Country Perspective’s Top Ten Albums Mid-Way Through 2020

2020 has been a tumultuous and crazy year around the world. But throughout all the madness of this year, I’ve found this year in albums to be pretty damn amazing in terms of quality. In fact it’s already surpassed the last couple of years and 2020 is easily on pace to be at the fantastic levels of 2014-2016, which saw some of my absolute favorite albums of the 2010s released. By year’s end some really good albums won’t even crack the top ten that would easily make it in average years. From your usual suspects and new contenders to surprise releases and comebacks, my best albums of 2020 list has a little bit of everything in terms of sound and artists. So without further ado, here are Country Perspective’s Top Ten Best Albums of 2020 so far (in no particular order)…

(Click on the titles to read the full review)

Dua Lipa — Future Nostalgia

Dua Lipa delivers an absolutely fantastic album in Future Nostalgia. It has the elements I want to hear in a pop album and it comes oh so close to be an album of the year contender. Despite one slip-up, this album delivers everything else perfectly. It encapsulates disco, electro pop and dance music with the kind of aplomb and grace I would expect out of Carly Rae Jepsen, while at the same time delivering incredibly infectious hooks and vocal performances that will stick with you long after listening. This is one of the best pop albums you’ll hear in 2020.

John Moreland — LP5

LP5 is another fantastic album from John Moreland. He’s always been a great songwriter since his first album, but it’s the recognition to grow and experiment with his sound starting with his last album that’s taken him to a whole new level in my mind. Too many singer-songwriter artists think they have to stick to a stripped-down, folk-y sound for their lyrics to be taken seriously. At the same time, drum machines are dismissed as “not real instruments” used by pop stars. Well with LP5, Moreland proves both these claims to be moot.

Khruangbin — Mordechai 

While I wouldn’t put it at the level of their great, southwestern-flavored 2018 album Con Todo El Mundo, this album is another pretty damn good record from the trio. This album centers mostly around a groovy, psychedelic funk sound with tinges of disco and jam pop mixed in at times. The band also surprises by mixing in some vocals on this record and they actually work pretty well. Most importantly they don’t detract from the hypnotic sounds of the band, which will always be the focus and strength of the group. If I had to pick my favorites they would be “Time (You and I)”, “Father Bird, Mother Bird” and album closer “Shida.” The latter is probably the top song for me, as the bass line is simply flawless. And if you’re looking for a relaxing album, you will be hard-pressed to find one more chill than this one in 2020.

Ashley McBryde — Never Will

Ashley McBryde delivers exactly what I had hoped for and then beyond with Never Will. She leans heavily into her natural heartland rock sound and combines it with traditional country to create an album I will remember for a long time. The songwriting is brilliant and varied, running the gauntlet of emotions and most importantly I think Ashley McBryde delivers a flawless presentation of flawed characters. They’re never framed as likable, but real and as they are, which can be hard to get behind as a listener. But just like Sturgill Simpson’s SOUND & FURY, it can be understandable to not want to listen to music about such real and flawed characters, songs where there are no heroes even. For me though this is the music that is truly intriguing and has a lasting impact.

Tennis — Swimmer

With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.

Jason Isbell and the 400 Unit — Reunions 

While I wouldn’t put this amongst the very best of Jason Isbell’s work, it’s yet another fantastic album from the singer-songwriter and his talented band. Reunions more than anything is a testament to Isbell’s relentless pursuit of his craft and how he constantly pushes himself to do better than he’s done before (which is quite difficult considering how high he sets the bar). Of course as always there are lots of sad songs too. But it’s hard to argue anyone writes sad songs better than Isbell. Every generation has their own Dylan and Lennon. I feel it’s safe to say Isbell is that level of songwriter for this generation.

Denzel Curry & Kenny Beats — UNLOCKED

The songs themselves don’t have any big messages and are essentially bangers that focus on delivering fun bars. So many hip-hop albums are like this today and many are largely forgotten because the delivery just flat-out sucks. But Curry brings so much aggressive passion and rawness in his voice, along with his choice of diction in his delivery makes what would be an average banger into something that’s truly memorable. And this big reason is why UNLOCKED is the first great hip-hop album I’ve heard in 2020. While it doesn’t quite reach the heights of ZUU (an album I’m ashamed I omitted from my best of 2019 list), this is yet another high-quality project from Denzel Curry (and another great one from Kenny Beats too).

