The next album from my list that I am hearing is Children Running Through by Patty Griffin. Griffin is a singer-songwriter from Maine that has been recording for over fourteen years. Her songs have been covered by a few country artists, including the Dixie Chicks and Emmylou Harris. While her sound is primarily associated with folk music, she sometimes drifts into classic soul and rock music. She has a sweet, bluesy voice that complements her musical style.
#99 – Patty Griffin, Children Running Through (Metascore = 87)
Children Running Through starts with the quiet ballad “You’ll Remember”. The second song, “Stay on the Ride”, is completely different. “Stay on the Ride” is a soulful number, Griffin using her soulful side to tell the story about the path that will always take you somewhere. Her voice is really strong here and should have been released as a single. This is a great tune.
Joining Griffin on “Trapeze” is Emmylou Harris, another artist with an album on my list of albums (to discuss later). Harris’ voice harmonizes easily with Griffin’s as they tell the story of a trapeze artist who has gone through her share of troubles and heartaches during her life. This song also should have been a single. “Getting Ready” is the next song on the album, and at this point I have to say listening to her is like listening to Sheryl Crow with better songwriting. Whereas Sheryl Crow started recording a few years earlier and had some good songs early, her songwriting has sort of fallen off in favor of those that are hits and the rest of the album is filler. Griffin’s songs during the album have all been at least pretty strong. You can hear that in the aforementioned songs as well as “Getting Ready” and “Burning Shoes”. Not all of them are winners (“No Bad News”, “Getting Ready”), but they’re not bad either.
“Heavenly Day” was actually one of the two singles actually released from the album, and it is one of the best tracks from the album. Just listening to her sing the words (along with the rest of the lyrics) and you just feel like today is the best day—no worries, no concerns, just happiness. “Up to the Mountain (MLK Song)” was the second single from the album and also is very highly regarded. The song was originally covered by Solomon Burke before Griffin recorded her own version, and it has been recorded by other artists as well. Just as the title refers, the song is about Martin Luther King, Jr.’s famed “I’ve Been on the Moutaintop” speech, which he did before his assassination. The song itself is very inspirational while never feeling overwhelmed by the strings or other background instruments; in a lot of ways, it’s just Griffin and the piano.
Overall, I have found Children Running Through to be a pleasant album to hear. Is it the best album I have heard so far? No, but Griffin’s performance throughout the album is impassioned and beautiful and makes the album definitely worth a listen.
Monday, November 22, 2010
Tuesday, November 16, 2010
Little Sparrow
Dolly Parton has been an icon in country and bluegrass music for years. She began her career from very humble beginnings and has become an international star. Her career spans both music and film. She is one of the most successful country music artists of all time, having had twenty-five number-one singles and forty-one top-10 country albums, and she has had at least one top-five country hit in the last five decades.
While Dolly has slowed down in terms of original output over the past decade, she has not stopped writing good music. She has released five records in the last 10 years, mostly in the early part of the decade. Her 2001 record, Little Sparrow, gained critical success for not only her songs but the songs she chose to cover. Little Sparrow is the next record on my list.
#144 – Dolly Parton, Little Sparrow (Metascore = 86)
Little Sparrow is mostly a bluegrass record. The record is part two in a three part series of bluegrass records she recorded in the late 1990’s and early 2000’s. This record blends bluegrass, Appalachian folk, and country gospel music. Her backing musicians are mostly known for their contributions to bluegrass music, including Nickel Creek and Alison Kraus. Parton wrote seven of the 14 songs on the record.
The most famous song from this record is actually a cover of the Collective Soul hit, “Shine”. Parton’s version includes Nickel Creek as her backing band. “Shine” won a Grammy for best female country vocal performance. Her vocals combined with the excellent musicianship won over fans and critics. The song is also one of her strongest on the record with excellent vocals and musicians. Other good cover songs here include “Seven Bridges Road” and “I Get a Kick Out of You”. The last song, especially, combines excellent musicianship and good singing.
Some of her original songs are very good. “Little Sparrow” has probably the deepest meaning, but “Bluer Pastures” has probably the best melody. “Mountain Angel” is a beautiful ballad about the life of a woman and trials that she went through. I felt that Loretta Lynn would be at home with this song. Each is a great representation of the styles that she brings into her music. Some of her original songs, however, are not as strong. They’re not bad songs, but they’re not nearly as good as “Little Sparrow” or “Bluer Pastures”. “My Blue Tears” feels like it drags after a verse. “Marry Me”, while popular, has some lyrics that are a bit goofy to me.
Overall I enjoyed listening to this record. Prior to starting this project I had been listening to a few bluegrass records. I really grew up listening to this music, even through rock music runs through my blood more. But I have heard Dolly Parton’s songs for years and years, and her sound is as recognizable today as it has ever been. Little Sparrow is not a perfect record but a good record to listen to if you want to hear some good bluegrass music.
While Dolly has slowed down in terms of original output over the past decade, she has not stopped writing good music. She has released five records in the last 10 years, mostly in the early part of the decade. Her 2001 record, Little Sparrow, gained critical success for not only her songs but the songs she chose to cover. Little Sparrow is the next record on my list.
