The Backlog: The Singles pt. 2
15 more tracks. Can confirm, bit off maybe a drop more then I should have.
We have fifteen more singles for you. As always we aim for a good display of sonic and scenic diversity. There should be something for everyone here. As I stated last time, I'm avoiding scores. I wanted to focus more on what each song brought to the table and what resonated with me. There certainly are songs I liked more then others and I think it's pretty clear when I did or did not like something. Without further ado…..
So Many Summers- Brad Paisley
Ten years ago, this would’ve been a hit. I have a hard time getting frustrated with this reality because it feels like Brad just resigned himself to his fate. Instead of getting the hint five years ago when his music stopped charting well and he was stepped down from his hosting duties, he continued to try and catch radio lightning in a bottle with new singles. If he would have embraced social media in a creative fashion, gone independant or at least adopted an independant ethos, and generally attempted to curate younger internet audiences then perhaps he could have become an elder statesman in the genre similar to the role Brooks and Dunn play nowadays. He didn’t and therefore this is the result. A great single. Fun sound that reminds you of peak Brad. Nice messaging and delivery. This could have been an anthemic late summer hit akin to a Boys Of Summer type song. It certainly has the vibe. It just never had a chance.
Legends- Clare Dunn
An anthemic tribute to those that transcend. “Legends”. The term is used more loosely here and as redefined, is rendered all the more meaningful. People who step up beyond the call of duty, whether that’s raising kids or raising hell. Whether they get remembered or not, it’s that attitude and commitment that is worthy of admiration. The song is delivered in an aggressive package with rock guitars and doubled over vocals masking Dunn’s vocals and transforming it into an odd mixture of aggressively snarling soaring vocals. Definitely a choice. Not one that works for me personally. Dunn has an exceptional voice, powerful with a hint of sweetness, and her natural timbre would have been well suited here. As is, it’s one of three songs off what seems to be an upcoming project and the others are perhaps more worthy of being checked out. Ever since Dunn went indie, she’s been much more outspoken and interesting to listen to. If you wrote her off based on her mid to late 2010’s material, consider giving her another chance.
Glory Days- Gabby Barrett
Unfortunately not a cover of the glorious Bruce Springsteen song, but a song that essentially takes Merle Haggard’s I Think We're Living In The Good Old Days, pairs it up with a paraphrase of an Andy Bernard quote, and makes it bland pop country is still worth a spin or two to see if it lands for you. Barrett’s career is one I keep an eye on ever since I Hope and The Good Ones launched her into stratospheric territory. Heir apparent to Carrie was not an unfair question at the time. Since then things have simmered down a bit. Some part of that is her prioritizing her life as a mother (having two kids with a third on the way), some questionable single choices, and the upstart star power of Lainey Wilson and Carly Pearce stealing her thunder. In general, success is fickle and with just one or two smash songs and a well executed album rollout she could be right back into things. I like Pick Me Up more as I think the more organic approach that relied less on bombast made it more relatable, but bombast diva energy plays well on radio and I could see this succeeding. She’s young (23) and with such massive hits under her belt already, will get plenty of chances to right the ship.
City Don't- Billy Currington
Well past his commercial prime, it is very unclear what to expect from Currington. His last album was surprise dropped and was some oddball pop fusion project that felt like it had zero energy put into it. Unsurprisingly, it has been a quick 180 degree turn from that. The rural sumpremacy of City Don't is well trod ground for country music these days, but instead of the usual zero sum game competition, Currington frames it in more personal terms. The gist of it is “I’m sure those who live out in the cities enjoy it, but for me this is why the rural lifestyle is ideal”. Currington always had an easy charisma and personable delivery style so the themes come off as both rooted and inoffensive.