Carly Rae Jepsen — Dedicated Side B

Dedicated Side B is yet another pop masterpiece from Carly Rae Jepsen. I can’t believe how she just continues to blow me away with fantastic project after fantastic project. Jepsen won Country Perspective’s 2019 Album of the Year with Dedicated and she’s putting herself in the unprecedented position to win it again in 2020 to make it back-to-back. It’s simply incredible. And oh yeah she still has another album on the way.

The Weeknd — After Hours

After Hours is a phenomenal achievement by The Weeknd. This album is a rich, cinematic experience of love, losing it, fighting to regain it and ultimately reaching the realistic conclusion of realizing that it’s lost. The production team absolutely nails every emotion on this album and takes the lyricism to a whole new level. The juxtaposition of the breezy, mixed cocktail of genres (R&B, pop, hip-hop, dream pop, 80s) feels perfect on this album of frenetic, dark emotions that permeate throughout it. This is without a doubt an album of the year contender.

Tame Impala — The Slow Rush

The Slow Rush is another great album from Tame Impala without a doubt. But it’s also hard not to see this album is a few missteps away from equaling the brilliance of Currents. It lacks focus in a few spots and there’s one song that just isn’t needed. But this is also a bit nitpicking admittedly. The production from Parker is once again deeply rich and textured, engulfing you with it’s fantastic details. And the songwriting mostly hits. So ultimately I can say this is one of the best albums you’ll hear in 2020.

Honorable Mentions (just missed the top ten)

The Endless Music Odyssey, Vol. 2: Sara Evans and Mike & The Moonpies Cover Classics, Plus More!

When an artist covers a song or an album, it’s either feast or famine. It’s often the latter because the artist too often falls into the trap of recording a straight-ahead, exact replica of the original. And this quite frankly is boring. Why would I want to hear a cover of, let’s say Led Zeppelin’s “When The Levee Breaks”, if you’re just going to do it exactly how they did it? I’ll just listen to the original instead.

No, the best covers are when an artist takes and reinterprets the songs, giving them a fresh coat of paint and reinvigorating them in the minds of the listeners. So while Sara Evans is an artist that I rarely listen to at times, her Copy That album that covers songs from multiple genres across multiple eras intrigued me when I came across it. I say she’s an artist I rarely listen to because of all the boring, vanilla radio singles that a lot of people seem to like. But they put me to sleep and I would much rather listen to her early career material, which better showcases her talent. Not to mention I didn’t forget her great performance on the country tribute album to The Doobie Brothers.

Evans picks the perfect opener in “If I Can’t Have You,” the disco hit made famous by the Bee Gees and Yvonne Elliman. Evans brings a ton of passion and energy to her vocal performance, feeling right at home on this yearning love ballad. “Come On Eileen” is one of those one-hit 80s rock songs that has always got on my nerves due to radio overplay and the cheesy nature of the delivery. But I just can’t get enough of Evans’ interpretation, as the hints of fiddle and Evans’ clearer take on the song makes it a catchy ear worm. I also enjoy how the bridge speeds up and crashes, giving the song an infectious frenetic feel.

Poco’s rock-country hit “Crazy Love” is a gem I didn’t know about and again fits Evans like a glove, as she keeps enough of the original’s feel while making it feel modern. Evans and Little Big Town’s Phillip Sweet beautifully harmonize on Kenny Loggins’ “Whenever I Call You “Friend”” and I would say like their version more than the original, has less of a soupy feel about it. Evans’ best vocal performances on this album are arguably her cover of Fleetwood Mac’s “Monday Morning” and John Mayer’s “All We Ever Do Is Say Goodbye,” as she absolutely belts it on each track.

Old Crow Medicine Show appropriately joins her on Hank Williams’ “I’m so Lonesome I Could Cry” and this is a combination I didn’t think I would enjoy so much, as their discographies are so contrasting. But they surprisingly work well. Finally, Evans once again wins me over on a classic rock song that gets overplayed on radio, The Knacks’ “My Sharona.” The blaring guitars being in front and center with Evans impassioned performance hooks me immediately and I would argue she once again surpasses the original of one of her covers.

If this album slipped through the cracks for you I would suggest checking out, especially if you’re like me and listen to multiple genres of music. It’s just a really fun album that you can tell Evans and her band enjoyed making and this is undoubtedly felt by the listener as they sing along to these familiar tracks.