#144 – Dolly Parton, Little Sparrow (Metascore = 86)
Little Sparrow is mostly a bluegrass record. The record is part two in a three part series of bluegrass records she recorded in the late 1990’s and early 2000’s. This record blends bluegrass, Appalachian folk, and country gospel music. Her backing musicians are mostly known for their contributions to bluegrass music, including Nickel Creek and Alison Kraus. Parton wrote seven of the 14 songs on the record.
The most famous song from this record is actually a cover of the Collective Soul hit, “Shine”. Parton’s version includes Nickel Creek as her backing band. “Shine” won a Grammy for best female country vocal performance. Her vocals combined with the excellent musicianship won over fans and critics. The song is also one of her strongest on the record with excellent vocals and musicians. Other good cover songs here include “Seven Bridges Road” and “I Get a Kick Out of You”. The last song, especially, combines excellent musicianship and good singing.
Some of her original songs are very good. “Little Sparrow” has probably the deepest meaning, but “Bluer Pastures” has probably the best melody. “Mountain Angel” is a beautiful ballad about the life of a woman and trials that she went through. I felt that Loretta Lynn would be at home with this song. Each is a great representation of the styles that she brings into her music. Some of her original songs, however, are not as strong. They’re not bad songs, but they’re not nearly as good as “Little Sparrow” or “Bluer Pastures”. “My Blue Tears” feels like it drags after a verse. “Marry Me”, while popular, has some lyrics that are a bit goofy to me.
Overall I enjoyed listening to this record. Prior to starting this project I had been listening to a few bluegrass records. I really grew up listening to this music, even through rock music runs through my blood more. But I have heard Dolly Parton’s songs for years and years, and her sound is as recognizable today as it has ever been. Little Sparrow is not a perfect record but a good record to listen to if you want to hear some good bluegrass music.
Of States and Aliens (Not a Political Statement)
The next record on the list that I have listened to is Sufjan Stevens’ Illinois, which was released in 2005. Stevens is a multi-instrumentalist, known primarily for playing the banjo. His musical interests span different genres, and he’s been known to shift between styles on his records. He likes to incorporate many instruments into his music, creating a sort of symphonic background to his songs. He also writes in different time signatures, further enhancing the musical experience in his records. He initially began recording on his own label, Asthmatic Kitty Records.
Illinois is his most widely recognized record, having reached #1 on the Billboard Heatseaker Albums list. Illinois was a part of a project where he intended to write an album based on each of the 50 states. This project eventually fell through (perhaps he got bored or felt confined to the material), but this one stood out for its grandiose feeling and excellent songwriting.
#18 – Sufjan Stevens, Illinois (Metascore = 90)
Illinois is, at its core, a folk record, but the scale of sounds runs from just him and a guitar to a symphony of instruments, all of which he incorporates to success. You would think from the start that Illinois will be an interesting record because the first song speaks of an alien invasion. This is just a retelling of a UFO sighting that occurred near Highland, Illinois. Each song incorporates some story that occurred in the state of Illinois. According to some online sources, Stevens prepared for this record reading numerous historical books about Illinois and literary talents from Illinois.
The songs all are different lengths, as well. More than likely this is the result of the topic he is covering, but also the lengths could be used to set up forthcoming songs. But each song, despite its length, takes on its own meanings. “Concerning the UFO Sighting…” is relatively short, but it’s obvious the aliens have arrived and they’re here for assimilation. “John Wayne Gacy, Jr.” was written about the infamous serial killer. Throughout the record there are references to these famous people/places/stories about Illinois. “Decatur” refers to the great debates of Stephen A. Douglas and Abraham Lincoln.
At times this record can seem slow, but I am excited by this record because of the depth of the songs both lyrically and musically. I feel connected to these songs in some way, and the songs feel well written in all aspects. It doesn’t feel forced as some folk records can be, especially when trying to live up to the overwhelming shadows of greats like Bob Dylan and Woody Guthrie. But the beauty of what they did and what Stevens does here is telling stories in a way that bring you in, that make you feel a part of the story.
Having listened to the record a couple of times now, I can understand the high critical response to this record. Musically each song is deep, whether it’s sparse instrumentation or a symphony. Lyrically the songs are superbly crafted and inviting. I enjoyed this record and plan to continue enjoying this record.
Illinois is his most widely recognized record, having reached #1 on the Billboard Heatseaker Albums list. Illinois was a part of a project where he intended to write an album based on each of the 50 states. This project eventually fell through (perhaps he got bored or felt confined to the material), but this one stood out for its grandiose feeling and excellent songwriting.
#18 – Sufjan Stevens, Illinois (Metascore = 90)
Illinois is, at its core, a folk record, but the scale of sounds runs from just him and a guitar to a symphony of instruments, all of which he incorporates to success. You would think from the start that Illinois will be an interesting record because the first song speaks of an alien invasion. This is just a retelling of a UFO sighting that occurred near Highland, Illinois. Each song incorporates some story that occurred in the state of Illinois. According to some online sources, Stevens prepared for this record reading numerous historical books about Illinois and literary talents from Illinois.
