Independent southern rock band Rick Monroe and the Hitmen is set to release its new album, Lead Burns Red later this year through The Label Group.
In anticipation of the record’s pending release, the band premiered the album’s new single, ‘Looking‘ Friday. The song is a composition that will appeal to a wide range of listeners. That is due to the balance of its bluegrass, southern rock and country leanings. While some have likened the work to those from the likes of Eagles, The Allman Brothers Band, and even Tom Petty and the Heartbreakers, the balance of the banjo and guitar here honestly likens the arrangement more closely to the likes of Steep Canyon Rangers and a hint of Reckless Kelly to this critic’s ears.
No information was provided about the song’s lyrical theme in the news release announcing the single’s release and no lyrics are provided with the song through the band’s YouTube channel. From what can be inferred through the lyrics, it comes across as centering on the all too familiar theme of someone who is looking for love and maybe in all the wrong places.
More information on Rick Monroe and The Hitmen’s new single is available at:
Up-and-coming southern rock act Gill Brothers Band released its self-titled debut Tuesday through Slang Church. The record is an interesting presentation that fans of said genre will find worth hearing at least once. This is proven in part through its featured musical arrangements, which will be discussed shortly. The lyrical content that accompanies the album’s musical arrangements adds to the record’s appeal in its own right and will be discussed a little later. The record’s production rounds out its most important elements and will also be examined later. Each item noted plays into the album’s engagement and entertainment in its own way. All things considered, they make the album a new addition to this year’s field of independent and rock albums that is worth hearing at least once.
Gill Brothers Band, the debut record from its namesake act, is a presentation that will appeal to fans of the southern rock realm. That is due in large part to its featured musical arrangements. From start to end, the 35-minute album, the arrangements exhibit influences from a wide range of southern rock acts whose own music also shows clear blues influence. Speaking more specifically, a song, such as ‘Small Block’ (which comes late in the album’s run) presents not only a southern rock sound, but a stylistic similarity to AC/DC and Lynyrd Skynyrd, what with the chromatic riffs and the distinct vocal style in the verses. Interestingly enough, the song’s choruses lend themselves to comparison to works from Foo Fighters, making for quite the intriguing duality. Even with that being the case, the overall arrangement is well-balanced and makes itself stand out among the rest of the record’s arrangements.
On another note, ‘Rest In Piece’ actually has a very subtle tribute to a well-known Metallica song in its secondary guitar line and steady bass drum beat. Whether that similarity was intentional is known only by the band. Regardless, that great tribute (subtle as it is) alongside the arrangement’s more southern rock leanings gives this arrangement its own unique identity separate from that in ‘Small Block’ and from the rest of the album’s arrangements. It further shows the importance of the record’s overall musical arrangements to the album’s overall presentation.
As if everything noted is not enough, the arrangement featured in ‘Nobody’s Fool’ does its own share to continue showing the variety in the record’s arrangements. In the case of this arrangement, one cannot help but make the slightest comparison to works from the J. Geils Band in the song’s verses. The choruses meanwhile lean more in the noted familiar southern rock sense. Maybe the J. Geils Band comparison is just in this critic’s ears and mind, but even if that is the case, then so be it. This critic does hear it. The blend of those two distinctly different styles and sounds once again makes clear the variety of the musical content featured throughout the album, and the importance thereof. When it and the other arrangements examined here are considered along with the rest of the album’s arrangements (which exhibit influences of Black Crowes, Zac Brown Band, and Lynyrd Skynyrd) the whole makes clear just how important the album’s overall musical content is to the record’s presentation.
While the musical arrangements featured throughout Gill Brothers Band unquestionably do a lot to make the record worth hearing, they are just part of what makes the record work as well as it does. The lyrical themes that accompany the album’s musical content add to the noted appeal. Case in point is the lyrical theme featured in ‘By Your Side.’ In the case of this song, it is another ode to a former romantic interest. That is made clear in the song’s lead verse, which states, “If I had the money/I’d buy you a boat/We’d take it out on the clear lake/Oh how we’d float/But money isn’t the answer/At least that’s the way it should be/I swear we used to laugh/So easily/Is it wrong/To mourn for love/Makes me sick/To sing this song I’m thinking of/Now the memory/It stays with me/And the feeling passes by/Down that highway/If I’d had it my way/I’d still be by your side/Would it be alright/Could I stay by your side?” The song’s second verse continues in similar fashion, with mentions of wishing for closure along the way. It is a familiar topic that is made more interesting when it is considered alongside the song’s musical arrangement. That is because the mood set through the Reckless Kelly style musical arrangement is not as melancholy as one might think. Rather it is more semi celebratory as it recalls the happier times.
‘Rock and Roll,’ which is one of the album’s singles, is yet another example of the importance of its lyrical content. In the case of this song, it finds the song’s subject wondering if the path that he took in life was the right choice. This is inferred in the song’s lead verse and chorus, which state, “The property is going to s***/It’s a hit/Do you think you’ll stick around next time you’re down/I tell you what, buddy/I’m short on your money/Hold up/Get down/I’m turning licks into honey/I just can’t decide/Did rock and ruin ruin or save my life?/And I just can’t decide/Did rock and roll ruin or save my life?” The second verse adds to that sense as it states, “I’m running out of steam/I can’t remember the dream/The Gisbon’s in the case/And I’m watching TV/Pick up the slack/Could you please run it back?/I’m riding alone/I’m riding right off the tracks.” In other words, this is someone who is headed in the wrong direction. It’s a familiar topic, though not overly familiar anywhere in the music industry. Again, considering the song’s musical arrangement, this theme becomes even more interesting, considering the theme’s contemplative nature. Keeping all of this in mind, the song’s lyrical theme continues to show, in its own way, the importance of the album’s lyrical content. It is its own theme that stands apart from the others featured throughout the album that will engage and entertain audiences in its own way.