Sara Evans though wasn’t the only band to recently make a great covers album, as Mike and the Moonpies dropped a surprise album of Gary Stewart songs. But Touch of You: The Lost Songs of Gary Stewart isn’t just Stewart songs, but previously unheard songs from the underrated country star. Being a fan of Stewart and Mike and the Moonpies coming off what I considered the best country album of 2019, I was eager to sink my teeth into this one.

It doesn’t disappoint, as Mike Harmeir and his band certainly do justice to the King of Honkytonks’ tunes. It doesn’t necessarily start off the strongest with “Bottom of the Pile,” as I would consider it one of the lesser songs on the album due to it’s repetitiveness. But second track “Smooth Shot of Whiskey” is an immediate favorite of mine. Harmeir is joined on vocals surprisingly by Midland frontman Mark Wystrach and they sound so good together. I say surprisingly because Texas country music doesn’t exactly like Midland due to their “lack of authenticity” and regularly like to compare the Moonpies and Midland. But if you pay attention on social media these bands have always been chummy with each other and they should because each fall into the same style of country music.

The album’s title track might be my most favorite on the record, as Harmeir stretches his vocal range to great effect. It adds the emotion that is much needed on this heartbreak drinking song, not to mention Harmeir’s higher notes are unforgettably good. It’s slightly disappointing there aren’t more country rockers on this album, as that’s what Stewart is most well-known for in his career. But it’s not surprising either, as these songs mostly come from Stewart’s 80s material, which is decidedly more mellow. But we do get one great rocker with “Dance with Barbara,” a rowdy honky tonker about wanting to hit the dance floor with the woman of everyone’s eye in the bar.

It should be said too for those unfamiliar with Gary Stewart’s work that many of his songs center around debauchery, drinking and the darkness that can accompany it, as these themes were very much part of his life. So in a way it can make listening to this album a bit repetitive to listen to at times. But if you’re in the mood for these type of songs, it has this in spades. “The Gold Barstool” and “Finished Product” are darkly humorous takes on over-drinking. But Stewart wasn’t a one-trick pony either, as “I’m Guilty” is a really enjoyable bluesy, soulful love song. While Harmeir delivers a great vocal performance here, I can’t help but wonder what Stewart would have sounded like on it with his trademark vibrato.

The most heartfelt song on this album is saved for last. “Heart a Home” is a devastating and haunting heartbreak song about a man yearning for an ex that’s unexpectedly walked out on him. I would love to know why Stewart never cut this song, as it’s so damn good. The lyrics painstakingly paint a vivid picture of heartbreak and Harmeir delivers a vocal performance that’s worthy of the lyrics.

Mike and the Moonpies continue to prove why many are quickly considering them one of the best acts in country music right now, as they’ve now released two great, back-to-back surprise releases. Not to mention the respect they pay towards Stewart is classy and a true homage to the late country star. If you’re a country music fan and not familiar with Stewart, I hope this urges you to dig into it because it’s a real joy. Also I recommend checking out my friend Zack’s recent piece on Stewart at The Musical Divide to get even more context on the career and life of Stewart.

While many acts struggle to release a good cover song, Sara Evans and Mike and the Moonpies both manage to release great cover albums. Check them out!

Sara Evans – Copy That – Solid 8/10

Mike and the Moonpies – Touch of You: The Lost Songs of Gary Stewart – Strong 8/10


And more…

  • The Last Bandoleros finally released an album available for listeners in the United States, a live album titled Live from Texas. It’s a solid mix of pop country and Tex Mex. But I still remain puzzled by how this act is marketed and positioned.
  • Another album released weeks ago I want to highlight is Thundercats’ It Is What It Is. This is my favorite release from him yet, mainly due to the fact it’s his most concise and tightest album yet (clocks in at 37 minutes). While I enjoyed his previous album Drunk, it’s admittedly a bit of a taxing listen. As Thundercat always does though, he delivers silky smooth beats and dark humor that elicits chuckles. “Dragonball Durag” in particular always makes me laugh when I hear it (you’ll know the line when you hear it that makes me laugh the hardest). But Thundercat also balances this album out with more sober, melancholy songs too, as he spends multiple songs addressing race issues in America and mourning the loss of his friend/rapper Mac Miller.
  • Grady Smith brought to my attention a surprising remix of Barbara Mandrell’s “Sleeping Single In a Double Bed” and even more surprisingly I really enjoy it. This new dance remix take by Dave Audé makes this classic song dancy, fun and decidedly modern. While it’s understandable that this is annoying and ruffles the feathers of some country listeners, this electronification of country music is only going to continue. And I know this may sound naïve, but I believe that this can help bring in more younger listeners to the genre and entice them to check out older country music. It happened with the country station on Grand Theft Auto V, so why not with this?
  • Cam has dropped yet another enjoyable song in “Redwood Tree.” This song is about reflecting on the passage of time and learning that you don’t truly appreciate things until you lose them. I cannot wait to hear another full album from her, as her debut album showed so much potential.
  • One last thing: I’m taking a break from the blog to spend time with my family and friends. I didn’t get to see or spend a lot of time with them during the quarantine, so now I want to focus on spending time with them. Thanks for understanding!

