Album Review — Tyler Childers’ ‘Long Violent History’

The best surprises are not what you want, but what you need. Tyler Childers’ surprise new album Long Violent History is a record we needed. It’s easy to dismiss upon first glance for many because it’s an album that’s 90% instrumental music. It’s an understandable take that I at one time would have agreed with, but I’ve learned to gain a new appreciation for instrumental music in recent years. In fact I’m pretty sure I’ve listened to and reviewed more instrumental music in 2020 than all previous years combined.

The key to great instrumental music over the course of an album is variety and conveying mood within the listener as they listen to it. One of the big flaws I find with a lot of instrumental music is an insistence on perfection of the instrumentation, as this actually strips away the humanity of the sound and makes for a sound that is too sterile. It’s essentially elevator music. Instrumental music needs to have a rich tone and identifiable texture, especially when it comes to old time, Appalachian fiddle music like this.

So with all that mind, the novice experience of Tyler Childers when it comes to the fiddle is not really a hinderance for him on Long Violent History. It’s a more of a benefit, as this causes a greater focus on the music sounding good. Yes, if you handed this music to an Amanda Shires or Jimmy de Martini, they probably would “sound better” and hit the notes more precisely. But your average listener of this album wouldn’t be able to discern the difference between Childers’ playing and the best. So your enjoyment of the instrumental portion of this album will come down to how open minded you are toward this type of music and how much stock you put into precision of instrumentation.

For me, the instrumental songs on this album are highly enjoyable. The best way to experience them too is with a set of good headphones, as you can pick up all the little details. Childers dropped this album at the perfect time of year too, as the backdrop of colorful trees and a crisp autumn breeze suit these songs well. I would also be remiss if I didn’t mention that Dom Flemons and The Pickin’ Crew are part of this album, as their contributions are most certainly as important as Childers’ fiddle playing to what makes this album sound so damn good.

The gentle plucking of “Send in the Clowns” that begins the album is such a warm and inviting sound that grabs a hold of you and doesn’t let go. The frenetic “Squirrel Hunter” creates a feeling of excitement and adventure. I swore I’ve heard this in a video game I’ve played before, but I can’t quite put my finger on it. Hearing “Sludge River Stomp” on headphones for the first time made me do a double take, as it’s heavy and pounding background made me believe somebody was beating on my floor. It’s fantastic. I guess that’s the sound one should expect with a song title like this. The fluttering and melodic “Midnight on the Water” just showers right over you and “Bonaparte’s Retreat” provides that final frenetic burst of fiddle to build up to the album’s concluding climax.

The concluding song, the album’s title track, is what ties all this together and is ultimately what makes this album brilliant. Very rarely does one look at an album and determine that one song is what defines it. But I can’t name another album off the top of my head that utilizes the concept Tyler Childers uses with Long Violent History. In a way I look at the first eight instrumental songs as the prelude to the album itself and “Long Violent History” being the album. Childers could have easily cobbled together a few more songs and made an EP to tide listeners over. He could have just done an instrumental album too. But instead he very deliberately gave us an album with this unique presentation and I can’t help but marvel at the execution.

It all hinges on one song being excellent and “Long Violent History” exceeds this expectation. Many songs that try to cover the current racial and political strife that dominates the headlines and our attentions in this country fail to be great because they want to tell the listener how to think when instead they should invite the listener in with the music and let them draw their own conclusions on the message. We don’t need more agendas, we need honest discussions so bridges can be built. The only agenda in this song that can be found is a plea for empathy and understanding. This is a universal message that makes you think and look within yourself.

In just over three minutes Childers manages to cover a lot of aspects, from the long history of race issues and protests to the fake news and arguing that swirls everywhere you turn today. Childers then turns back to himself, essentially admitting ignorance when it comes to the unfair and brutal experiences of African Americans and instead just shares his experience as an often discriminated and misunderstood person from Appalachia (As someone who is also from Appalachia, I applaud Tyler for continually standing up for our region and showing that we’re not a hillbilly monolith). What’s so smart about this is how he doesn’t use his own struggles and problems as a measuring stick in a misery contest against the problems facing African Americans in this country (nor does he try to equate them in any way, only acknowledging them as a frame of reference), but instead uses it as a perfect analogy to better explain to people like him who may not understand what the protesting is all about. It’s about finding common ground so we can understand each other.

This all sets up the fantastic lyrics that hit the heart of it all, the invite to the listener to empathize: “In all my born days as a white boy from Hickman/Based on the way the world’s been to me?/It’s called me belligerent, it’s took me for ignorant/But it ain’t never once made me scared just to be/Could you imagine just constantly worryin’/Kickin’ and fightin’, beggin’ to breathe?”

Childers spells out clear as day what the issue is better than I’ve heard from any other song this year. And it’s not even that I haven’t heard other songs do a good job of this. But none have spoken to me like this one. Furthermore, he emphasizes how if the police did this to the people who live in Appalachia what they do to African Americans in this country, they would react in the same way many are in this country over the racial inequality that has taken place. Childers then wraps it up perfectly relating back to the beginning of the song how violence and injustice has an awful, long history once it begins and it usually results in being forced to live in an uncomfortable reality.