‘Nobody’s Fool’ is yet another example of the important role that Gill Brothers Band‘s lyrical content plays in its overall picture. In the case of this song, its lyrics come across as a statement of someone who is looking forward as he looks to the past, determined to make changes. This is inferred in the song’s chorus, which states, “When I get off this mountain/Tell you what I’m going to do/Take the things that made me stronger/And give them all right back to you/When I get up off my a**/And do the things that I should do/I’ll see the things around me changing/Seeing me and you change, too.” The mountain is a metaphor for life, and how the song’s subject is having to “climb” it. It is another familiar topic presented in a unique fashion that is also accessible to audiences. When it is considered along with the equally relatable themes examined here and with the rest of the album’s themes, the whole leaves no question about the importance of the album’s lyrical themes. When the album’s musical and lyrical content is collectively considered, that whole makes the album all the more engaging and entertaining. It is collectively just part of what makes the album stand out. The record’s production rounds out its most important elements.
The production that went into the album’s presentation is important to note because of its role in the album’s general effect. The production ensures that the best is brought out of each song, expertly balancing the instrumentation and vocals within each track. That balance makes the listening experience that much more enjoyable, too. In turn, it ensures listeners will find themselves paying more attention to each arrangement and each lyrical theme, thus immersing themselves into the record that much more. Keeping all of this in mind, Gill Brothers Band proves itself a positive start for the up-and-coming country/southern rock act.
Gill Brothers Band’s self-titled debut album is a mostly successful offering from the up-and-coming country/southern rock band. That is proven in part through its featured musical arrangements. The arrangements are each familiar in their approach and sound, but still boast unique minutiae that makes them all the more engaging and entertaining. The album’s lyrical themes are just as accessible as its musical arrangements. Audiences will connect with that aspect of the album as much as the record’s musical content. The album’s production produces a welcoming general effect that ensures audiences’ engagement and entertainment just as much as the record’s content. Each item examined is important in its own way to the whole of the album’s presentation. All things considered, they make the album an overall welcome addition to this year’s field of new independent albums.
Gill Brothers Band is available now through Slang Church. More information on the album is available along with all of the band’s latest news at https://www.facebook.com/gillbrosband.
Independent rock band The Swaggerlies is scheduled to release its new album, The Last of the One and Onlys Friday. The nine-song record (the band’s third overall recording and debut studio recording) is an interesting introduction to the band among those who might be less familiar with the band’s work. The two singles that the record has produced – ‘Good at Being Bad’ and ‘Drunk in London’ – do well to support that statement. They are only two of the songs that stand out in this nine-song record, too. Just as much of note is the 29-minute presentation’s sole instrumental track, ‘March of the Swaggerlies.’ The song will be discussed shortly. Also of note in this album is its title track, which will be examined a little later. The album’s penultimate entry, ‘Outrage’ is yet another example of how much the album has to offer audiences. Each song noted here is important in its own way to the whole of the record’s presentation. When they are considered along with the album’s singles and the rest of its songs, the whole makes The Last of the One and Onlys a work that is one of a kind.
The Swaggerlies’ forthcoming debut studio album, The Last of the One and Onlys, is a unique addition to this year’s field of new rock and independent albums. The two singles that it has already produced make that clear. They are just some of the songs that serve that end, too. Just as much of note is the album’s lone instrumental track, ‘March of the Swaggerlies.’ Opening with a steady cadence played on the snare alongside a rich, blues rock style guitar lick and Hammond organ, it immediately lends itself to comparison to works from Stevie Ray Vaughan while also incorporating some modern rock leaning to make for an interesting contrast. The richness in the near wall of sound approach is so well-balanced through the song’s production. It ensures, along with the musicians’ performances here, that audiences will remain engaged and entertained from the beginning to end of the song. Interestingly, the song is the album’s shortest compositions, clocking in at two minutes, 28 seconds. Even in that short time, so much happens, and the group – Jeromy Leonard (bass, backing vocals), Rob Olsen (drums), Ron Stohr (lead guitar), and Earle Thunders (lead vocals, guitar) – makes the song feel so much longer in the best way possible. To that end, this song may be instrumental, but also does so much to show the band members’ talents.
‘March of the Swaggerlies’ is just one of the songs that shows what makes The Swaggerlies’ new album worth hearing. Also of note is the album’s title track, ‘One and Onlys.’ The song stands out in part through its musical arrangement, which is distinct from that featured in ‘March of the Swaggerlies.’ In the case of this song’s arrangement, the band took an approach that makes the song comparable to works from the likes of Reckless Kelly, Wilco, and others of that ilk. The harmonies generated through the guitar lines form the arrangements infectious foundation while Olsen’s steady time keeping and Leonard’s work on bass add to the arrangement’s appeal in their own right. The whole makes the song, again, comparable to works from the noted acts while still holding its own identity separate from their works. The mood set through the arrangement serves well to work with the song’s lyrical theme.
The lyrical theme featured in ‘One and Onlys’ seems to point the song in the direction of a warm remembrance of someone. This as Thunders sings in the song’s lead verse and chorus, “From cold Seattle mornings/To far away stage lights/Ramblin’ men, they were making bets/On those runners in the night/and locked out of the cool kids club/With the loudmouths in the back/Looking for that lonely truth/That only music has/And not a soul could reach him/We all know mama tried/Just a grievous angel/Singing toward a long , slow suicide/He’s the last of the one and onlys/He’s the last of the never going home/In the felsh and for one night only/Let’s leave some scars we can write these legends on.” That note in the chorus is what really hints at this song being about a specific person or type of person. There is more mention of whomever said person was in the song’s second verse, as Thunders sings of that person, “He loved us like a reptile/We prayed away his sins/Let’s hurry up and get to the place/Where the consequences end.” This all just seems very contemplative and very country music in its nature. It is certain to get plenty of listeners thinking and talking, regardless of how close this critic’s interpretation is of said content. Keeping that in mind, that alone shows even more why the song’s lyrical theme is just as important as its musical arrangement. All things considered, the song is just one more example of what makes The Last of the One and Onlys worth hearing. ‘Outrage,’ the album’s penultimate entry, is yet another example of what the album has to offer audiences.
‘Outrage’ is of note in part because of its own musical arrangement. The arrangement here takes the band in yet another direction. This time, the band echoes the blues based rock sounds of AC/DC, Guns ‘N Roses and so many others of their ilk with the powerful, cutting guitar riffs, vocals, and drums. The infectious vibe of this song and its energy are certain to appeal to any guitar rock purist and give them reason enough to appreciate the song. When everything that went into the arrangement is considered along with the song’s lyrical theme, the song overall gains even more traction.