As always thanks for reading and be sure to weigh in with your thoughts in the comments below!

The Endless Music Odyssey, Vol. 1: Hot Country Knights, Wade Bowen & Randy Rogers, and more

The Hot Country Knights deliver even more than I expected with their debut album The K is Silent. You can spend a lot of time analyzing all of the puns and hilarious references (some time will be spent on this of course). But in my opinion the best thing to sum up about this album can be found in the music video for the lead single of this album, “Pick Her Up.” In this clear parody of bro country (as well as 90s country too), the video opens with the modern country male concert goer in his flannel shirt and vest. It’s a little detail, but it struck me because of it’s accuracy because this is literally how the vast majority of guys I see at concerts dress. At The Cadillac Three concert I attended back in February (what will highly likely be my one and only show in 2020), pretty much every dude at show looked like the guy in the music video.

Now to why I point this out and to me it’s symbolism for modern country. Every thing looks and sounds the same just like the listeners who consume it. I don’t mean this as a shot at these listeners or anybody at all, nor did Dierks Bentley and his band mean to make this some sort of symbolism. But for myself I couldn’t help but make the connection. I just found it fascinating how so much of popular modern music makes things so cookie cutter to the point even the listener is a cardboard cutout. It shows the cascading effect art and culture can have on people. As the saying goes, you are what you eat.

Back to the Hot Country Knights and the video, they give the guy a 90s makeover (or 80s?) and set him up with a souped up truck to impress his date. It’s completely corny, out of style and yet brimming so much with the personality that lacks in country music today. It doesn’t feel like calculated marketing and it’s just being itself, which easier said than done in today’s world. Yes, this album goes on to point out how even 90s country was formulaic in it’s approach and relied on copy and paste imagery for songs. But it was fun and didn’t take itself so seriously, yet it could also find balance with serious songs occasionally too. It felt natural and had an accessibility about it that could resonate with the average person because it didn’t try so hard to be cool or appeal to certain demographics. Of course I will fully admit too that nostalgia makes me see things slightly through rose-colored glasses. But it’s the fun-loving spirit of this album that resonates mostly with me and how it’s not afraid to go “out there” and be a little weird and kooky.

The features on this album are perfect with Travis Tritt and Terri Clark each shining brightly in their roles. “Asphalt” is non-stop chuckles with it’s non-stop ass-based references (and another hilarious music video). “Moose Knuckle Shuffle” actually makes me want to dance and do the Moose Knuckle Shuffle while also doing a perfect parody of the line-dancing phase of the 90s. The highlight of the album for me though has to be “Then It Rained.” At first I was like wait a minute this is familiar and then I realized it was a dead-on take of Garth Brooks’ “The Thunder Rolls” and I absolutely lost it. It’s quite “Seinfeldian” as my friend Zack at The Musical Divide perfectly puts it, with it’s take on the average boring moment followed by rain. This type of humor is right up my alley. The best line is “I ordered up a hot dog and a glass of chardonnay/Somewhere I thought I heard George Strait/And then it rained.” It’s just so randomly hilarious!

The album’s title track rhymes whiskey with whiskey, which feels like the ultimate meta reference to how asinine modern country songwriting can be at times while also referencing how critics like myself can never help ourselves in pointing things like this out in reviews. “Mull It Over” is both funny and manages to incorporate a mullet reference right under your nose (while lines throughout reference the hair style too). “You Make It Hard” is the ultimate dick joke song. Finally you have “The USA Begins with US,” which casually and flawlessly mocks the absurdity that is so many patriotic country songs and how some artists inauthentically pander so hard with the USA stuff in their music (think songs like “Chicken Fried”).

While this was just a “casual” side project for Dierks Bentley and his band, you can tell a lot of love and work went into this fun idea. And I hope this isn’t the last we’ve heard of the Hot Country Knights, as the cornier, fun side of country music is something we need again. Speaking of more fun country music, Wade Bowen and Randy Rogers returned with another collaboration album, Hold My Beer, Vol. 2. The first addition got high praise from yours truly and I flipped when I saw the news that they were coming back with another edition in May.

