guys have wives and kids and seem to be perfectly content with not coming up with something that maybe or maybe not will be picked up by a mainstream artist and make them a ton of money. I mean Aaron Watsons ” Fence Post ” says something like ” I got a ranch, a band , a bus , a boat , I’d say I’m doing alright.” I do like Stapleton’s sound. Hell, I think it’s bad ass and this is one of the better records I’ve heard and will jam it for a while. Not being disrespectful or confronting. Just a thought I had.
May 5, 2015 @ 7:08 pm
It’s all good 🙂 I wasn’t referring to anyone in particular. Just a general thought.
May 5, 2015 @ 6:12 pm
Trig,
I have been patiently waiting for this record for 2 years since Stapleton did a live acoustic performance on what was once NJ’s only decent country station. I think you are overrating this one a bit. Its a decent record and I especially like parachute and when the stars come out, but overall I feel the songs run into one another and don’t differentiate much from the others. Or maybe this is a situation where I set my expectations too high and anything he put out would have disappointed. Definitely still better then anything new to come out this year, so you are still right.
December 1, 2015 @ 7:53 am
I love the album still, months later, but I agree, too many slower to mid paced songs. I mentioned this elsewhere, my solution was to make a mixed play list from this album, jompson brothers (if you like southern rock) and steeldrivers, plus pull some of his acoustic songs off you tube, and you’ll get more differentiation. It’s all his vocals and guitars but enough different styles to make for a really fun listen.
May 5, 2015 @ 6:41 pm
I’ll buy this cd later this month or in June.
May 5, 2015 @ 6:56 pm
Great! Allot of talk about what is not in it. Funny my thoughts today were similar but it was on the lack of percussion. Very little. I love it!
May 5, 2015 @ 6:56 pm
I am not convinced. In brief the songs are fine and his voice and range is pretty good too, though lacking character. However these arrangements and his vocal phrasing make for a long and uninteresting one dimensional listen. 63 minutes for a record is too long and 4:30 minute average song length is too long. There is no reason to have the album and songs drag on like they do. Hell he even reused the exact phrasing of ‘Traveller’ on ‘No One to Blame’.
With that said the production of the record was really flat I found. I dont know if it is this “Masterd for iTunes” causing this or what (ive never seen that before). I remember thinking “Where’s the steel?” then I realized I was listening to it and was buried deep in the mix as per the status quo. I know iTunes is not ideal but I have plenty of albums some from this year that sound dynamic but not this one oddly.
These songs would do great if someone with a voice and an ear tuned to country cut them in a more country style, perhaps less sparse. Tim McGraw is actually a good example of this as his version of “Whiskey and You” ends up being superior. Strait, Tritt, Dwight and Travis could probably do a good job with a few of the songs on the album tightening them up a bit I figure and giving them a more country arrangement.
I dont get the criticism for it being “too southern rock” cuz I didnt hear any Southern rockin boogie woogie here. If anything this reminds of modern radio rock. Even the gritty songs lacked grit. The whiskey/stoned theme is way overdone on this album too. I get that theyre part of country and I do like my share however it got to a point I started rolling my eyes by the point it got to “Evrryone Get Stoned” or whatever.
All in all it was a chore to get through. Based on his writing record I am not surprised if Big Nashville kept Chris around as their “secret weapon” so to speak knowing the tide was going to change eventually so they had their long haired rough looking “outlaw” type ready to go for when it happened. Much the same as Jamey Johnsons role in Nashville but with him being fed up and going independent there was a void to fill.
It is better than bro-country, sure, but it has pop country markings all over it. The arrangements of the songs are better suited to a female voice. I dont know if this is a good start or too little too late. If it were 10 years ago and people were cutting these songs instead the crap of his theyre cutting now maybe things would be different.
I was anticipating this album considering how good “Whiskey and You” was cut by McGraw but in the end I am not convinced. Not nearly good enough to be album of the year. Hell RWH just released a new one that blows this away. The first spin of Sturgill’s latest knocked me on my ass and the first spin of this nearly put me to sleep. I guess the difference between Chris and Jamey or Sturgill is the latter have real character to their voice and music and real grit while Chris just seems happy playing the part, whatever that is at the time. Heck lets not forget his defense of bro country songwriting.