The lyrical theme featured in ‘Outrage’ is itself that of outrage. It is a commentary on how the media handles news stories and how people react to those intentionally divisive and fear mongering stories. This is clearly inferred through the song’s lead verse and chorus, which state, “Don’t look now/Don’t you question how/We’re selling a new brand of fear/Kneeling rage and kids in cages/Don’t let the picture get too clear/Didn’t see it/Didn’t wanna believe it/An accomplice in a brand new plan/A great big bleedin’ for a dollar’s freedom/Ain’t no need to understand/Hey/What do you say?/Get hip to the outrage of the day.” Again, this is relatively clear cut. It is an indictment of the media and people’s reaction to what the media has done for ages. From here, the band further indicts the media, addressing the media’s bias in relation to politicians, too, as Thunders sings, “Shut your eyes/To the little white lies/And the ones that are red and blue/It’s no surprise what terror buys/Paranoia’s IOU/A casting call for Mecca’s wall/All the martyrs are out on parade/Glory to their heaven’s call/Another killer that we made.” The mention of Mecca and related topics comes across as a reference to how news reports are only serving to make people afraid of and hateful toward those from the Middle East. This is of course just this critic’s interpretation. Overall though, the message is relatively clear. This is an indictment of the media machine and what it has done to America and its people. It is yet another example of how much audiences have to expect from the album. When it is considered along with the other songs examined here, as well as the album’s singles and the rest of the album’s entries, the whole makes The Last of the One and Onlys a one of a kind record that is worth hearing at least once.
The Swaggerlies’ forthcoming album, The Last of the One and Onlys is a unique presentation that will appeal to most rock purists. The record’s singles do well to prove that, as do the songs examined here. When they are considered along with the rest of the album’s entries, the whole makes the album an enjoyable addition to this year’s field of new independent albums.
The Last of the One and Onlys is scheduled for release Friday. More information on the record is available along with all of the band’s latest news at:
Two decades ago on Sept. 11, 2001, Reckless Kelly was in the studio working on new material when the world stopped and watched a a group of evil, sick, twisted individuals took control of a group of planes and took the lives of almost 3,000 innocent Americans. While the world stopped, the band did what it does best, make music, all while watching in shock and sadness at what was happening at that moment. The decision to keep recording that music was itself a statement of defiance against those who would try to destroy America, that they and others like them would not win. Now 20 years later, the band marked the anniversary by releasing the music it was recording on that somber day in the form of “The 9/11 Demos.” The band’s new 16-song record was released on Sept. 11. It is an impressive new offering whose musical arrangements will appeal widely to audiences in themselves. This aspect will be discussed shortly. The lyrical themes that accompany the record’s musical arrangements are appealing in their own way and will be examined a little later. The record’s sequencing brings everything together and completes the picture painted through this record. It will also be discussed later. Each item noted here is important in its own way to the whole of the record’s presentation. All things considered, they make the album another must have for any Reckless Kelly fan and any casual fan of country music, folk, Americana, and even bluegrass.
Reckless Kelly’s recently released record, The 9/11 Demos is an impressive new offering from the veteran band. The 61-minute record will appeal equally to the band’s established audience base and to casual fans of country music, bluegrass, folk, and Americana. That is proven in part through the album’s musical arrangements. The arrangements are, for the most part, familiar territory for the band. That is because they so expertly balance the elements of the noted genres into one whole from one song to the next. Co-founder Willy Braun even said of the arrangements during a recent interview, “For the average listener, they’ll hear some familiar RK songs, albeit, different in structure and in their infant stage, as well as several previously unreleased songs that never found a home, but maybe should have.” Whether it be the somber, collected vibes of ‘May Peace Find You Tonight,’ the more energetic sense of ‘Me & My Baby’ or even something more middle ground (for lack of better wording), such as ‘I Saw It Coming,’ the arrangements each do an impressive job of presenting that familiar blend of musical influences for which the band has come to be known throughout its life. For all of the familiarity and enjoyment that the arrangements offer, there is one arrangement that is enjoyable even being less familiar in its stylistic approach. It comes late in the record’s run in the form of ‘I Hate That Guy,’ the album’s penultimate entry. While the band’s familiar country and bluegrass leanings are just as much on exhibit here as anywhere else in the album, the song’s arrangement also presents some distinct rock leanings. More specifically, Braun’s vocals alongside the song’s instrumentation immediately lend themselves collectively to comparisons to early works from Nirvana. It’s an odd comparison, yes, but it is there and it works so well. It really stands out as one of the album’s best works. Between that arrangement and so many others featured in this record, the overall musical picture painted in this album is rich and immersive. It gives audiences plenty to appreciate in itself and is just one of the items that makes the album successful. The lyrical themes that accompany the album’s musical arrangements add even more to that success.
The lyrical themes that accompany The 9/11 Demos’ musical content are important to address because they are just as accessible as that noted content. For instance, ‘Snowfall,’ the album’s opener presents a lyrical theme that comes across as being about being out on the road. In this case, it proves different from so many similar style songs because it is not just about missing being home. Yes, there is there in the song’s lead verse, but the second verse turns the tables a bit, with Braun singing about the pleasure in getting back out on the road and finding a certain freedom. It is a unique take on a familiar topic that is certain to connect with audiences through that original approach.
On a separate note, a song, such as ‘Me & My Baby’ is just as familiar in its lyrical theme. In this case, the song is a celebratory work in which the subject is head over heels for a woman. Again, it is another familiar topic across the musical universe. The way in which the topic is approached here makes just as certain that it will appeal to audiences.
On yet another note, ‘Wicked Twisted Road,’ the album’s contemplative finale, is yet another example of the importance of the record’s lyrical themes. In this case, the song finds its subject looking back at his life, not so much with regret, but with that deeply noted contemplation. It is simply a rich rumination on where the subject was and where he is today. There is no real oh woe is me here, but rather, just deep thought. It is another familiar lyrical theme that is once again used across the musical universe, and is just as accessible in this presentation as in any other case. When the accessibility of this theme is considered along with the other themes examined here and the rest of the record’s themes, the whole joins with the album’s equally accessible and enjoyable musical arrangements to make the overall content more than enough reason for audiences to hear The 9/11 Demos. Taking this into account, the overall content is just a part of what makes the album work. The sequencing of that content rounds out the album’s most important items.