While I really enjoyed this album for the most part, I unfortunately have to point the huge flaw in this project before getting to what I enjoy. And I have to point it out first because I was enjoying it so much upon initial listens and then I finally did my “deep” listen of it. The huge flaw I discovered was “Her.” Now I know I pointed out above that music today should have a more casual nature about it and not be so overthought. But it’s hard not to come away from “Her” as anything but disappointing. A song about a guy getting his friend drunk and stealing his girl away is just not something I can get behind, no matter how “fun-loving” it tries to come off. This song is no different than the horrible Old Dominion song “Break Up with Him.” It’s just in bad taste all-around and unlike Ashley McBryde’s new album Never Will, this song doesn’t try to view the flawed characters as neutral or bad actors, but rather quite the opposite.

So after making this discovery it felt like I had just eaten a piece of delicious chocolate cake only for the chef to come up to me afterwards and whisper in my ear that there was a fly baked into it. Nevertheless, the rest of this album is the kind of fun traditional country I can get behind and put on repeat. While there are no true highlights that resonate with me like on the first volume, there was still several fun moments. “Rodeo Clown” is an hilarious song about a guy being left by his woman for a rodeo clown. While it’s an embarrassing and sad thing for the guy, it’s quite a funny image from the outside looking in. While at first “Rhinestoned” and “Speak to Me Jukebox” felt a bit on the nose, I’ve ultimately come to really enjoy these little homages to country music and previous standards that so many country listeners enjoy.

“Am/Fm” is admittedly a bit too close to the very songs these two mocked with “Standards,” but damn if it isn’t admittedly catchy too. So I can understand anybody who decidedly falls on either side of the fence with this song. “Let Merle Be Merle” can kind of come off a bit tone deaf upon first listen of the chorus, but I realized upon more listens the message is really about letting people be what they are. Particularly with country music the song is saying to let the past be the past, don’t try to be the next Haggard. And these are messages I can get behind. “Ode to Ben Dorcy” surprised me as I was greeted by the welcoming voice of Waylon Jennings. And I found the song to be even more cool when I read about the origins of it, as it pays tribute to the long-time roady who supported so many artists.

“Mi Amigo”, even with the nice feature of Asleep at the Wheel, is a bit generic and forgettable. “Warm Beer” is a bit cliché, but I’ll admit I can enjoy it too for it’s easy-going nature. “Hold My Beer” is definitely better and is the kind of song that encapsulates the entertaining, buddy-buddy personalities of Bowen and Rogers. I wish “Her” could have been replaced with another song like this one. Or another song like “This Ain’t My Town,” which I would have to pick as the best on the record. It’s a poignant commentary on the gentrification of towns like Austin and Nashville, stripping away the soul and characteristics that made the places once resonate with the city’s original residents who now feel like strangers. It’s a nice balance also with the fun moments on this album, much like how “El Dorado” served on the first volume.

Hold My Beer, Vol. 2 is a really solid album that shines for the most part, despite the flaws. Although I would be remiss if I didn’t take the opportunity to make an observation of this album and The K is Silent. Each album shares multiple writers (Jon Randall, the Beavers brothers), despite the fact that some Texas Country supporters will insist that Wade and Randy’s album is much more authentic and country. But I would make the argument that these albums are essentially the same, as each have the same fun attitude and themes throughout.

The only difference is packaging and marketing. One is trying to be “serious” and the other is a “parody.” But you could argue both for well both. The point I’m ultimately trying to make here is how hung up in perceptions us listeners can have when it comes to music and the perception we think we give by listening to a certain type of music. Really at the end of the day it’s just a matter of how it makes you feel and if you enjoy it. The other stuff is just noise artists, labels and industry people trying to suck you into this fake us vs them plot to sell more music and tickets. And unfortunately this fuels the divides that exist in music too. In the words of the Doobie Brothers, just listen to the music and you can’t go wrong.