I know this sounds overtly negative, I dont mean it to be, but I feel this really missed the mark. Better than most but that aint sayin much. Time will tell.
May 6, 2015 @ 6:28 am
Seriously?
This may be the most insane thing I have ever read lol. Go buy a new set of earphones and listen to it again.
“Pop country marks all over it” Wow…..Just wow.
May 7, 2015 @ 2:45 pm
This is the first time I’ve ever heard anyone complain about getting “too much music on an album”. I was perfectly happy to listen to every second of this album over and over.
May 13, 2015 @ 11:48 am
Especially considering bands in the 70s had to do things like fadeouts and reconsider arrangements to fit on the constraints of vinyl! 4:30 too long for a song.. lord have mercy.
May 17, 2015 @ 7:23 am
Just listened to this album last night, I must say that I have to agree with blockmon(not every point, but most). I have no issue with the number of songs or the average length, I think its more of a good thing to get more music for your money.
But I wasn’t as impressed as I thought I was going to be, and certainly don’t feel that it is album of the year quality. I mean overall it is a good album, its just something was missing/lacking. I too felt the production sounded a little flat (not that it was bad, but still seemed to lack) and I felt he sorta threw the songs together without much thought, didn’t seem to flow that great.
I only listened to it once, maybe my feelings will change(I didn’t care for Jason Eady’s album at first but now its one of my all time favorites). And I bet my high expectations for the album can contribute to this negative sentiment, that tends to happen and maybe I need to learn to not do that lol. In the end, good album, not my favorite this year, AND I do need to listen to it again.
May 5, 2015 @ 7:39 pm
I’m with the crowd saying this isn’t traditional country, because it isn’t. But it is country music and in my opinion, this is how mainstream country should have sounded had things evolved accordingly.
Maybe it’s just me, but when I listen to this guy I hear aspects of Travis Tritt (especially on Nobody To Blame) as well as Bob Seger.
Also proud to say he is an East Kentuckian like myself. We’ve been on a roll lately, producing Stapleton, Sturgill, and Sundy Best. But then again, this particular area has always had a solid music history.
May 5, 2015 @ 9:00 pm
I agree, Kentucky is really on a roll right now. Another name I would add to your list is Kelsey Waldon, another Kentucky native who is making good country music.
https://www.youtube.com/watch?v=j76fh5kXORU
I still have never listened to Sundy Best, though. They’re the band with the cajón, right?
May 6, 2015 @ 5:26 am
Wow, she is exceptional. I’m going to have to look some more into her stuff. And yeah, Sundy Best is the band with the cajon. They aren’t straight up honky tonk and have a lot of folk and rock influences in their music, but it’s still solid country in my opinion.
May 11, 2015 @ 6:38 am
Sundy Best’s last release may have been one of the best albums in 2014. I think they released it ahead of schedule and it came in late in the year. Listen to Four Door and Piece of Work.
May 17, 2015 @ 5:09 pm
I was looking to see if anyone else heard Seger. I listened a few times, with 3/4 of an ear, really liking pretty much all of it, but not totally focused. Finally yesterday, I had the chance to chill and really listen beginning to end. Upon that listen, I found it fantastic all the way through and, in songs like Fire Away and Stars Come Out in particular, and in the release as a whole, I really noticed the Seger influence for the first time (definitely a good thing). Fire Away reminded of a 70s style Bob ballad and Stars a bit of his more driving rockers like Hollywood Nights. Definitely more country and less rock than Seger, but clearly the 70s organic album oriented feel and sound coming through like on the Seger classics from that era, sadly a sound and feel heard very seldom these days. It seems clear to me that Stapleton wanted to make an album, not a bunch of singles, and for that I commend him and love the release. I think someone else on hear said Stapleton has said the late 70s is his favorite era for music. If so, good work sir, you captured the sound!