The 9/11 Demos’ sequencing is important because of its role in the album’s general effect. The sequencing takes into full account, the musical and lyrical content that makes up the album’s body. In taking this into account, the energies exhibited in each arrangement keep the record progressing fluidly from one song to the next. The lyrical themes change just enough from one song to the next, too, through the sequencing. The result is that the lyrical themes ensure listeners’ engagement and entertainment just as certainly as its musical arrangements. Taking all of this into mind, the sequencing shows that plenty of time and thought went into this album’s sequencing. Those behind the record’s creation showed that they did not just toss the songs together in random fashion. There was deliberate direction in the sequencing, and it paid off fully from one song to the next. The positive impact of the expert sequencing works with the equally positive impact of the record’s content to make the record in whole another successful entry from Reckless Kelly.
Reckless Kelly’s recently released album, The 9/11 Demos is a strong new offering from the veteran country/rock band. Its success comes in part through its featured musical arrangements. The arrangements prove successful in their own right because they are familiar in their sounds and stylistic approaches. At the same time they still boast their own identities separate from the band’s existing catalog. The lyrical themes that accompany the noted musical content make for their own appeal. They prove important because they are just as familiar and accessible as the noted musical content. The sequencing of that collective content puts the finishing touch to the album’s presentation. That is because it takes the noted content into full account in attempting to keep listeners engaged and entertained. It succeeds in this avenue, too. Each item examined is important in its own way to the whole of the album’s presentation. All things considered, they make the overall album one of the best of this year’s new country/bluegrass/folk/Americana albums.
In related news, Reckless Kelly is in the midst of a tour in support of its new album. The band’s upcoming tour dates are noted below.
Tour Dates:
10/1: San Antonio, TX – Sam’s Burger Joint
10/8: Omaha, NE – Barnato
10/9: Mills, WY – Beacon Club
10/10: Missoula, MT – The Wilma
10/12: Bend, OR – Tower Theatre
10/13: Stanley, ID – Mountain Village Resort
10/14: Stanley, ID – Mountain Village Resort
10/15: Garden City, ID – Revolution Concert House
10/16: Pocatello, ID – Stephens Performing Art Center
10/17: Salt Lake City, UT – The Depot
10/18: Fort Collins, CO – Washington’s
10/21: Oklahoma City, OK – Tower Theatre
10/22: Fort Smith, AR – Temple Live
10/29: Fredericksburg, TX – The Backyard Amphitheater
11/10: Newport Beach, CA – Campus Jax
11/11: San Luis Obispo, CA – Fremont Theater
11/12: Felton, CA – Felton Music Hall
11/13: Berkeley, CA – Cornerstone Craft Beer & Live Music
11/14: Petaluma, CA – Mystic Theatre
11/16: Reno, NV – Virginia Street Brewhouse11/18: Amarillo, TX – Hoot’s Pub
11/20: Hawkins, TX – Red Rooster Icehouse
4/2/2022: Houston, TX – 713 Music Hall
The 9/11 Demos is available now. More information on the album is available along with all of Reckless Kelly’s latest news at:
Early this month, independent music collective Royal Horses released its debut album A Modern Man’s Way To Improve to the masses. The 10-song record is a strong start for the band. It is a presentation that makes this band one of the next big names in the country and southern rock communities. That is proven in no small part to through the musical arrangements that make up the album’s 37-minute body. They will be addressed shortly. The lyrical content that accompanies the record’s musical content adds to the album’s appeal. It will be addressed a little later. The record’s production puts the finishing touch to its presentation and will be addressed later, too. Each item noted here is important in its own right to the whole of the album. All things considered, they make the album a positive start for the up-and-coming outfit that is certain to appeal to a wide range of audiences.
Royal Horses’ debut album A Modern Man’s Way To Improve is a powerful start for the collective. It is a presentation whose appeal is far-reaching. This is proven in part through its musical arrangements. From start to end of the album, the band refuses to stick to just one sound and stylistic approach. There is some rock influence, such as in ‘Rattlesnake Smoking a Cigar,’ which comes late in the albums run. The song’s arrangement and sound is psychedelic. There are times in this four-and-a-half-minute opus that conjure thoughts of Jimi Hendrix while at others, there are hints of Clutch. Yes, it’s one heck of a combination, but it is balanced surprisingly well here and works just as well. On a completely different note, ‘Leave A Light’ presents an old school country music approach that will appeal to fans of Hank Williams, what with its vintage honky ton sound and style. On yet another note, a song, such as ‘Valley of the New’ will appeal to fans of the modern country rock band Reckless Kelly. There is even a welcome bluegrass element in ‘Call It War’ and an equally enjoyable blues-based rock presentation in ‘Who Do You Know’ that will appeal to fans of Rev. Peyton’s Big Damn Band. ‘Ruby Do’ gives audiences a sort of rockabilly approach that fans of Rev. Horton Heat and the Legendary Shack Shakers will enjoy. Between these noted arrangements and the others featured throughout the album, the whole of the record’s musical content shows great diversity. That in itself ensures the album’s noted wide appeal. It is just one aspect of what audiences will enjoy about the album. The lyrical content that accompanies the album’s diverse range of musical arrangements adds to the record’s appeal even more.
The lyrical content that is presented throughout A Modern Man’s Way To Improve adds to the album’s success because it is just as accessible as the album’s musical arrangements. Case in point is the lyrical content featured in ‘Valley of the New.’ Front man Shelby Kemp sings here, “give me a reason to be here/Give me something to lose/Sing me a riddle/And I’ll give you a good answer/And I’ll hold you ‘til the sun comes shining through.” From there he sings later, “If I die here/There is something you must do/March me down/In a field of golden roses/March me down/to the tune of something blue/hang my hat/On a yonder mountain/Lay my heart/In the valley of the new.” This is as old school country as a song can get. On another note, the addition of the claves to the song’s arrangement gives the work a little bit of a Jimmy Buffet influence. Getting back on track, the song follows lyrically in similar fashion as that presented in its lead verse and chorus. Simply put, this is vintage country in which someone is singing about life gone by and what is to come. It’s one of those classic introspective songs that one could so easily hear in an old, dimly lit honky tonk bar. Its introspective lyrical content and equally moving musical arrangement makes for so much enjoyment.