Still Picks Up- Shane Profitt
When people give Luke Combs a hard time for not being enough of their desired result for country music (not songwritery enough, not country enough, too one note etc), just realize what a massive effect he has had on country music as a whole. Although we finally are seeing the effect that a independent artist can have when the entirety of social media makes up for the lack of mainstream support, it certainly is still the case that a mainstream artist has more potential to deeply influence the genre. Luke Combs has done precisely that and the difference is stark. This Shane Profitt fella is a prime example of this. In 2015, we got guys like Canaan Smith rapping about tractors and gurlz over discarded pop drum loop demos. In 2023, we have a deep voiced dude singing about very real emotions- encouraging reaching out to your folks once you’ve moved out because you wanna call Dad while he still picks up- over a landscape that fits neatly into the well worn ground of neo traditionally influenced country rock. There’s steel guitar galore all throughout this song. Recognize that this sea change has come in large part because of the massive influence the stars of the genre have in changing the sound of the industry. The biggest issue here is that I genuinely thought it was Luke Combs singing the first time this showed up on radio. Often young artists are so overly influenced by their heroes that they don’t find their voice. That’s been the case for artists as famous and distinct as Ernest Tubb (Jimmie Ridgers) and George Strait (Lefty Frizzell). Only time will tell if Profitt will grow into his own voice.
Straight and Narrow- Sam Barber
The breakout hit for Barber. He’s one of, if not the best, the post Zach Bryan clones to pop off on social media. That is a true but unfair characterization of both Barber and the stripped down folk/country scene. There is a rawness that is refreshing especially when put in contrast with the world of electronic music that most of Barber's generation grew up inundated with. Barber is a teenager with a weathered voice that rings decades older. Straight and Narrow takes an interesting tack fusing the countercultural sound of the acoustic Appalachian movement with a surprisingly old school message aimed straight for the hearts of the 15-25 year old crowd and the existential crises that define that period of life. I see why this guys popularity is growing by the day.
Red Dirt Cinderella- Kylie Frey
Holy cow, I was not expecting this! Not sure what I was expecting going into the single, but definitely not a throughly country ballad that feels so deeply connected to itself. Let me explain. Oftentimes you get songs that talk about a place or attach themeselves to a particular subculture. Far less commonly does the song make any effort to sonically attach itself to the selfsame concepts it’s attempting to identify with. That is very much not the case here. Fiddle infused and with a surprising anount of tejano/ranchero flair, Frey ties the song deeply into the regional and personal identity she is grappling with in the song. She immediately shoots near the top of female county artists in my book. Her and Graycie York are making some of the best music out in Texas and I hope more people take heed. Also, there is a deeply resonant story told in the songwriting. Not just great sounding but there’s depth here as well. If there’s one song on here you should check out, it is this one.
Marlboros and Avon- Terry Mcbride and the Ride
A surprising return from a relatively forgotten 90s act. Marlboros and Avon feels like a relic in the best way possible. The boomers last gasp, if you will. This song squeezes every drop of nostalgia out of standard tropes as possible with just enough twists to make it entertaining. Heartening back to youthful carefree days? Check. Summer of insert year of choice here? Yup. Dated Vietnam references? You betcha. A hook about smell bringing back those aforementioned memories? Of course it does. Songs like these love and die based on the vibe and charisma of the performer. It’s why when Kenny Chesney does it, it works and when Jake Owen gives it his best shot, it falters (Jack and Diane and Apple Pie Moonshine are two notorious attempts where Owen and his breezy charm didn’t tip the balance). Terry McBride possesses charm in spades, and along with an oddly specific choice in skin cream, it works. Funnily enough, I actually discovered this song whilst listening to the radio. I was surprised by that and I realized that radio has been so behind on trends relative to the Internet, that by the time artists start doing the radio tour, they are long established in the Internet scene. A sign of how things have changed.
Reasons To Come Home- Mason Ramsey
An earlier example of Nashville trying to understand and harness virality, Ramsey’s earlier musical output is cringe. However, his more recent fare is actually quite nice. Unlike the plastic pop debut, this pulls from the textures of more refined traditional country. It doesn't sound vintage but it strikes a nice balance. Seemingly, Ramsey has matured. Certainly his voice has grown up albeit still with a juvenile tinge. In contrast, the lyrics and story being told is anything but juvenile. Ramsey discusses the small town he is from with clear affection. However, he surmises, that affection is the result of the people and family that are there, and as they age and move out, either to Heaven or Florida, there's nothing left for him in the town except for memories. He concludes that he will miss the town, but the reasons to stay have left so he will leave too. This rings true, especially for an older teenager confronting the specter of impending mortality for his aging mother loved ones.
