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!

Old Crow Medicine Show Signs With Sony Music Nashville

ocms-blonde-on-blonde

Talk about a pleasant surprise! Today Sony Music Nashville officially they’ve signed the popular, Grammy-winning Old Crow Medicine Show to their label. They’ve been assigned to the Columbia Records Nashville imprint and have announced the release of a new album of Bob Dylan covers, 50 Years of Blonde on Blonde. It will be released on April 28 and it celebrates the 50th anniversary of Bob Dylan’s release of his album Blonde on Blonde. The group recorded this album live at the CMA Theatre in May 2016. It is already available for pre-order on their site and will be available everywhere for pre-order this coming Friday. They’ve also announced a tour supporting the album, Old Crow Medicine Show Performing Blonde on Blonde. You can see the full tour dates schedule below.

It makes perfect sense that this iconic roots group would be honoring Dylan, as the band has crafted two great songs out of Dylan chorus, the most famous being “Wagon Wheel.” The band really came onto people’s radars after Darius Rucker covered it of course. The bigger news here is a major country label signing Old Crow Medicine Show. Certainly not for a lack of a talent because they’re one of the best groups in country/folk today. Certainly not for a lack of achievements: members of the Grand Ole Opry, certified platinum status, multiple Grammys and a very popular touring band.

It’s that a major country label would actually sign them. Or perhaps not. We’re now seeing the effects of the rise of acts like Sturgill Simpson and Chris Stapleton. It’s forced major labels to pay more attention to acts outside the mainstream sound who sell and cultivate a major following. They’re still never going to get played on country radio. But they’re more relevant and sell better (both touring and music) than many on the radio. Remember Sony Music just recently also revived Monument Records inking Caitlyn Smith, an artist in a similar position. This very well could signal a shift in the way major country labels do business. We’ll have to wait and see.

 

MAY 2017
4          Santa Barbara, CA @ The Granada Theatre
5          Los Angeles, CA @ The Wiltern
6          Oakland, CA @ Fox Theater
8          Portland, OR @ Revolution Hall
10        Seattle, WA @ The Moore Theatre
12        Salt Lake City, UT @ Delta Hall at Eccles Theater
13        Aspen, CO @ Belly Up Aspen
14        Denver, CO @ Paramount Theatre
20        Knoxville, TN @ Tennessee Theatre
22        Washington, DC @ Lincoln Theatre
24        New York, NY @ The Town Hall
25        Boston, MA @ Orpheum Theatre
28        Cooperstown, NY @ Brewery Ommegang
30        Pittsburgh, PA @ Stage AE
31        Columbus, OH @ EXPRESS LIVE!

JUNE 2017
1          Cincinnati, OH @ Taft Theatre
2          Louisville, KY @ Iroquois Amphitheater
8          Chicago, IL @ The Vic Theatre
9          Milwaukee, WI @ Pabst Theater
10        St. Paul, MN @ The Palace Theatre
11        Kansas City, MO @ Uptown Theater
12        St. Louis, MO @ The Pageant

UK/Netherlands
JUNE 2017
24        Manchester, UK @ O2 Ritz
25        Glasgow, UK @ O2ABC
28        London, UK @ Shepherd’s Bush Empire
30        Amsterdam, NL @ Paradiso

Album Review – The Lumineers’ ‘Cleopatra’

The Lumineers Cleopatra

About four years ago if you recall there was a big folk revival that took place. This was of course made possible by the previous folk revival around the turn of the millennium when the success of the soundtrack for the movie O Brother, Where Art Thou?, as it took home a Grammy and gave way to the rise of other folk acts like Emmylou Harris and Old Crow Medicine Show. The latter group is what inspired one of two bands that were central to the 2012 folk revival, Mumford & Sons. The other band at the center of this revival was The Lumineers. Many of you probably know them from their smash hit “Ho Hey,” which alongside Mumford & Sons’ “I Will Wait” captured people’s attentions everywhere. Fast forward to today and now Mumford & Sons have abandoned their banjo and went electric, something that really didn’t surprise people. But The Lumineers certainly haven’t abandoned the sound that caught everyone’s attention. And they show no signs of stopping either.

The Lumineers are made up of founding members Wesley Schultz (vocals, guitar) and Jeremiah Fraites (drums, piano), along with Neyla Pekarek (cellist, backing vocalist) who joined the band in 2010. Schultz and Fraites write all of the songs on their albums. And now four years after their successful self-titled album, they return with their sophomore followup, Cleopatra. Before you listen to the album there’s one quote you should remember when you listen to it and that comes from Schultz, who said this regarding it, “We want to focus on the core, not the illusion.” Trust me once you hear the album, you’ll understand.