‘Valley of the New’ is just one of songs whose lyrical theme shows the overall importance of the album’s lyrical content. ‘Rattlesnake Smoking A Cigar’ presents its own interesting lyrical content. It is just as psychedelic as the song’s musical arrangement. The subject sings here about going for a drive with his dad. The duo meets a group of women *allegedly* and one turned out to be not quite what she appeared. It is the most unique lyrical presentations featured in this album and will certainly have listeners talking.
‘Bottom of the Chart’ presents another unique lyrical theme that is worth noting. This song finds the song’s subject singing about being there for someone else when all of life’s negativities happen. From everything dying to “mother earth closing her eyes”, to even rivers being dammed up by trees, the song’s subject says he will be there for that person “at the bottom of your chart.” This is just this critic’s interpretation, but it comes across as someone saying, even when I’m the last on your list, the least important to you, I’ll be there. If in fact that is what the song’s subject is saying, then it is powerful. Most people who realize they are at the bottom of someone else’s priorities will do something to change things and perhaps just walk away from that situation. For this song’s subject to seemingly say he will be there, devoted as ever, no matter what, is a powerful statement. On one hand, it is moving. On another, some might say not so smart. The seeming lyrical theme in itself is certain to generate plenty of discussion. Building on the noted discussion, if in fact this critic’s interpretation is right then it takes listeners in yet another distinct direction. It shows even more, the record’s lyrical diversity. The result is that it shows even more, the importance of the album’s lyrical content in whole. The rest of the record’s lyrical content supports the noted statements just as much as that examined here. Between all of that and the album’s musical content, all of this more than makes this record worth hearing. All of that content is just a part of what makes A Modern Man’s Way Of Improving such a strong start for Royal Horses. The production of the noted collective content rounds out the record’s most important elements.
The production of A Modern Man’s Way of Improving is important to note because of how much is going on in some of the album’s entries, and how little is going on in others. ‘BLD’ for instance, which closes out the album, is one of the entries that has very little going on. It is grounded in a very simple, light guitar line. The echoing effect in the guitar’s melancholy approach is a credit to the production. It really serves to help set the mood in this song. The lyrical content is very limited here, which means the music takes center stage. Those behind the boards are to be credited for their work here. That noted echo effect and just the simplicity in the guitar line here supports the old adage that it is possible for a song to be heavy without being heavy.
By comparison, the album’s title track, which comes very early in its sequence, has a little bit more going on. The poppy approach and sound in the song again lends itself to comparisons to works from Reckless Kelly, but in this case, also to works from Pearl Jam and Bruce Springsteen. That’s one heck of a collection of influences, but it works so well here. It is also a credit to those responsible for the album’s production. That upbeat but still light guitar line works so well with the song’s solid time keeping and catchy vocal delivery style to make for so much enjoyment. On another level, the subtlety in the lead guitar line against the lighter rhythm guitar line adds its own richness to the presentation. The bass line pairs with that aspect to fill out the arrangement even more. As the song progresses, an increasing amount of action takes place. Each element within the song is expertly balanced throughout, to the end that the song offers listeners full enjoyment and engagement from start to end. It is just one more way in which the album’s production proves so important and hardly the last. ‘Call It War’ is another example of the importance of the album’s production.
‘Call It War’ crosses elements of bluegrass with southern rock and country into one whole for its foundation. The very crossing of the elements into one whole makes for an interesting presentation. That the banjo and electric guitar get equal attention here thanks to the production enriches the song’s arrangement in its own right. That the drums are used to tastefully here to add accents in all of the right points adds even more to the song’s enjoyment and engagement. The whole conjures thoughts of the Jerry Reed/Dick Feller hit song ‘Eastbound and Down’ from the timeless Burt Reynolds movie Smokey & The Bandit. That the whole can conjure such a comparison and that everything is so well-balanced here is one more example of the impact and importance of the album’s production. The production clearly brings out the best aspects of each song, in turn making each song so enjoyable and engaging. When this is considered along with the album’s musical and lyrical content, the whole of these elements makes the album in whole a successful first outing for Royal Horses.
Royal Horses’ debut album A Modern Man’s Way To Improve is a positive first outing for the up-and-coming band. It is a presentation that is sure to appeal to a wide range of listeners. That is proven in large part through its musical arrangements. The record’s musical arrangements offer elements of southern rock, country, bluegrass, and even blues-based rock. The arrangements never stay on one track for too long a period of time, either. That ensures in its own way, listeners’ enjoyment and engagement. The lyrical content that accompanies the album’s musical arrangements is just as diverse as the album’s musical arrangements. It ensures even more that enjoyment and engagement. The production that went into the album’s presentation brings out the best elements of each arrangement, making the album even richer in its presentation. Each item noted here is important in its own right to the album’s presentation. Al things considered, they make the album a promising first outing for Royal Horses. The album is available now.
More information on A Modern Man’s Way To Improve is available along with all of Royal Horses’ latest news at:
Country music, bluegrass, folk, and Americana fans have had a lot to be happy bout in 2020. That is because the genres, which are so closely related to one another, have seen a lot of enjoyable new albums released. Bluegrass fans saw Steep Canyon Rangers release its new album Arm in Arm. The country music world saw Chris Stapleton’s new album Starting Over, which is some of his best work to date in his still young career. Steve Earle and his fellow musicians The Dukes released a new album that audiences can easily put into the Americana category while the folk world while Delta Rae’s new album The Light can just as easily be added to the folk/neo-folk category just as much as the Americana category. All three albums are featured in this year’s Phil’s Picks 2020 Top 10 New Country/Bluegrass/Folk/Americana Albums list along with lots of others, including Chatham County Line’s new album Strange Fascination and the recently released independent band Royal Horses’ new album A Modern Man’s Way To Improve. That album crosses the border of country, bluegrass and Americana.
As with each year’s past lists, this year features the year’s Top 10 best new albums from the noted genres along with five additional honorable mentions for a total of 15 albums. Without any further ado, here is PHIL’S PICKS 2020 TOP 10 NEW COUNTRY/BLUEGRASS/FOLK/AMERICANA ALBUMS.