Hot Country Knights – The K is Silent – Strong 8/10

Wade Bowen & Randy Rogers – Hold My Beer, Vol. 2 – Light 8/10


And more…

  • After enjoying the Hot Country Knights album, it actually prompted me to re-listen to Dierks Bentley’s The Mountain. And I’m glad I did. Originally I was in the very small minority of not enjoying the album. But now you can count me in the camp of liking it. I’m not sure why I originally didn’t enjoy it, and while I wouldn’t put it as one of Bentley’s best (such as Modern Day Drifter, Riser, Up on the Ridge), it’s a really solid album full of great messages that deal with overcoming fears, anxiety and finding love. “Burning Man” is the perfect opener and the Brothers Osborne are the ideal feature for this type of song. The album’s title track feels like a good summation of this album, “You Can’t Bring Me Down” is an uplifting anthem and “Son of the Sun” is where you can really tells Dierks lets his inspiration from Marty Stuart and his Fabulous Superlatives’ Way Out West shine through. And his collaboration with Brandi Carlile on “Travelin’ Light” is so enjoyable. I’m not sure I’ll ever warm up to Black, but The Mountain is an album worthy of recommendation from yours truly now.
  • Run the Jewels is dropping RTJ4 on June 5 and I am pumped! All three albums they’ve released have been great (RTJ2 in particular is one of the best albums of the past decade), so I’m quite confident that this will be another can’t miss record from the dynamic duo of El-P and Killer Mike. I got even more excited when I saw the all-star features list for the album, including the likes of 2 Chainz, Zack De La Rocha, Pharrell Williams and Mavis Staples. I’ve only listened to small snippets and plan to not listen to any of the full songs before the album to go in completely blind. Needless to say this is an album that on paper has a great shot of making my top albums of the year list.
  • I just reposted my review of Kenny Chesney’s great Songs of the Saints album. But unfortunately his new album is right back to the generic garbage I’ve come to hate from him. I didn’t even make it halfway through before shutting it off. It’s a shame how his mediocre stuff is what always ends up as hits while his better material never seems to resonate with listeners as much. Then again when you condition your audience into coming to concerts to get blackout drunk and trash venues up, it’s not really that surprising I guess.
  • I recently started to explore the discography of the Carpenters and I wish I would have done so sooner. Their melodies are gorgeous and Karen Carpenter has to be one of the most underrated artists of all-time. It’s a shame her life was cut so short. Close To You is the standard recommendation with this duo and for good reason, as I enjoy it front to back. The love songs like “We’ve Only Just Begun” and “They Long To Be Close To You” easily standout thanks to the beautiful voice of Karen and their different take on the cover of “Help” holds up right next to The Beatles.
  • I gotta say I’m not a fan of the COVID-19-inspired songs being released. It’s bad enough to be profiting off a deadly virus, but then the songs themselves are so boring and uninspiring. I don’t really think anybody needs another reminder of it either. Country music in particular seems to be releasing the most songs about the topic and it reminds me so much of immediate post-9/11 country music. Luke Combs has the most popular song with “Six Feet Apart.” It’s just decent and for me it’s starting feel like all of his songs have the same cadence and feel about him. They just sort of blend together, so I hope he plans for more variety in future songs. Brad Paisley though has released the worst with “No I in Beer.” It’s so lazy, the pandering is tacked on at the end and it feels like a watered down conglomeration of his past songs. Please start doing better, Brad.
  • I don’t really pay a lot of attention to country radio nowadays, but I glanced through the chart the other day and I was happy to see LOCASH’s “One Big Country Song” is rising up the charts and becoming a hit. I’ve never been a big fan of the duo, but this song really caught my ear when I heard it last year. While the topic of the song is quite overused in country music, LOCASH manages to pull it off thanks to the fun, singalong nature and the catchy guitar licks.

Thanks for reading the first edition of The Endless Music Odyssey! This will be not necessarily a weekly feature, but a regular feature for sure. I will still do regular reviews when I have a ton to say about the album, but otherwise my thoughts will be in this feature. Josh’s Jukebox Journal will still be a feature and I plan to reveal at least one more feature very soon. I hope you enjoy my new approach to writing as much as I do! As always be sure to weigh in with your own thoughts in the comments below!

Spinning All The Records — April/May 2020

Hey all! So I wanted to give a quick update on the plans for the site moving forward and what’s been happening. First I wanted to address the abrupt stop in posts. The reason for this was due to a privacy issue that I would chalk more up to trolling than a legitimate concern. But at the time I wanted to be safe and closed the blog down temporarily. It’s now back of course, but I wanted to give you all an explanation, as I hated leaving you hanging without a reason. 

During this downtime I started to rethink of how I want to approach posting on the blog. And to be quite frank I was starting to fall into an old bad habit of mine of listening to post reviews, instead of listening and then posting a review when I’m ready. It’s so easy nowadays to fall into the trap of wanting to constantly keep up with every release and I find personally this ruins my own listening experience. So I realized I need to get away from my usual style and do something that fits me better. 

