The Endless Music Odyssey, Vol. 5 — CeeLo Green, Caylee Hammack & more!

CeeLo GreenCeeLo Green is Thomas Callaway

Dan Auerbach, David Ferguson and Easy Eye Sound just continue to churn out quality albums. This time it comes from veteran R&B artist CeeLo Green, who is known for such hits like “Crazy” as part of Gnarls Barkley and “Forget You” as a solo artist. But this album is much different than his popular material, as the glitz and glamour is all stripped away in favor of more subtle and smooth sounds. It’s an enjoyable mix of R&B, soul, pop, gospel and even some country. Many have described Green as a chameleon-like performer and I think this album exemplifies this more than any of his others.

There’s simmering love songs like “For You,” “I Wonder How Love Feels” and “Doing It All Together” that mix soul and pop to great results. “Lead Me” shows how Green can absolutely excel at gospel with his passionate vocals and makes me wish there were more gospel moments. “Little Mama” and “Don’t Lie” show another side of Green, being a father, which was great to see from him. But the two songs that intrigued me most were when he dipped into a more country-influenced sounds on “People Watching” and “Slow Down.” The former is a simple, yet bouncy song about observing the world around you and taking in the little things. The latter is a fantastic cover of his Easy Eye Sound label mate John Anderson. CeeLo Green covering John Anderson is not something I thought I would ever write about, but hey it’s 2020 and it works well.

The album closes out with another highlight in “The Way,” a brooding song about fighting your way through darkness. Green’s voice really excels in these dramatic songs, as his dynamic voice can add the right amount of tension to build up the lyrics. If you’re into soul music or enjoy Green’s voice, this album is definitely worth your time. 8/10

Caylee HammackIf It Wasn’t For You

The potential of Caylee Hammack is great. She has an incredible voice and when she incorporates her personal experiences into her songwriting, it makes for some damn compelling music. “Small Town Hypocrite” is easily the star of this album, an in-depth look at seven-year relationship that took Hammack away from a music scholarship and changed her life in several ways. And not only is the attention to detail great in the lyrics, but her vocal performance adds just the right amount of emotional touch. The best example is when she sings “When I chose you and daddy gave me hell/I made myself into someone else/Just to love you, damn, I loved you.” The aching regret and hesitation in her voice as she delivers these final words cuts straight to the heart. 

Hammack has other great moments on this album too like “Redhead.” Hammack and Reba sound great together and I’m surprised this wasn’t chosen for her new single, as it’s catchy and fun to singalong with. Hammack, Tenille Townes and Ashley McBryde sound fantastic harmonizing together on “Mean Something,” which is a song dripping with honesty about people seeking to be something more in a world filled with a lot of selfishness and lack of substance. “Sister,” “Forged in the Fire” and “Family Tree” are other solid songs where Hammack peels back layers of her life to deliver heartfelt messages and show the lessons she’s learned. “Gold” is a heartfelt epilogue to “Small Town Hypocrite” and “New Level of Life” is a fun closer to the album that features one of the more interesting production moments on the album.  

But this album falls frustratingly short of being great and I largely blame this on the production. It ultimately hinders Hammack more than it helps, as most of the time it feels very paint-by-numbers as far as pop country goes. Hammack’s voice isn’t fully utilized, as it’s bright and dynamic, so why not fully feature it? It’s also frustrating to have songs in the middle of the album like “Preciatcha,” “Just Like You,” “Just Friends” and “King Size Bed” that pigeonhole her into generic pop country. It’s just not that interesting and throws the flow of the album off for me. It’s not really surprising, as new artists typically have these kinds of songs on their debut album to appease labels who like to send them to radio. Nevertheless, this is a decent debut album from Hammack. 6/10

DUCKWRTHSuperGood

Smooth, slick and funky are the three best words to describe this album. If you’re looking for lyrical prowess, this album won’t have it. Not to say the lyrics are bad. They’re solid, yet unspectacular as most of the lyrics deal with love and enjoying the party. But if you’re looking for some smooth beats, this album is overflowing with them. This is an album to move to and sing along with on a Saturday night. While it’s listed as hip-hop, this is far from a straight hip-hop record. No, I would describe this more along the lines of Tyler the Creator’s IGOR. This album is very much genre fluid, an enjoyable blend of hip-hop, R&B, soul, pop and disco. While I was a big fan of DUCKWRTH’s earlier material that was edgier and had an almost rock flavor to them, it’s clear this sound seems to suit him best. And he did kind of foreshadow this on “MICHUUL,” aspiring to be like the king of pop. And this music is definitely a strong step into that sound. 8/10