PHIL’S PICKS 2020 TOP 10 NEW COUNTRY/BLUEGRASS/FOLK/AMERICANA ALBUMS
Chris Stapleton – Starting Over
The Okee Dokee Brothers – Songs For Singin’
Josh Turner – Country State of Mind
Delta Rae – The Light
Reckless Kelly – American Girls/American Jackpot
Steve Earle & The Dukes – The Ghosts of West Virginia
Chatham County Line – Strange Fascination
Jack The Radio – Creatures
Royal Horses – A Modern Man’s Way To Improve
Steep Canyon Rangers – Arm in Arm
Brothers Osborne – Skeletons
Bruce Springsteen – Letter To You
Jason Isbell & The 400 Unit – Reunions
Mile Twelve – Roll The Tapes All Night Long
Special Consensus – Chicago Barn Dance
Next up from Phil’s Picks is 2020’s Top 10 New Rap & Hip-Hop Albums. Stay tuned for that.
Alt-Country outfit Reckless Kelly officially returns Friday with its tenth full-length studio recording. The band will release its new recording, American Jackpot/American Girls digitally on Friday. Leading up to its release, the double album produced three singles – ‘I Only See You With My Eyes Closed,’ ‘North American Jackpot’ and ‘Lonesome On My Own.’ While all three singles are enjoyable in their own right, they are just some of the songs that stand out on this latest offering from the band. Considering the double record spans a total of 20 songs, it offers plenty from which to choose both in terms of musical arrangements and lyrical themes. ‘Lost Inside The Groove,’ which comes late in the record’s 75-minute (hour and 15-minute) run, is another key addition to the album, proving its strength. It will be discussed shortly. ‘Another New Year’s Day,’ one of the album’s early offerings, is another of the album’s strong points. It will be addressed a little later. ‘Put On Your Brave Face Mary’ is yet another important addition to the album’s body. When it is considered along with the other songs noted here, the album’s already released singles and the rest of the album’s songs, the whole of the album proves to be one of this year’s top new country music albums.
Reckless Kelly’s latest full-length studio recording American Jackpot/American Girls is another positive offering from the veteran alt-country outfit that audiences are sure to enjoy. That is due to musical and lyrical content that will keep listeners engaged from beginning to end of the hour-long-plus record. ‘Lost Inside The Groove’ is just one of the songs that serves to support these statements. That is proven in part through its upbeat musical arrangement, which will get any listener’s foot tapping. The song’s arrangement will take listeners back to another age of music, thanks to the incorporation of the organ into its whole. The same applies to the style presented through the guitar, bass and drums, which collectively create a kind of old school honky tonk sound. The combination of the classic surf rock sound generated through the organ and the old school country sound doesn’t seem on paper that it would work, but in reality, works quite surprisingly well. It’s just one part of what makes the song stand out. The positive energy exuded through the arrangement is enhanced through the song’s lyrical content.
The song’s lyrical content is just as upbeat as its musical content. Front man Willy Braun sings in the song’s lead verse, “Well my little mamacita, she says to me/You’re everything I ever need/Ain’t no way I’d ever break your heart/She picks me up when I’m feelin’ down/Holds me steady when I’m spinnin’ ‘round/There’s no mistaking the real thing/And I’m lost inside the groove again with you, baby/I never want it to be found/Lost inside the groove again with you baby/This time, I’m not messing around.” He continues in the song’s second verse, “Well my cool, rockin’ mama and lucky old me/We got something that you wouldn’t believe/Flyin’ down lover’s lane on cruise control/She’s pickin’ up what I’m puttin’ down/Heart to heart without making a sound/There’s no mistaking the real thing.” He adds in the end of the chorus refrain, “Use my mind when I get you all alone/All my worries start fadin’ away/I save my trouble for a rainy day.” A little more is added from here in the song’s third and final verse, but it is very much in the same vein as what Braun presented in the song’s first and second verse, and even its chorus. To that end, the song’s somewhat celebratory lyrics, which focus on a man who clearly is head over heels in love, will connect with its own share of listeners. Coupled with the song’s equally upbeat musical arrangement, the two elements join to make this song just one of this album’s most notable highlights. ‘Another New Year’s Day,’ which comes earlier in the album, is another standout addition to the record.
The musical arrangement featured in ‘Another New Year’s Day’ is distinctly different from that at the base of ‘Lost Inside The Groove.’ This song’s arrangement is quite reserved by comparison. The balance of the piano, guitar and drums forms the foundation of this introspective composition. That foundation is strengthened through the addition of the violin, mandolin and harmonica. The whole of that collective makes the mid-tempo work engaging and entertaining in its own unique fashion, and serves well to help illustrate the emotion exhibited through the song’s lyrical content.
Speaking of the song’s lyrical content, Braun tugs at listeners’ heart strings through this work that is not only introspective but contemplative, too. He sings in the song’s lead verse, “Well I woke up/With a clean slate/As the sun was setting in the west/guest the last day/Was a long one/From now on/I’m gonna do my best/To live my life/Like I always said I would/Shake these demons off my back for good/’Cause it don’t have to be this way/It’s just another New Year’s Day/It’s just another/New Year’s Day.” He continues in the song’s second verse, “Well I went down/With my old pals/For a couple at the burger and brew/And I told ‘em/From now on y’all/things’ll be different like I always do/And I said just watch/this whole room, I’m gonna turn it around/Well they had a good laugh/And they ordered they another round/’Cause it always ends this way/It’s just another New Year’s Day/It’s just another New Year’s Day.” He adds in the song’s third and final verse, “Well I cam back/To the hotel/And I swear I’m gonna finish this song/But I couldn’t/Help but wonder/Just where the hell it all went wrong/And they say you’ve gotta live like no tomorrow/Well that all sounds great/’Till it’s time to drown all your sorrows/There’s got to be a better way/It’s just another New Year’s Day/It’s just another New Year’s Day/It’s just another New Year’s Day.” Again, this is pretty contemplative. It’s as if he is saying in these words, the more things change, the more they stay the same, no matter how hard we try to change. It makes a person look at one’s own life and perhaps try harder to not let the next day be another SSDD scenario. Keeping that in mind, this song clearly stands out from others in this album, including ‘Lost Inside The Groove.’ It’s just one more example of what makes Reckless Kelly’s new album stand out, too. ‘Put On Your Brave Face Mary’ is one more notable addition to the album that is unique in its own way.