My first thought was a podcast and I even got to the point of test recording and a first episode written out. But unfortunately I’ve realized I simply just don’t have the proper amount of time to do one. As someone who has done a podcast before and felt I did it the right way, it takes A LOT of work and time to pull off, at least in the way I would want to do it. Just the recording and editing alone is arduous. So for now I’ve decided not to do a podcast. I’ve not ruled out doing one at another time, but for now it’s something that will be on the back burner. 

However, the tinkering with the podcast and the realization of the need to adapt my approach did lead me to an idea of how I want to approach writing moving forward. I look at the way reviews are approached nowadays, specifically by larger publications, and I see something that just isn’t natural in this constant rush to post reviews. Most people don’t listen to an album and form such an immediate judgement. And even after the initial judgement, that opinion can then shift even more with time. But reviews don’t reflect this; there’s a finiteness about them. You post the review, the grade and then the reviewer is put into a box of defending this take for…well forever it seems like. So I hope this new style and approach will be a better reflection of the way an average listener approaches music. Stay tuned!

For now I wanted to post all of the stuff I had written below for Spinning All The Records for April 2020. And thank you for reading!

Conway the Machine & The Alchemist – LULU

This is a really tight, short and cohesive album from start to finish. As always The Alchemist brings some really smooth beats, which fit the rapid fire delivery of Conway well. Not to mention the sampling used is great too, especially on “The Contract.” ScHoolboy Q delivers a solid feature on “Shoot Sideways,” but I especially enjoy Cormega’s feature on “They Got Sunny.” The veteran rapper spits absolute fire on his verses. If you enjoy coke bar rap and the work of the Griselda Records group (which I sang their praises of last year when I put Benny the Butcher on my album of the year list), you don’t want to miss this album. 8/10

Niall Horan – Heartbreak Weather

This is an enjoyable and solid album of soft rock meets pop love songs. Although I will say it’s not all straight-ahead love songs, as Horan weaves in themes throughout the album of insecurity, doubt and details of the hard road one can experience in finding love. The album has an overall sound of being bouncy, fun and upbeat, while Horan demonstrates himself to be a charismatic vocalist with range. And while there’s many fun moments like on “Everywhere,” there’s also some more serious and introspective moments that give this album a softness to balance it out (“Put a Little Love on Me” and “Still”). 7/10

Sam Hunt – SOUTHSIDE

I’m sure some of you wanted me to do a full review takedown of this album, but it’s just not worth it (and I don’t do rants anymore). The good of this album: opening track “2016” is by far the best song Hunt has ever done. It’s melodic, it has meaning and it has heart. While the Webb Pierce sample is just necessary, putting it aside, “Hard to Forget” is undeniably catchy. So is “Body Like a Backroad” (even though it feels completely shoehorned in the album). I still enjoy “Downtown’s Dead” as much as when I originally praised it on Fusion Country. And I appreciate the attempt at a bluegrass-influenced sound on “Let It Down.” I wish he would have explored this sound more.

Now to the bad and let’s just state the biggest issue. The ordering of the songs and overall theme of the story is a complete and disjointed mess. The overall flow of the album is like a zig zag, with no logical order whatsoever. “2016” should have been the closing song. “Kinfolks” is boring as hell and forgettable. “Young Once” is just absolutely stupid with it’s premise that dumb mistakes can be completely dismissed due to youth. “That Ain’t Beautiful” would be best described as having just a gross feel about it and features the worst side of Hunt and that is him wishing he was the Drake of country music.

“Breaking Up Was Easy in the 90s” has an annoying “I was born in le wrong generation” vibe. “Sinning With You” is the ultimate display of immaturity and also features nauseatingly cliche religious imagery that comes across so fake and insincere. “Drinkin’ Too Much” is best summed up as an abomination in every way, from his Drake impression to the lyrical content being disgusting and hypocritical. If Hunt ever indulged in his best tendencies, he could deliver a good album. But this is not it. 3/10

Western Centuries – Call the Captain

This band showed a lot of potential in their debut album. Their sophomore album was completely forgettable. And this album is very much along the same lines. There’s nothing inherently wrong with it, but it just doesn’t stand out in any way for me.