The MavericksEn Español

This is definitely one of those times where I wish I had taken more Spanish classes. I know some of the language, but unfortunately not enough to understand and appreciate the lyrics of this album. If anybody would happen to know how to procure a translated version of it, I would be happy to go more in-depth on this album. So for now I can only analyze the other elements of this album and they’re top level as always from the eclectic and dynamic group. The instrumentation is flamboyant, colorful and vibrant, a beautiful mixture of country, pop, Tex Mex and a whole lot more. Raul Malo still has one of the best voices in music, as it still sounds as flawless as ever. So based on the two elements of this album I can understand, this is another great album from The Mavericks. 

Margo PricePerfectly Imperfect At The Ryman

This is the best Margo Price album and you can’t tell me otherwise. In the last edition of The Endless Music Odyssey, I expressed my disappointment with her latest studio album and how it fails to capture the energy of her live shows that get rave reviews. I’ve never seen her live, but I potentially will next year as she opens for a Chris Stapleton show I have tickets to see. This reminded me that she actually released a live album on Bandcamp earlier this year and it had slipped through the cracks for yours truly. After listening to this album, it further cements the sentiment she’s better live. She has a fiery and infectious personality that unfortunately just gets sanded away in her studio recordings. But in a live setting she’s unleashed and at her very best. Her vocals don’t feel restrained and you even get to hear her excellent vibrato on multiple songs, which baffles me that this isn’t featured much on her studio albums. 

I hope whoever produces her next album takes cues from this live album and finds a way to incorporate them. Old Crow Medicine Show was in this same boat for years too and Gary Clark Jr. is still in this boat. It’s a rare occurrence it feels like in music to sound good live, but not in the studio, as it’s usually the other way around for several artists. 8/10

Tucker BeathardKING

Well I’ll say this: at least his voice is tolerable now. I once said he couldn’t carry a tune in a bucket and that his voice was grating to the ears. It didn’t help either he was another victim of On The Verge, which is a legal payola way of making someone a “star”, but really just distorts reality. Also a smart move to delete all of his music with Big Machine Records and to start a clean slate. 

So I will say I can now listen to his voice without wanting to turn the song off. But he sounds essentially like every other male pop country artist. Still progress of course to go from bad to generic, but not really good either. None of these songs compel me to say anything other than it’s a song, except for “One Upper.” It’s a song about two characters: a rich asshole in a suit who thinks he can buy everything with money and an average joe who ultimately thinks he’s better because he has a hot girlfriend. What endearing people! 4/10

Josh TurnerCountry State of Mind

Just like I said about Jon Pardi’s Rancho Fiesta Sessions, take this for what it is and you’ll have an enjoyable listen. This is another solid country covers album released in a year where there’s been several. Needless to say I’m starting to get a little fatigued by them at this point. There’s not a bad song on this album, but the highlights in my eyes are “I’ve Got It Made” with John Anderson, the album title track with Chris Janson, “I Can Tell by the Way You Dance,” “Forever and Ever, Amen” with Randy Travis and “Desperately” with Maddie & Tae. 8/10

The Endless Music Odyssey, Vol. 4 — Margo Price, Jon Pardi, The Chicks & more!

Margo Price — That’s How Rumors Get Started

I really wanted to enjoy this album and there isn’t a single bad song on it. But yet after multiple listens not a single song sticks with me either. And it bugs the crap out of me how I can’t put my finger on exactly what it is that continues to be missing from Price’s albums. I’ve always been a fan of Sturgill Simpson’s production and while I think the direction taken with it suits Price’s style, it doesn’t necessarily work to her best either. I guess if I had to pick reasons of why this album just doesn’t work for me is it’s due to a lack of energy and presence of Price. She has a fantastic voice and yet it feels like she continues to be relegated to middling/softer vocal performances. So if it was up to me, I would like to see her go in a heavier rock direction and fully unleash her voice to see how the result turns out. 5/10

