Reba McEntire — Rumor Has It (30th Anniversary Edition)
A classic album full of great love songs and heartbreakers with the iconic “Fancy” that I’m glad to see is getting a special anniversary release. If you’re a country fan and you haven’t heard this, you need to change this asap. One day I hope to give a full review of this album, along with many other past releases. Anyway, this anniversary edition comes with two new additions: a live version of “Fancy” and a Dave Audé remix of it. I want to talk about the latter, as once again Audé delivers a fun remix of a classic country song.
I know remixes aren’t exactly looked well upon by a lot of people in country music, but to me there’s everything to gain by releasing remixes of old country songs. At worst everybody ignores it and keeps listening to the original. But on the other hand you could entice a young listener who isn’t familiar with it to get into country music. Now some might argue this is the wrong way to get someone into country music through something that is sonically not country. But the biggest appeal for me in country music is the lyrics. “Fancy” is iconic because of the story, not the instrumentation. There are thousands of songs with the same sound as this remix and they remain ignored in a metaphorical music landfill. So if someone can find appeal in this remix of “Fancy,” I like to believe it’s because of the song itself.
Keith Urban — THE SPEED OF NOW Part 1
You know this album starts out promising enough. Opening song “Out The Cage” has the kind of frenetic energy you want to open an album that grabs your attention. The P!nk duet “One Too Many” isn’t terrible, although a bit boring and run of the mill. “Live With” is actually quite enjoyable, as the chorus is catchy and has a good message about seeking a life that can be enjoyed. Not to mention the incorporation of Urban’s solid guitar work gives the song a needed punch. “Superman” is solid pop music with connectable imagery, even though the lyrics are a bit cliché.
With the exception of the nice collaboration with Eric Church on “We Were,” the rest of the album is quite vanilla and goes in one ear and out the other. In other words, what’s been the story for Urban on the last several albums. While the experimentation of Urban in his music was interesting at first, I think he’s well past due to get back to his roots and that’s guitar-driven music. But I don’t foresee this happening, as Urban seemingly got bored with this type of music. So since Urban seems hellbent on continuing the experimenting, here’s ultimately the biggest problem with it: it feels like he just wants to be the Ed Sheeran of country music.
Just like Sheeran in pop, Urban is trying to be everything to everybody and as the old saying goes, if you’re trying to please all, you’ll please none. I guess the most realistic ask I’m hoping from for Urban then is to pick a lane for an album and stick with it throughout. There’s just no constant theme with his albums anymore. It’s just jumping from one thing to the next and as an album listener I become frustrated quickly. Also two thoughts on “We Were.” First, there’s absolutely no need to have the non-Church version of the song. Second, I find it amusing a country artist adding a country artist to a song to make the sound more country to be hilarious. 4/10
Travis Tritt – “Ghost Town Nation”
I’ve quietly been waiting to see what comes of Travis Tritt’s team up with producer Dave Cobb on his new upcoming album and this is the first look. And I have to say I’m looking forward more to what’s in store. This is a great lead single that speaks to the divide between the rural people in towns across America and the media. The term “ghost town nation” is appropriate in this context as it reflects not only how small town America feels like everybody turns their noses up at them and that “there’s nothing there,” but also the loss of jobs and collapse of rural America due to the loss of manufacturing and other industries. If anybody can shine a spotlight on this divide in a way that’s articulate and gives insight to the issues faced by the average, small town American and their feelings of alienation, it’s Travis Tritt.
Nas — King’s Disease
You know I really wanted to enjoy this album. Nas is one of the all-time great rappers in the history of hip-hop and is required listening for anybody who has any kind of interest in the genre. But this album feels too same-y in so many spots and this makes for a tedious listen at times. Songs like “Ultra Black,” “All Bad” and “10 Points” are great, but in between these standout moments are songs that just don’t really stand out in terms of production or lyrics. Of course when you’ve set the bar as high as Nas has with previous albums, that undoubtedly hurts perception of new albums. While this is not a good album, it’s not bad either and it’s worth your time to spin through it once. 6/10
Aaron Frazer – “Bad News”
The fantastic drummer and falsetto vocalist for Durand Jones and the Indications teaming up with Easy Eye Sounds and Dan Auerbach is a combination that absolutely excites me on paper. Each have a foot solidly in the classic/throwback world while delivering lyrics that are modern and fresh. After hearing this enjoyably funky and soulful lead single, rest assured this debut album is one already on my radar for 2021.
Texas Hill — Texas Hill EP
A brand new trio formed between Adam Wakefield, Casey James and Craig Wayne Boyd, I was intrigued by this grouping. Their obvious commonality of course is their backgrounds, as they each come from music competition shows. Each hasn’t really had the success as solo artists as I imagine they would prefer, so forming this trio is a pretty good idea. And I will say it’s clear right away their voices harmonize quite well together. Blending country, rock and soul, it’s a catchy sound too. They’ve said though they recorded a dozen songs together, so this EP is only a teaser of the full offering to come. So I’ll keep my comments on the vague side for now, as I want to hear the full project before offering my full thoughts. I’ll say this though: Texas Hill shows a lot of potential with these songs and I’m looking forward to hear what else they have in store.
The Allman Betts Band — Bless Your Heart
This is a band on paper that is very much in the same vein of bands like Blackberry Smoke and The Wild Feathers. It’s a band I expect to enjoy, so I expected great things from this album. But there’s a big issue that prevents it from being enjoyable and that’s it’s runtime. There’s no reason why this album should be over an hour long. If you cut about 25 minutes from this album it would be a much better listen, but instead of this album concluding when it hits the sweet spot, it well overstays it’s welcome and makes me not want to revisit it. An undoubtedly talented band that fell into the trap a lot of younger acts fall into with albums. 6/10
Joji — Nectar
Once again this is another example of an album going way too long. Clocking in at just under an hour, there are multiple songs on this album that feel like a repetition of a previous song. Trim it down to around 30 minutes and this album would have gotten a full review and recommendation from me because Joji has a lot of great ideas, especially production-wise, throughout this album. “Ew” is a fantastically melancholy song about not feeling like enough in the wake of a breakup. “Tick Tock” and “Gimme Love” are absolute jams. Joji shows great introspection on “High Hopes” and “Mr. Hollywood” too. But unlike The Allman Betts Band, Joji’s longer than necessary runtime feels more like a major label trying to game streaming numbers. Despite my issues with this album though, Nectar is worth a listen if you’re into darker, “crying in the club” type R&B-influenced pop music. 6/10