May 5, 2015 @ 7:59 pm
Awesome album. I can also here some of the Travis Tritt similarities in Nobody To Blame among others which is great.
Just in general here. Overall I would say this record( as it should be) is getting 99% positive reviews, but damn I’m amazed by some of negative leaning ones here, but hey I can respect it. I guess its part of it.
May 5, 2015 @ 9:12 pm
Spot on, Trigger! I had the great fortune of seeing Chris Stapleton open for Eric Church (sorry, my eighth time seeing the chief, you can ban me now) and he absolutely killed it. For someone that most of the crowd probably never heard of, he had them going from the get go. I also had the fortune of picking up his cd that night (five days early) and it’s been on repeat in my car since. An absolutely phenomenal record.
May 5, 2015 @ 9:42 pm
This is totally off-topic, but how great was it to see Brandi Carlisle and The Avetts cover “Keep on the Sunny Side” last night on Letterman? And it was an episode where the sitting president of the Unites States was the guest, so you know a lot of eyeballs were on the performance.
This is the second show in a week or so featuring a musical performance with a Carter Family cover. I assume Dave is curating these performances himself, and he is going out strong.
May 6, 2015 @ 7:00 am
Yes, that was a terrific performance on Letterman! I had recorded the show and have already watched that segment three times. Just a few days previous was Rodney Crowell and Emmylou Harris with Steve Martin (or is that what you are referring to?) Yes, Dave is really going out with a bang!
May 6, 2015 @ 1:32 pm
Thanks for bringing attention to that! I hadn’t seen it. We’re really going to lose an ally when Letterman is finished.
May 6, 2015 @ 2:20 am
As always Trigger, great review! I’ve waited for several years for this album and it doesn’t disappoint! Album of the year for me. It is outstanding. Haven’t stopped playing it.
AC_86
Belfast, NI.
May 6, 2015 @ 12:10 pm
Best country album since Metamodern Sounds in Country Music
May 6, 2015 @ 1:42 pm
What a great album! I’ve been waiting for an album like this all year. Very little has captured my attention this year like previous years. I just hope that Chris does not fall back into mainstream obscurity like so many other artists. I always get my hopes up every time a great traditional country artist comes out with an album. They initially get all this hype about them and it lasts for a short time, but then you don’t hear much about them for years. Jamey Johnson and Ryan Bingham come to mind. Let’s hope the momentum keeps going.
May 7, 2015 @ 10:12 am
I’d agree that it isn’t exactly “trad country,” but I also don’t give a damn about whether something’s “trad-country.” Southeastern wasn’t trad-country either.
What this is, is very fucking good music.
May 7, 2015 @ 2:21 pm
Reminds me of Darrell Scott in that he has written for some amazing artists, but is superior to all of them in his own right.
May 8, 2015 @ 4:54 pm
Trig- this review made me buy the album. The album got me to buy tickets and plan a road trip to Macon for his show. The offer of a ticket convinced my hipster-dufus buddy to order the vinyl. See how the circle of life still works??! P.S.- his wife has a stunning voice too: she ever cut anything?
May 11, 2015 @ 8:45 am
Throwing the Tennessee Whiskey cover at 3rd on the tracklist was a mistake. The cover itself seemed arbitrary and pointless, and it interrupted the flow of the album, which in itself is far too saturated for me to call it a great album. It’s a step forward if it finds radio, but I don’t think it’s as good as people are implying.
May 17, 2015 @ 5:14 pm
I am embarrassed to say, I don’t know the earlier versions of Tennessee Whiskey, but I couldnt agree. I think his version is fantastic. And it wouldn’t matter where on the album it appeared, since I am stunned by how consistently good every song on this release is.
May 15, 2015 @ 3:59 pm
I heard Meghan Linsey sing Tennessee Whiskey where she is competing in the Voice. She’s in the finals. She mentioned that she sang “Chris Stapleton’s version”. I then looked him up and am hooked. It’s unfortunate that there’s a lot of good “country” artists sitting in Nashville writing crap songs for bro-country artists instead of being out there singing their own music. But I guess they had to make a living somehow. I have this theory that many of these bro-country artists aren’t country at all and never have been. They took their pop music to Nashville, called it country and somehow became extremely famous. (Not by me) They had no place else to go. These bro country artists should really be called pop-country at the very least. Actually, it’s pop in my opinion. I would love to see the age group that support pop-country. Anyone know?