If You Were Mine-Miranda Lambert and Leon Bridges
Leon Bridges is fantastic and posses one of the unique and talented voices of our generation. Miranda has nice pipes, but obviously is not in the same league. In cases like this, you don't want the song to feel like a competition. It really depends on how cohesive the two voices mix. I don’t like it as much as when Leon Bridges collaborated with Luke Combs a few years back, but it is still quite good.
The Painter- Cody Johnson
Cojo has found himself a niche in the mainstream. Unsurprisingly for a guy who hasn't shifted much to curate mainstream audiences, his niche is just about the exact same thing that delighted Texas and independent country fans for the last decade plus. Sturdy love songs and life advice are high up on his list of go to topics. There's a straight line to be drawn from Diamond In My Pocket to Aint Nothing To It to The Painter. It is a lovely tribute to his wife of fifteen years and how she brings new dimensions to his life. The imagery of life seeming full, but only being in black and white prior to meeting his wife and having her paint in the lines with color is a fantastic metaphor and Johnson seems wholly sincere about the whole bit. Good. If there was even a hint of insincere exaggeration, the whole thing would fall apart. If you like Johnson’s sturdy neotraditional palate, then you'd love the song. If his typical fare doesn't work for you, then he doesn't plow enough new sod here for minds to be changed. This is who Cody Johnson is, take it or leave it.
Good Days- Rodell Duff
New name to me and I was intrigued. This fellow has a very sweet voice. Far more than you usually get. It is really please to listen to. The entire of the song is wrapped in lyrics of sentiment and unfortunately joined together with bla arrangements. Tremendous amount of potential, but I was left bittersweet with the overall picture. Feels a couple years behind Nashville mainstream trends. Think 2019 Brett Young with exceptional finesse and touch in the vocal delivery. If that's your jam, then check this out. Otherwise, wait and hope for something more unique.
God Blessed Texas- cover by Randy Rogers Band, Josh Abbott Band, Casey Donahew, Rodney Crowell, Aaron Watson, Pat Green, Kevin Fowler
Not sure this deserves a review. Not because it isn't good, it's great fun. This is a absolute murderer's row of the finest Texas male artists of the past 25 years or so and all the performers bring energy and charisma to this braggadocious, rocking, and twanging ode to the Lone Star State. It's just that aside from that tagline, there isn't much else to it. If nothing else, bookmark the song so when you want to check out some Texas country you know who to start with.
See You Next Summer- Brian Kelley
Following the post FGL breakup saga has been interesting. I am struck by parallels to Brooks and Dunn. Kix Brooks never managed to crack back into the radio scene the significant way Ronnie Dunn did. Tyler Hubbard seems to have smoothly pivoted to a solo career without a change. Kelley took the far more interesting path of attempting to carve out a new and unique sound and identity as an artist. Admittedly, the happy go lucky beach cowboy is not a brand new idea. However, it seems to have fit him like a glove and aligned him with pop forward but distinctly beachy and country music. This new song, presumably and leadoff single for a new project, is more of the same and that is an issue. His 2021 album was 17 songs long and by the end of it felt like it was stretched beyond it's natural limits. This feels very much like an extension of that and correspondingly suffers from the same issues. At the time of writing, it was experiencing mild success on radio. I'm intrigued by where Kelley is going far more then Hubbard.
Thank you for reading! The Backlog is slowly being churned through. The first album post should drop sometime next week. I hope you've enjoyed following this feature and I especially hope that you've discovered some new music that would've slipped underneath your radar. There is no algorithmic substitution for word of mouth, so if you liked one of the songs here, please tell a friend about it. That would be the ultimate realization of what we are striving for here at Today I Heard.
Joe