Cleopatra begins with “Sleep on the Floor,” an adventurous song where a man urges his woman to pick up her stuff and travel the country with him. The Lumineers’ usual roots-y, folk rock, guitar-driven sound makes the song catchy and easy to enjoy. The whole album doesn’t really stray at all from this sound. The album’s lead single “Ophelia” follows. It’s a reflective, somewhat upbeat song about a woman who was once in the man’s life. Well on the surface it’s seem like, as on their site The Lumineers say it “personifies fame as a dangerous temptress.” The piano play by Fraites is great and really drives the song well. The album title track tells the story of a woman who has experienced tragedy in her life. Most notably it deals with how she was too late for the love of her life, letting life pull her away from someone she loved and wanted to marry. The inspiration for the song came from a woman Schultz met in the Republic of Georgia. She’s a cab driver who told her tragic life story to him. It inspired the group to write this song and make it their album’s name. The story and lyrics are so tragically beautiful, really personifying the whole album.

“Gun Song” is about a man discovering his father’s pistol after he died, unaware his father owned a pistol. The man himself doesn’t own a single gun, so it comes as a surprise to him. He then reflects on his life and hopes to be more than his father’s son someday. One of my favorites on Cleopatra is “Angela.” It’s a soft tale of a woman who left her small town to pursue bigger things, but now returns to it. This is despite the people in the town who like to sing her praises only to cut her down. But she returns to a man she loves, a place she can call home. It’s a story about finding what truly makes you happy. The instrumentation fits perfectly with the story, with its earthy, somewhat soaring tone.

This is followed by another beautiful song, “In The Light.” It’s about two people who can’t let go of the old memories of being together. They can’t stop thinking about each other until finally they meet again and they embrace, telling each other to never let go again. The acoustics and piano really blend together well and help tell this love story. “Gale Song” was part of the soundtrack for the movie, The Hunger Games: Catching Fire and shows up again here. It’s apparently told from the point of view from a character in the movie named Gale. I’ve heard plenty about the books and movies for this series, but have never read or watched any of them. So it’s really hard to have some thoughts on this one. It does seem to fit the overall theme of the album, which is dealing with love and loneliness.

The rawest, emotional song on the album is hands-down “Long Way From Home.” It’s a sad story about a man who shares a hospital room with a man dying of a disease, probably cancer. He hopes the man can find his way home (die peacefully) soon. This happens, but not before the last words he hears from the man are moans for “more morphine.” It’s a haunting song to say the least. The eerie sounding “Sick in the Head” is next and it’s probably one of the more confusing songs on the album. It seems to be about seizing your own life and not letting others’ opinions control it. The song is quite short and as I said the theme isn’t that clear.

The waltzing “My Eyes” tells the old story of watching someone you care for make mistakes before your very eyes. You’re angry to see them get take advantage of, yet you feel betrayed they wouldn’t listen to you. It also ties into one of the main themes of the album of avoiding the corruption that fame can bring to a person. This is probably the most complete song on Cleopatra, as everything just works perfectly together. The instrumental “Patience” brings the album to a close. While an odd choice to end the album with this type of song, it makes a lot of sense after hearing the entire thing a few times because listening to this album is tiring. “Patience” allows your brain to unwind and to digest what you’ve just heard on the first ten songs.

Overall Cleopatra is a mentally exhausting album after you give it a really good listen, but it will reward you for the troubles. The themes explored throughout are complex and will send your thoughts reeling after hearing them. It’s definitely not the type of album you can pick up and immediately “get it.” One thing though that helps you digest these lyrics is the catchy instrumentation that is present mostly throughout. It’s really easy to get sucked into the album based just on the instrumentation, as it’s light and flawless. The piano play really flourishes when it shows up. The instrumentation draws you in and makes you stay, but the lyrics make you appreciate it even more. The Lumineers prove with this album that they’re here to stay and they’re more than some brief folk revival. They’re a band worthy of your attention and if you listen to Cleopatra, you will be rewarded.

Grade: 8/10

The Country Perspective Show, Episode 4: Sturgill Simpson & Old Crow Medicine Show Live Plus Ranking the B-Level Mainstream Country Artists

In episode four of The Country Perspective Show podcast, I lead off the show discussing my experience of seeing Sturgill Simpson and Old Crow Medicine Show live. And after seeing Simpson live I now fully grasp the hype of SturgillMania. In the main portion of the show I continue the series of ranking the mainstream country artists, covering what I consider the B-level artists.

Intro & Outro music by audionautix.com.

 

https://twitter.com/realcountryview/status/626913110503366656

 

https://twitter.com/realcountryview/status/626978797833859072

The Hodgepodge: Who Can Step Up and Be A Leader in Country Music?