May 18, 2015 @ 3:59 am
…..and I gotta say, after getting sucked in by this release, I have gone back and downloaded The SteelDrivers and Jompson Brothers, both great. I also downloaded him playing acoustic versions of some of the “pop drivel” hits he wrote that others recorded. Sure, these songs are more traditionally structured and maybe clearly designed as hits, but as far as pop drivel goes, they are pretty damn catchy. I like to create play lists of the artists I like and I am envisioning these acoustic ditties will sound pretty damn good interspersed with Travelers’ deeper songs, SteelDrivers’ bluesy bluegrass and Jompson Brothers’ hard hitting southern rock. A steady diet of sugar will make you fat and stupid and ultimately kill you, but a well prepared piece of tiramisu now and then can brighten your life with minimal harm. It’s all about moderation.
May 19, 2015 @ 7:29 am
I really really like this album. I did notice that his version of “Tennessee Whiskey” is very similar in structure and sound to Patterson Hood’s song “Back of a Bible”. Like really similar in my opinion.
May 19, 2015 @ 8:26 am
To me, it sounds just like Etta James’s I’d Rather Go Blind:
https://www.youtube.com/watch?v=sY0sFBHtt8c
May 20, 2015 @ 10:03 am
That is another great song Jack!
May 28, 2015 @ 12:25 pm
Just got around to listening to him. DAMN! The country stuff sounds like country. At other times on some of his live recordings I could have sworn it was Amos Lee.
I will definitely be digging on Mr. Stapleton’s music for a while.
Thanks!
June 9, 2015 @ 8:55 pm
Great review of a great album, but I must make one correction. Chris’ cover of “Tennessee Whiskey” doesn’t have a “Motown” vibe, it has a Southern Soul vibe, which is entirely different & has a lot of musical connections to real country music. The heavily reverbed guitar & overall arrangement, feel & melody reminds me of nothing less than the late, great Etta James’ “I’d Rather Go Blind”, (play the two songs back to back & you’ll hear what I mean), brilliant evoking Etta’s classic song without ripping it off. His voice also reminds me a lot of Pail Janeway’s, lead singer for the neo-soul group St Paul & The Broken Bones, & that’s a high compliment.
Amazing album from a great artist, no matter the genre,
July 18, 2015 @ 10:15 pm
Been listening to this for a while (like everybody else on the site). I love it. I think his voice sounds a lot like Jarrod Birmingham (Jesus and Johnny Cash).
May 22, 2016 @ 4:37 am
just listened to this for the first.time right now. very underwhelming
May 22, 2016 @ 7:28 am
It’s a grower. Was for me, anyway. Comfort food album.
May 22, 2016 @ 7:10 pm
what kind of comfort food?
May 23, 2016 @ 4:15 am
Thanksgiving dinner
May 23, 2016 @ 5:54 am
i listened to it again. still pretty meh about it. i like Might As Well Get Stoned. Parachute has gotten skipped both times though.
January 1, 2018 @ 7:11 am
I know it’s crazy, but I’m just getting to this album. (I’ve been under a rock for a few years, LOL.) I like the album and the individual songs. I really like CS’ voice and the musicianship, and I like the diversity of many of the songs. As a piece of art, however — i.e., separate from its symbolic and real value in the crusade to “save country music,” to which it contributes mightily — this seems good, but not monumental. I’m coming off a few weeks of diving back in to Hank, Jr.’s “Whiskey Bent and Hell Bound” album, and always have “Willis Alan Ramsey,” “Red-Headed Stranger,” and “Old Five-And-Dimers” playing softly in my head somewhere. Those all set an impossibly high standard, of course, but the point is that although Traveler is a very enjoyable piece of work, I don’t think it bends the arc in the way that giant albums do.