‘Put On Your Brave Face Mary’ offers audiences another song that stands so starkly apart from its counterparts on this record in the best way possible, beginning with its musical arrangement. The arrangement is a heart wrenching composition that is born in Braun’s vocal and instrumental performance. It is a modern, melancholy work, but not melancholy just for the sake of it. It really works well to accompany the heartbreaking story featured in the song’s lyrical content.
The story that seems to be presented in this song’s lyrical theme appears to center on a military veteran who has come back and is fighting that inner emotional battle of which so many news agencies have talked in stories that they run. This is inferred right from the song’s lead verse, in which Braun sings, “Mary fought back tears when she saw that far off look in his eyes/Said, ‘what’d they do to you, baby?’/I can see you dyin’ inside/I got you six/Just like you’ve always had mine/These invisible scars don’t change the man you are/Everything’s gonna be alright/Put on your brave face Mary/Put on your brave face/Put on your brave face Mary/Put on your brave face.” This verse alone certainly sounds like an addressing of the emotional scars that so many military veterans and their loved ones deal with together. Braun continues in the song’s second verse, “VA’s understaffed/The lines are around the block/He calls up the hotline/But nobody there has the time to talk/Been talked up for days/Dealing with demons they don’t understand/Mary holds the line while he takes matters into his own hands/Put on your brave face, Mary/Put on your brave face/Put on your brave face, Mary/Put on your brave face.” He adds in the song’s third verse, “Now he’s fighting for his life/Mary, she’s a rock/It’s all over the news/So Washington’s gearing up to talk the talk/Seven hundred billion/Somehow not enough to go around/It’s the price we pay are the 22 a day committed to the ground/Put on your brave face, Mary/Put on your brave face.” Whether one is a veteran or knows a veteran, this song so hardly hits at the heart of this matter, of veterans dealing with PTSD and having no help other than family. This isn’t the first time the Reckless Kelly has taken on the government’s leaders for their handling of the military. The band took on George W. Bush and the government in their handling of the Middle East conflict on its 2008 album Bulletproof through the song ‘American Blood.’ That song was a damning indictment of the government’s focus more on American intervention in the Middle East for the aim of controlling the region’s oil supply more than to help free the region’s peoples. Those with any connection to the military that the band has once again stood up for military personnel and holding those in power accountable here. Keeping that in mind, this song proves once more why American Jackpot/American Girls is such a powerful new offering from Reckless Kelly. When it is considered with the other songs noted here, the singles that have been spawned already from the album and the rest of the album’s songs, the recording in whole proves to be another strong new offering from the band and another of this year’s top new country music albums.
Reckless Kelly’s new double album American Jackpot/American Girls, the band’s 10th album to date, is another impressive offering from the alt-country outfit that is certain to resonate with the band’s established fan base and country music fans in general. That is proven in each of the recording’s albums, and is evidenced here through just three of the songs featured in the album. When those songs are considered alongside the album’s already released singles and the rest of the album’s works, the recording in whole proves itself a work that is deserving of as much praise as any of Reckless Kelly’s previous albums. American Jackpot / American Girls will be available digitally Friday and physically in July. More information on the album is available along with all of Reckless Kelly’s latest news at:
Chatham County line debuted the lyric video for its latest single this month.
The band debuted the lyric video for the title track from its forthcoming new album Strange Fascination March 18. The song’s musical arrangement lends itself to comparisons to works from similar acts, such as Nickel Creek and Reckless Kelly. Its lyrical content meanwhile accompanies that simple, soft arrangement, seemingly presenting a message about wanting love and the simple things in life. The song features guest vocals from Sharon Van Etten.
‘Strange Fascination’ is the second single from its eponymous album. The band debuted the album’s lead single ‘Station to Station‘ last month.
The band’s ninth full-length studio recording, Strange Fascination is the final record featuring Chatham County Lines’ founding member and banjo player Chandler Holt. It marks the band’s first lineup change since 2001 and the first time that any of the band’s albums has ever featured drums on every track, provided by longtime CCL friend Dan Hall.
Band member Dave Wilson (guitar/vocals/songwriter) talked about that stylistic change in a recent interview.
“We’ve had drums on several albums, most notably 2010’s Wildwood, and our audiences always responded well to those tunes,” he said..
Wilson and his band mates — John Teer (mandolin/fiddle/vocals) and Greg Readling (bass/pedal steel/piano) — self-produced Strange Fascination at Mitch Easter’s Fidelitorium Recordings in Kernersville, NC. Yan Westerlund (Mipso, Phil Cook” assisted with drum recordings for the album in-studio.Chris Boerner (Hiss Golden Messenger, The Foreign Exchange) mixed the album.
Strange Fascination was originally scheduled for release May 15 through YepRoc Records. Events happening around the world have led the band to push up that date to April 24. A record release show is scheduled to take place June 6 at the North Carolina Museum of Art.
Pre-orders are open now for Strange Fascination. The album’s track listing is noted below.
Strange FascinationTracklisting:
1. Oh Me Oh My
2. Station to Station
3. Strange Fascination
4. Free Again
5. The Eagle and The Boy
6. Leave This World
7. Guitar (for Guy Clark)
8. Queen Anne’s Gold
9. Nothing
More information on Chatham County Line’s new album, tour and more is available online now at:
Reckless Kelly debuted the latest single this week from its forthcoming album American Girls / American Jackpot.
The band debuted the song ‘North American Jackpot‘ Thursday through Taste of Country. The song’s musical arrangement boasts a modern country music sound that any country music purist will appreciate.
Founding member and vocalist Willy Braun talked about the song’s lyrical content in a recent interview.
“Writing ‘North American Jackpot,’ I kept hitting a wall with the verses and the theme,” he said. Trouble was, I kept going back to my first idea,a story about my grandparents, which wasn’t really going anywhere, but I couldn’t get away from it. I thought I’d have to scarp this one till it made sense …the problem was I’d already started writing the rest of the album and was close to being finished, but the title track, ‘North American Jackpot,’ wasn’t close to being completed, and far from the cornerstone it needed to be. I called Jeff Crosby, songwriter extraordinaire from the Gem State, asking for help. The next day he sent a nearly perfect verse that got me out of the rut and on the right track. I wrote a second verse almost immediately and we polished it up in Boise a couple weeks later. I had my cornerstone.”