Chaotic. Anarchy. Uncontrollable. Those are the words I would use to describe mainstream country music and country radio right now. It’s a wild west of cacophony. Sam Hunt and Kelsea Ballerini continue to churn out his straight pop music. Thomas Rhett is pushing disco country with his new single “Crash and Burn.” Luke Bryan and Jason Aldean are still making bro-country/checklist country music. Zac Brown Band has no idea what genre they’re in. Steven Tyler and Bret Michaels just released country singles. Music Row Payola On The Verge continues to push terrible music. You get the picture? Country music is a damn mess. As the saying goes, the inmates are running the asylum. A genre this divided cannot stand forever.

As I spelled out a few weeks ago, country music is on a path to destruction. If changes aren’t made soon, the mainstream bubble is going to burst without a doubt. One of the most important changes that needs to be made is a voice of reason to step up and give country music guidance. Country music needs a leader. It needs someone who can remind everyone what country music is and what it should sound like. This person needs to be respected in some way, shape or form. They need to be able to lead by example whether through their music, writing or actions. Being a success is another key aspect, as people listen to winners. This person can step up and not lose their career over their actions. In other words, they really have nothing to lose and everything to gain. I’ve been thinking over the past few weeks who fits this description and I’ve come up with a list of possible candidates. Here’s who I think could step up and fill the leadership void in Nashville:

542px-Garth_Brooks

Garth Brooks

Why I Think He Could Be Country Music’s Leader: As I laid out in the The Hodgepodge last week, Garth’s comeback has been a disappointment. One of the points I didn’t get a chance to touch on was his lack of leadership since coming back. I think this has been one of my biggest disappointments with Garth, as I really expected him to come back and have a positive impact on the currents artists in the genre. Garth was the biggest names in country music in the 90s. Hell he was one of the biggest names in all of music during this time and took country music to new heights with his style of music. Love him or hate him he’s had a massive amount of success. There are people who hate country music, but love Garth. Current country artists are well aware of him and respect him. If Garth were to step up and call for a return to roots in country music, he wouldn’t be hurt by backlash or his standing in music. In fact if his voice were to fall on listening ears, it could aid him in getting back on radio again.

Why I Don’t Think He Could Be Country Music’s Leader: Garth has never been one to speak up and rock the boat before and I don’t know if that’s changed. Garth at one point was the bane of traditionalists like Florida Georgia Line and Sam Hunt are now. In a way he might sympathize with them (this is just speculation). In his prime days, Garth loved the spotlight and being the center of attention. Now he seems content with selling out every venue and doing things his way, damn the consequences on his sales and popularity. He can continue to make the music he wants, as what’s happening on the radio doesn’t affect him or his fans in any way.

Sturgillguitar

Sturgill Simpson

Why I Think He Could Be Country Music’s Leader: Over the span of the last few years, Sturgill Simpson went from obscurity to indie critical darling to major label artist. His meteoric rise has captured the hearts and minds of critics and fans across the country. Simpson has also caught the attention and earned respect from the likes of Keith Urban, Jake Owen and John Mayer. His latest album Metamodern Sounds in Country Music was a top ten album without any label push or mainstream radio play. Clearly Simpson’s music speaks to all walks of life and his third upcoming album will probably reach #1 on the country chart. And what’s brilliant about this is he did it all his own way. He’s truly a special case in the world of country music. In the late 80s there was another influential Kentuckian by the name of Keith Whitley who helped shape country music back towards its roots. Maybe in 2015 another Kentuckian can get lightning to strike twice.

Why I Don’t Think He Could Be Country Music’s Leader: Simpson has made it perfectly clear he wants to stay away from the political mainstream scene. Radio has no interest in him and Simpson has no interest in radio. It would be a cold day in hell when a Cumulus radio would play a song like “Turtles All The Way Down.” Little Big Town’s “Girl Crush,” a harmless song, was considered risky. “Turtles All The Way Down” would be deemed “satanic” by the PC crowd. Simpson, like Garth, is perfectly content to keep making his own music and singing in front of packed venues of people who love him. So the odds are long for Simpson to be the voice of reason for the genre.

Adele 21

Adele

Why I Think She Could Be Country Music’s Leader: Commenter Noah pointed out to me that Adele’s next album is expected to have noticeable country influences. This isn’t a huge surprise considering all of the gospel influences on her 21 album. Speaking of that album it was praised by critics and fans everywhere. It helped shoot her into superstardom and become one of the most respected artists in music over the last decade. Her voice is one of the best and her songwriting is fantastic. Adele has never had a problem speaking up on issues she cares about or needs to address. Country music is borrowing a lot from pop music right now, so why couldn’t a pop artist lead the genre? When Adele speaks or sings, people listen.