Jon PardiRancho Fiesta Sessions

Take this for what it is and you can find a lot of enjoyment in his small cover album. While the sound engineering isn’t the best and rawness of the recording exposes Pardi’s biggest weakness as a vocalist (sounding too thin at times), you can tell Pardi and his band really enjoyed recording this and this is infectious as a listener. It also further supports why I think Pardi needs to get away from his more traditional direction he’s been taking and get back to the more country rock sound of his first album. He just seems to enjoy himself more and it brings out his best too. Kudos to him having the guts to cover Prince too, as it is not an easy task and he actually does a solid job. 8/10

The ChicksGaslighter

This is one of my most disappointing listens of 2020. I’m still a big fan of the lead single and title track, as it’s energy is infectious. But this album becomes so tedious and monotonous to listen to thereafter. First off it feels less like a project from The Chicks and more of a Natalie Maines solo project. There isn’t enough harmonies. The “boat incident” is rehashed ad nauseam. But perhaps the worst thing about this project is the production. I’m a big fan of Jack Antonoff. Hell, he produced Country Perspective’s 2019 Album of the Year. But his production does not go well with The Chicks at all. It’s just too polished for this trio and pales in comparison to their previous sound. I had high hopes for the return of The Chicks, but this honestly feels like the Garth Brooks return all over again. 6/10

Tenille TownesThe Lemonade Stand

I come away from this album seeing a lot of potential in Tenille Townes. Her voice is distinctive and it sticks with you long after listening. And I think Jay Joyce is the right choice as producer, even though I think he can get a bit heavy handed with the production at times on this album. Townes is only going to get better as a songwriter too as she continues to get more experience. While there are a few too many moments where the songs just feel run of the mill, the moments that do work though are great, such as “Jersey on the Wall” and “Come as You Are.” 6/10

Mark ChesnuttNumbers on the Jukebox EP

The sound on this EP is just not mixed well at all. And I’m forgiving in this department when it comes to independent artists. But it’s just so jarring as the listener and I find it puzzling how live and studio recordings are intermingled. The songwriting is also a big step down from Tradition Lives, which is a great album. I expected a lot more from Chesnutt and this feels like a letdown.

Eric PaslayNice Guy

Man, what happened to this guy? He showed so much promise on his debut album. He’s a great live performer too. Then he released the terrible single “High Class” and it’s been steady down hill ever since. This mediocre batch of pop country only continues his descent. It just baffles me how an artist who seems to only be trending upwards to make such a sudden 180. Only Zac Brown Band and The Band Perry baffle me more when it comes to changing so suddenly.

RaeLynnBaytown EP

I’ve been enjoying the direction RaeLynn has been taking into more goofy, “kitchy” songs. This EP features even more enjoyable songs in this vein. “Judgin’ to Jesus” is really catchy and “Bra Off” makes me laugh at the new twist on a breakup song. “Fake Girl Town” doesn’t land for me as the tone just doesn’t fit RaeLynn nor the other tracks on the album. While the lighter side seems to fit RaeLynn best, “Me About Me” is a nice reminder of when RaeLynn wants to get more serious she can do quite well too. It honestly surprises me she hasn’t had more radio success because she has so many songs with great hooks and her charisma is infectious. But if you’ve been enjoying RaeLynn’s recent direction, this is an EP certainly worth your time. 7/10

Cassadee PopeRise and Shine

“I really want this record to sound like an acoustic Dashboard Confessional — like a country Dashboard record.” That’s what Pope says of this album and well mission accomplished. That’s not a good thing. It only makes me want to repeat again: Pope is not suited for country music. She has a great voice, but it is not suited for country. The pop punk of Hey Monday is where she needs to get back to, but we all know what’s more marketable and that’s what drives the decision making of most artists. It’s a shame.

Blackberry Smoke — Live Bandcamp albums

As always this band delivers and they deliver no better than when they’re in a live setting. These lives albums are admittedly not too different from their excellent 2019 live album Homecoming, but if you’re a fan of Blackberry Smoke it’s certainly worth checking out. If anything listen to the songs that aren’t covered on their previous live albums.

Albums from artists I’ve heard and will be covering soon:

  • Daniel Donato
  • Lindsay Ell
  • Duckwrth
  • CeeLo Green

Albums from artists I haven’t heard but on my to listen to list and will likely cover:

  • Caylee Hammack
  • Jacob Collier
  • The Mavericks
  • Tim McGraw
  • Josh Turner
  • Tucker Beathard
  • Taylor Swift
  • The Allman Betts Band