Jessi Alexander – Decatur County Red

I can essentially repeat the same for this album. That’s the double-edged sword of independent country, well at least from my perspective. On one hand, I’m much more inclined to listen to country music from the independent realm because I know how to find it. But that also means I listen to more of it and that kind of makes the bar higher too. It’s a brutally competitive space, so standing out is key. This is a decent album and Alexander has a nice voice, but after a few listens I just don’t feel like coming back to it.

Knxwledge – 1988

This is mostly an instrumental album, not surprising as Knxwledge is mostly known as a producer, most notably his collaboration with Anderson .Paak as NxWorries. So I only recommend this album if you’re a music nerd like me who can listen to a half-hour of random beats and sounds. And if you do listen you can get a great fill of pop, R&B, hip hop and even some gospel sounds. It’s quite a relaxing, chill listen I might add too. Knxwledge cements himself further as a standout producer on 1988. 8/10

Logan Ledger – Logan Ledger

All of this build up and an intriguing voice only for this to be another new act that leans hard on a nostalgic style and adds nothing fresh to it. So it just comes off as boring. I couldn’t even make it through one listen.

Maddie & Tae – The Way It Feels

I did not expect to be sticking this album here. But then again I didn’t expect this to be a giant disappointment and I didn’t feel like re-writing the Caitlyn Smith review. Just like Smith, Maddie & Tae throw away everything on this album that made their debut album great: warm melodies, sharp songwriting and harmonies that melt the ears. In their place is schlocky pop country, copy and paste songwriting, and little to no harmonies. I literally yawned several times going through this album because it’s so predictable in it’s approach. And there’s so many boring moments that the few standouts like “Die From A Broken Heart” just get lost in this mundane and drab collection of songs. It’s just another album in a sea of albums. What a damn shame for a promising duo. 5/10

Ruthie Collins – Cold Comfort

Honestly I just couldn’t engage with this album and I think a big reason why is the image and presentation is such a 180 from her “Ramblin’ Man” days that this just comes off as too calculated and insincere for me. Maybe I’ll be able to revisit this later, but for now this comes off as “dress up” to me.


Any other releases in late April and any in May will likely be covered in some way coming soon! But please feel free to engage in the comments and ask me as always about anything that isn’t covered or for further clarification on any comments I’ve made above! 

A Toast to John Prine

The world has lost a true giant in John Prine. An extraordinary singer-songwriter and an even more incredible person, Prine touched the hearts, minds and souls of so many people with his music, wisdom and kindness. His influence extends across all genres of music and to any artist who ever wanted to take songwriting seriously. In his “prime” he was never a big star in the conventional sense, but his music still shined brighter than many. The music of Prine has endured with fans and artists of all ages. Whether it be legends like Bob Dylan and Kris Kristofferson or modern day artists like Jason Isbell and Kacey Musgraves, his influence shines in all of their work.

While it’s never easy to say goodbye, it’s comforting to know that he got the proper recognition and spotlight he deserved in his final years. The Americana Awards showered him with numerous accolades and his final album The Tree of Forgiveness, which is absolutely incredible, was one of his biggest commercial successes and critical too. And then of course the Grammys honored him with a lifetime achievement award earlier this year. It was all long overdue for one of the truly great American songwriters.

But Prine of course was never one about awards and attention. It was always about the songs, hence why he’s often called the songwriter’s songwriter. He could have easily stuck it out with his major label Atlantic Records and had much more commercial success. But he instead chose artistic independence, starting his own label Oh Boy Records in the 80s. Nowadays being an independent artist is pretty common and encouraged in many circles. But this was much less common during this time. Many would consider it detrimental to building a career, as the only way to get attention and build a fanbase was through radio and TV and the way to do that was on a major label.

Prine beat the odds though of course, as he did so many times throughout his life. He constantly proved people wrong and he did it with the most humility and grace one can possess. And in the process, by being himself, he carved out an incredibly rich legacy and cultivated a deeply loyal fanbase. He did this all by not following the expected blueprint of success. He created a unique path of his own, perhaps the greatest achievement of his career.

That’s what I’m going to remember about John Prine: a pioneer who blazed a trail for generations to come and he did it all by just being himself. Prine did this through not just his music, but through his actions and attitude towards those around him. Whether it be his fellow artists or those of us listening on our headphones, we all came away feeling like we didn’t just listen to an artist sing a song, but an old friend who always has an important message for any moment in our lives. John Prine will never be gone, as his empathetic, jovial spirit, and the evergreen wisdom and charming wit of his lyrics will forever keep him alive.

Rest in paradise, Mr. Prine. And enjoy smoking that cigarette that’s nine miles long.