Why I Don’t Think She Could Be Country Music’s Leader: I’m honestly convinced she’s the best choice to lead the genre out of its current anarchy. There are only two issues I see and I honestly think they’re easily to overcome. The first issue is some fans would be taken aback by a pop artist, an outsider of the genre, taking charge. But I think it would be a small minority, probably the same group that saw “Girl Crush” as offensive. So I’m not that concerned about a vocal few. The other issue I can see is that she’s a female artist. As everyone is well aware, female artists have struggled mightily in country music in recent years. The male artists have drowned them out. Adele would be taking on not just an army of “bros,” but also the male leadership in Nashville. There could obviously be some resistance. But again I think Adele could overcome this because she’s bigger than any name in Nashville. She’s even bigger than the fearless leader of Big Machine Records, which speaking of him…

Scott Borchetta
Scott Borchetta

Scott Borchetta

Why I Think He Could Be Country Music’s Leader: Scott Borchetta is an evil and greedy man, but he undoubtedly is one of the most powerful people in country music. His Big Machine Label is home to the biggest artist in music right now, Taylor Swift. Borchetta helped make Swift into the most influential and popular artist in the world. Not only that, but he’s also the mastermind behind Florida Georgia Line, arguably the most popular act in country music today. Borchetta houses commercial successes, as well as critical as The Mavericks are on his Valory label. He covers all bases in country music. Borchetta gained even more sway when he became a mentor on American Idol. He’s no longer just a name country music insiders know. If Borchetta wanted to shift the genre back to its roots he could do it…

Why I Don’t Think He Could Be Country Music’s Leader: …But there’s no chance in hell of this happening. Borchetta is raking in money and living life well. Why would he bother to make any changes? He even hinted in past interviews that he wanted to shift back to the roots of country music, but it was nothing but window dressing. Borchetta does what’s best for Borchetta.

Other Possible Candidates:

Chris Stapleton – Stapleton has been involved in the mainstream for years as a writer and finally just released his debut album Traveller, which is fantastic and highly recommended. It has received critical and fan praise. It reached #2 on the Billboard Top Country albums chart. Mainstream artists know and respect him. But how much sway does his words have right now? If he experiences a meteoric rise in 2015 like Sturgill did in 2014, then we can seriously revisit the possibility of Stapleton being a leader in the genre.

George Strait – Remember “Murder on Music Row”? Strait has no issues calling out country music for its bullshit. King George is loved and respected by all in the genre. But now that’s he retired from major touring there’s really no reason for him to speak out. Strait can do whatever he wants while the genre burns to the ground.

Alan Jackson – See Strait comments above, minus the retirement from major touring.

Sam Hunt – Hahahahahahahaha!

The Ghost of Hank Williams – I can get behind a ghost leader, if you’re willing.

Upcoming/Recent Country Music Releases

  • Mickey Guyton is releasing a self-titled EP next Tuesday. Oh how I wish it was a full album! Still I’ll take new music from Guyton any time. You can see the EP cover art and the track listing for the EP right here. We’ll have a review on this one.
  • Country music veteran John Anderson is releasing a new album titled Goldmine next week. I’m curious to give this one a listen.
  • Luke Bryan’s new album will be called Kill The Lights and come out on August 7. Oh freaking joy.
  • A new duo I just came across has me excited to give their new album a listen. Their name is the Malpass Brothers. It’s made up of Christopher and Taylor Malpass, brothers who love country music. And by country music I mean the real country music. Just look at this quote on their site right here. How does that not excite you to hear their music?
  • For those who missed it, Kacey Musgraves revealed the cover art and track listing for her new album Pageant Material. Originally it was slated to come out in the beginning of June, but it’s now set to be released on June 23.
  • Josh Turner in a recent interview with the Journal Star told them that his new album is “pretty much finished.” But there’s no album name or release date set. So new music is coming from Turner, but it sounds like he has no idea when (hopefully soon).

Throwback Thursday Song

Old Crow Medicine Show – “Wagon Wheel” – Because you’ve heard enough of Rucker’s version and you need to listen to the real deal.

Non-Country Song of the Week

Run the Jewels – “Early” – One of my favorite albums of 2015 was Run The Jewels’ sophomore album RTJ2. They just released a stunning new music video for “Early,” from the album and it’s something you need to watch for yourself.

Tweet of the Week

I second this!

An iTunes Review That Will Make You Smile

Kelsea Ballerini Sucks

This was left under Kelsea Ballerini’s new album. And I completely agree. She is hurting the genre just as much as Sam Hunt with her brand of pop music. Kudos to the reviewer for calling this the teen pop it is.

One More Thing…

I’m looking to sell two tickets to a Jason Isbell concert next Wednesday, May 27 at the House of Blues in Cleveland, Ohio. I won’t be able to go due to a conflict in my schedule. I’m selling them for less than face value, as I don’t want them to go to waste. If you’re interested in them or you know someone who would, reach out to me by email: countryperspective@gmail.com.

That’s it for the Hodgepodge this week! Be sure to sound off in the comments!