Who would have predicted an Appalachian country album filled mostly with old fiddle standards would end up being one of the best albums of 2020? But that’s exactly what Tyler Childers delivers with Long Violent History. It’s eight great instrumental songs with beautiful and thoughtful melody packaged around one of the most powerful, well-written songs of this generation. Tyler Childers writes himself into the history books with this album.

Grade: 10/10

Country Perspective’s Top 10 Albums of 2019

Back in the day, Country Perspective would spend around a month doing end of the year posts, recognizing the best and worst across several categories. While it was fun in a way, it was also quite tiring. And I imagine it had to be quite tiring for the reader too. After all I imagine you read several other music blogs and year-end posts. Speaking also as a reader of many blogs, it gets old after reading so many of these posts when really these things have two major points: 1) Giving proper recognition to the absolute best in music and 2) Giving you the listener a potential new album/artist to listen to. Plus, it’s fun to compare lists.

So with my lack of interest in doing so many year end posts and this blog having it’s major focus on albums, this is going to be the only best of 2019 post, the best albums of the year. It was a pretty good year for albums, as there were so many good ones across multiple genres. While there were some disappointments that stood out for me, pleasant new surprises more than made up for them (you’ll see some of them made the top 10 even). While it certainly didn’t touch the best years of this decade (hello 2014), 2019 is one of the better years of music in the 2010s (I’ll be doing my best of the decade posts in 2020).

But before I get to my top ten albums of 2019, I want to list some honorable mentions that weren’t quite good enough for the top ten, but still good albums that I recommend you check out…

Honorable Mentions

Country Perspective’s Top 10 Albums of 2019

10. Benny The Butcher – The Plugs I Met

Dirty, grimy and nasty is how I would describe the sounds and lyrics of this album. And I love it! The entire Griselda hip-hop collective is fantastic and rightly getting their due now that they’re signed to Eminem’s Shady Records (check out the album they dropped in November). But the star is undoubtedly Benny The Butcher and this album is the proof. All of his work is great, but this is an excellent entry point. When the king of coke rap in Pusha T endorses your coke rap (dropping a great feature on this album too), well you know you’re doing something right.

9. Cody Jinks – The Wanting

While I wouldn’t put the The Wanting as Cody Jinks’ best work, it’s certainly close and features maybe the most badass album cover of 2019. This album offers deep introspection on life, passion and love. The instrumentation is varied, going from slow ballads to rockers. And he did this all while dropping another album the week before that just missed this list. Jinks is undoubtedly one of the hardest working artists in music today and I was impressed by what he accomplished in dropping two great albums within a week of each other. If you’re someone looking to get into country music, Jinks is one of the first you should check out.

8. Dee White – Southern Gentleman

This album was released all the way back in January, but you should not forget about it. Dee White proves himself to be one of the most promising new country artists to watch with his debut album Southern Gentleman. White’s voice evokes memories of Roy Orbison and George Jones and he’s only 19-years-old. And while he feels like a classic artist in every sense, his lyrics are still modern. There are several great storytelling moments on this album and White even holds his own with fantastic vocalists like Ashley McBryde and Alison Krauss. I can’t wait to hear more from Dee White.

7. Tyler Childers – Country Squire

Country Squire is an incredible album and with its perfectly short run time, you’ll find yourself replaying it again and again. While some were disappointed by this follow-up to Purgatory, I was instantly impressed with this album. What’s great is these are old songs that have been played by Childers live for years and with live music being what pays the bills for artists, it only makes sense to record these songs. While we’re still due for Tyler Childers’ absolute best work, this is a pretty damn good album to play while we wait for it.

6. Michaela Anne – Desert Dove

Michaela Anne delivers an amazing album in Desert Dove. It’s full of smooth and breezy songs that only take a couple of listens to truly enjoy. Like my good friend and fellow music writer Zackary Kephart says, this album is quite similar to Kacey Musgraves’ Golden Hour and that was my top album of 2018. So if you enjoyed that album, this is a must-listen. This also feels like Anne’s breakout moment, as she finds the sound and themes she needed to truly show her full potential and prove herself as an artist that should be on your radar if you love country music or just great music in general.

5. Kishi Bash – Omoiyari

Omoiyari is a wonderful album full of beautiful lyrics and sounds that cover an important topic in American history that more people show know about. Why Kishi Bashi is not more covered by music journalists I’ll never know, but this music reviewer is telling you that you need to check him out. He’s a multi-instrumentalist who writes his own lyrics and can cover a wide variety of sounds so damn well. On this album he masters the chamber pop/orchestral pop sound while giving you an informative history lesson too. As a music nerd and history nerd, it’s a double win!

4. Mike and The Moonpies – Cheap Silver and Solid Country Gold

So I would be remiss if I didn’t point that my top four is clearly ahead of the rest, being that they all received 10/10 ratings, with each at one point or another getting consideration for Country Perspective’s 2019 Album of the Year. And out of all them, this was my biggest surprise of 2019. Mike and the Moonpies deliver something special with Cheap Silver and Solid Country Gold. It’s fantastic in both sound and songwriting. The group clearly left their comfort zone. It honors the tried and true, while delivering something that feels new too. This is a band for me that went from releasing two albums I couldn’t get into at all to releasing an album that I can’t find a single fault in.