The debut of ‘North American Jackpot’ comes almost a month after the band debuted the double album’s lead single, ‘I Only See You With My Eyes Closed.’
The four-minute opus is everything that audiences have come to expect from Reckless Kelly over the years, in terms of its musical and lyrical content.
The band members discussed the song’s creation in a recent interview.
“I wrote the beginnings of a second verse on a long van ride after being woken up by the church bells next door in Nuremberg, Germany, and out of one of those lucid dreams where you don’t really know whether you’re awake or not,” said band founder and front man Willy Braun.”
Braun continued, “I wanted the song to have the same feel as those dreams when you drift from one thing to another, so Cody [Braun, Willy’s brother and Reckless Kelly co-founder] and Charlie Sexton played some spooky ambient stuff on top of Jeff Crosby’s main guitar track and we faded them all in and out to try to get that lucid half-dreaming half-awake effect. There’s a lot going on, but Jim Scott did an excellent job mixing the track to capture that dreamlike vibe.”
The track listing for American Girls / American Jackpot is noted below.
Track Listing:
American Girls
1. I Only See You With My Eyes Closed
2. American Girls
3. All Over Again (Break Up Blues)
4. Miss Marissa
5. Lonesome On My Own
6. Anyplace That’s Wild
7. Lost Inside The Groove
8. No Dancing In Bristol
9. Don’t Give Up On Love
10. My Home Is Where Your Heart Is
American Jackpot
1. North American Jackpot
2. Thinkin’ ‘Bout You All Night
3. Tom Was A Friend Of Mine
4. 42
5. Mona
6. Another New Year’s Day
7. Grandpa Was A Jack Of All Trades
8. Put On Your Brave Face Mary
9. Company Of Kings
10. Goodbye Colorado
Reckless Kelly will continue its tour in support of American Girls / American Jackpot next week in Fort Smith, AK. The band’s current schedule takes it through Aug. 1 in Joseph, OR and features performances in cities, such as Fort Collins, CO; Austin, TX and Stanley, ID.
The band’s tour schedule is noted below.
Tour Dates:
3/5: TempleLive – Fort Smith, AR
3/6: The Brendon McLarty Memorial Foundation Concert – Oklahoma City, OK
3/7: Revolution Music Room – Little Rock, AR
3/13: House of Blues – Houston, TX
3/14: Cook’s Garage – Lubbock, TX
4/11: Bluebonnet Festival – Burnet, TX
4/17: Fiesta Oyster Bake – San Antonio, TX
4/18: Main Street Arts Festival – Fort Worth, TX
4/20: Larry Joe Taylor’s Music Festival – Stephenville, TX
4/23: Washington’s – Fort Collins, CO
4/24: Stargazers Theatre – Colorado Springs, CO
5/29: Grizzly Rose – Denver, CO
6/4-5: Mountain Village Resort – Stanley, ID
6/6: Washington County Fairgrounds – Cambridge, ID
7/29: McMenamin’s Spanish Ballroom – Tacoma, WA
7/31: Tower Theatre – Bend, OR
8/1: Back Country Bash – Joseph, OR
More information on Reckless Kelly’s new album, tour and more is available online at:
Reckless Kelly will release its new album this year.
The band made the announcement Thursday. The band will release the double album — American Girls /American Jackpot — May 22 through Thirty Tigers.
The band debuted the lead single from American Girls, ‘I Only See You With My Eyes Closed‘ Thursday. The four-minute opus is everything that audiences have come to expect from Reckless Kelly over the years, in terms of its musical and lyrical content.
The band members discussed the song’s creation in a recent interview.
“I wrote the beginnings of a second verse on a long van ride after being woken up by the church bells next door in Nuremberg, Germany, and out of one of those lucid dreams where you don’t really know whether you’re awake or not,” said band founder and front man Willy Braun.”
Braun continued, “I wanted the song to have the same feel as those dreams when you drift from one thing to another, so Cody [Braun, Willy’s brother and Reckless Kelly co-founder] and Charlie Sexton played some spooky ambient stuff on top of Jeff Crosby’s main guitar track and we faded them all in and out to try to get that lucid half-dreaming half-awake effect. There’s a lot going on, but Jim Scott did an excellent job mixing the track to capture that dreamlike vibe.”
The track listing for American Girls / American Jackpot is noted below.
Track Listing:
American Girls
1. I Only See You With My Eyes Closed
2. American Girls
3. All Over Again (Break Up Blues)
4. Miss Marissa
5. Lonesome On My Own
6. Anyplace That’s Wild
7. Lost Inside The Groove
8. No Dancing In Bristol
9. Don’t Give Up On Love
10. My Home Is Where Your Heart Is
American Jackpot
1. North American Jackpot
2. Thinkin’ ‘Bout You All Night
3. Tom Was A Friend Of Mine
4. 42
5. Mona
6. Another New Year’s Day
7. Grandpa Was A Jack Of All Trades
8. Put On Your Brave Face Mary
9. Company Of Kings
10. Goodbye Colorado
The band launched a tour in support of its forthcoming album Thursday at the Mile 0 Fest in Key West, FL. The band’s current tour is scheduled to run through March 14 in Lubbock, TX. It features performances in cities, such as Jackson, MS; Fort Smith AR and Oklahoma City, OK.
After its initial run, the band will take some time to rest and recharge before performing live June 6 in Cambridge, ID. The band’s current live schedule is noted below.
Tour Dates:
2/6: Liberty Hall – Tyler, TX
2/7: Hank’s Texas Grill – McKinney, TX
2/14: The Dirty South – Angleton, TX
2/15: Poodies Hilltop Roadhouse – Spicewood, TX
2/27: Duling Hall – Jackson, MS
2/28: Manship Theatre – Baton Rouge, LA
3/5: TempleLive – Fort Smith, AR
3/6: The Brendon McLarty Memorial Foundation Concert – Oklahoma City, OK
3/14: Cook’s Garage – Lubbock, TX
6/6: Washington County Fairgrounds – Cambridge, ID
More information on Reckless Kelly’s new album, tour and more is available online at:
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