3. Freddie Gibbs & Madlib – Bandana 

I found hip-hop in 2019 to be pretty disappointing. But I never find the work of Freddie Gibbs and producer Madlib to be disappointing, as this duo once again delivers big with Bandana. After delivering a classic in Piñata, they manage to nearly match it, which absolutely blows my mind. Gibbs raps his ass off on this album, delivering some of his best bars ever, while finding a great balance of bangers and humor while also offering introspection on more serious topics like when he was falsely accused of rape and systematic racism. Madlib brings some of the best beats in the game, picking some excellent samples as he always does. If there’s one hip-hop album you listen to this year, it’s this one.

2. Sturgill Simpson – SOUND & FURY

SOUND & FURY from start to finish feels like one long song, as it’s both cohesive in sound and lyrics, telling several stories that tie into overarching theme of Simpson being angry at a lot of things in the world, but when it comes down to it he’s most angry at himself and what he let himself become. Each track explores the flawed thoughts and actions of a flawed man. This album sounds like early to mid 70s music and sounds like the eccentric, frenetic sounds of Jeff Lyne and Electric Light Orchestra meets the in-your-face, sneering lyrics of Creedence Clearwater Revival. The amount of care and detail given to every aspect makes this one of the best albums you’ll hear in 2019 and yet another excellent album from Sturgill Simpson.

Country Perspective’s 2019 Album of the Year…

1. Carly Rae Jepsen – Dedicated

If you still think of Carly Rae Jepsen as just the “Call Me Maybe” girl, well you’re just plain wrong. Because when she released Emotion and Emotion Side B, she showed me that there’s not a better pop artist making music today. Jepsen further proves with Dedicated that she just gets pop music: the over-the-top production, the overwhelming emotions, the catchy hooks, exciting themes and everything in-between. It’s appropriate she has an album named Dedicated considering she writes hundreds of songs for each album and spends months culling down to the final track list. This true dedication to her music shines through on every lyric and sound on this album. It’s a complete album from front to back, touching on the several emotions of love through the many trials and tribulations of a relationship. And it wouldn’t surprise me a bit that the “B cuts” for this album are equally as great in quality. Not only is this the best album of 2019 in my mind, but one of the best of the 2010s.


Thanks for reading! Be sure to weigh in with your thoughts on Country Perspective’s Top 10 Albums of 2019 below and feel free to offer your own list. Also feel free to ask me about any music releases/news from 2019 too (think of it as a 2019 music AMA), as my late start didn’t allow me to discuss everything I would have liked to discuss.

Album Review – Tyler Childers’ ‘Country Squire’

With Purgatory, Tyler Childers delivered an album full of great songs. But with Country Squire, he delivers an album that is not just great, but a full and cohesive listen from start to finish. The album’s titular track sees Childers pining to make a country squire out of a trailer for him and his lady and it’s one of many moments on the album where Olde English and hillbilly vernacular intertwine. It’s raucous and catchy, making for an ideal opener. “Bus Route” vividly recalls the memories of a bus stop taken as a child, from the stern driver to the hopeful childhood love that blossoms into a forbidden teenage romp. What I particularly love about this song is how Childers delicately details every aspect and character mentioned, showing why storytellers like Willie and Prine have endorsed him.

“Creeker” is a song that gets better on each listen, as Childers paints the picture of a man suffering from a serious case of city blues and drowning his sorrows at a corner bar. I love the way Childers delivers his vocals on this track, as it has a nice singalong quality. Who knew heartache could be so catchy? “Gemini” is an astrology based song about pondering life on the road that keeps the flow of the album moving, but is probably the least essential song. For me the song just does nothing to stand out amongst the other tracks. Lead single “House Fire” is a catchy and fun sex jam that I personally can’t get out of my head. In another world this is a hit, even if some Childers fans might find the track to be too straightforward.

“Ever Lovin’ Hand” is one of the best songs you’ll hear all year and it’s about masturbation. On my first listen about 15 seconds in I figured this out and I couldn’t stop laughing. Yet on repeat listens you’ll find a lot of heart and meaning behind this song, as it shows the sacrifice and loneliness of being on the road non-stop. It speaks once again to Childers’ incredible songwriting that he’s able to bring such heart to a topic that you don’t exactly associate with heart.

“Peace of Mind”, along with the final track on the album “Matthew,” are songs that don’t aim to make a point, but rather tell the stories of everyday people and give insight into a reality that doesn’t get talked about. They show a realness you won’t find on your Twitter feed or CNN. And that’s pretty damn important. “All Your’n” best shows the importance of producer Sturgill Simpson’s presence on this album, helping craft an undeniable vibrant sound. It’s funky, it’s soulful, it’s bluegrass and it’s a song that I can play over and over. And most importantly it gives punch to the heartfelt lyrics of Childers.

Country Squire is an incredible album and with its perfectly short run time, you’ll find yourself replaying it again and again. Well done, Tyler Childers.

Grade: 9/10