The songs all are different lengths, as well. More than likely this is the result of the topic he is covering, but also the lengths could be used to set up forthcoming songs. But each song, despite its length, takes on its own meanings. “Concerning the UFO Sighting…” is relatively short, but it’s obvious the aliens have arrived and they’re here for assimilation. “John Wayne Gacy, Jr.” was written about the infamous serial killer. Throughout the record there are references to these famous people/places/stories about Illinois. “Decatur” refers to the great debates of Stephen A. Douglas and Abraham Lincoln.
At times this record can seem slow, but I am excited by this record because of the depth of the songs both lyrically and musically. I feel connected to these songs in some way, and the songs feel well written in all aspects. It doesn’t feel forced as some folk records can be, especially when trying to live up to the overwhelming shadows of greats like Bob Dylan and Woody Guthrie. But the beauty of what they did and what Stevens does here is telling stories in a way that bring you in, that make you feel a part of the story.
Having listened to the record a couple of times now, I can understand the high critical response to this record. Musically each song is deep, whether it’s sparse instrumentation or a symphony. Lyrically the songs are superbly crafted and inviting. I enjoyed this record and plan to continue enjoying this record.
Monday, November 15, 2010
Across the Pond: UK Raps by Dizzee Rascal
I have listened to a lot of rap in the past...mostly the rappers and rap groups of the late 1980's and all of the 1990's, so my knowledge of rap in the new millennium is small at best. When I listened back then, there weren't many rappers, if any, that I knew were from the UK. Yet, here in the new millennium there are numerous UK rappers and rappers from other countries that have made dramatic global statements that have crossed over. Such is the case with Boy in da Corner by Dizzee Rascal.
Dizzee Rascal (aka Dylan Mills) is an English rapper from East London. His style/flow is quite a bit faster than the Streets’ Mike Skinner, but not as fast as Ludacris. He brings a different vibe to his songs, too.
Boy in da Corner was released in 2003 when Mills was 18. Dizzee won a Mercury Prize in 2003 for the album. The album has been associated with a genre called “grime”, which is supposedly a mix of hip hop, UK garage, dancehall, and drum & bass. All of these styles are apparent, but let’s just call it rap. Dizzee has even shunned the categorization of his music.
#11 – Dizzee Rascal, Boy in da Corner (Metascore = 92)
The first sounds right off the bat (“Sittin’ Here”) sound like they were pulled straight from an Atari game. Someone I read described some of the songs as containing “ringtone-style tones”, and that is apparent with “Sittin’ Here” and a few other tracks on the album. But maybe this is the point—instead of focusing on the music in the background, he wants you to focus on the raps. Granted, that makes listening to certain songs more of a challenge, but at least I’m not overwhelmed by the digital sounds.
What is interesting in listening to him rap is that his rhymes are well-crafted. His stories (not linked by theme necessarily) are well enunciated and give you a good visual of what is going on. I felt like I was standing next to him while he’s arguing with this girl in “I Luv U”. Most likely he’s referencing his life in his songs, and he speaks about life on the streets, in the home, and just around him. I really like “Fix Up, Look Sharp” (great beat and sample), “Brand New Day”, “Hold Ya Mouf”, “Jus a Rascal”, and others. One thing I have to remember is Rascal was 18 at the time this album was created, so there are elements of being young in every rap, too.
Do I think this album deserves one of the highest scores on the Metacritic list? No. There are some songs where I just did not get what was going on. Rascal’s lyrics and flow may be very interesting overall, but some songs just didn’t work for me. However, I can appreciate why the record received such critical praise. His flow is very good, and he’s able to put together his rhymes in a very creative way.
Dizzee Rascal (aka Dylan Mills) is an English rapper from East London. His style/flow is quite a bit faster than the Streets’ Mike Skinner, but not as fast as Ludacris. He brings a different vibe to his songs, too.
Boy in da Corner was released in 2003 when Mills was 18. Dizzee won a Mercury Prize in 2003 for the album. The album has been associated with a genre called “grime”, which is supposedly a mix of hip hop, UK garage, dancehall, and drum & bass. All of these styles are apparent, but let’s just call it rap. Dizzee has even shunned the categorization of his music.
#11 – Dizzee Rascal, Boy in da Corner (Metascore = 92)
The first sounds right off the bat (“Sittin’ Here”) sound like they were pulled straight from an Atari game. Someone I read described some of the songs as containing “ringtone-style tones”, and that is apparent with “Sittin’ Here” and a few other tracks on the album. But maybe this is the point—instead of focusing on the music in the background, he wants you to focus on the raps. Granted, that makes listening to certain songs more of a challenge, but at least I’m not overwhelmed by the digital sounds.
What is interesting in listening to him rap is that his rhymes are well-crafted. His stories (not linked by theme necessarily) are well enunciated and give you a good visual of what is going on. I felt like I was standing next to him while he’s arguing with this girl in “I Luv U”. Most likely he’s referencing his life in his songs, and he speaks about life on the streets, in the home, and just around him. I really like “Fix Up, Look Sharp” (great beat and sample), “Brand New Day”, “Hold Ya Mouf”, “Jus a Rascal”, and others. One thing I have to remember is Rascal was 18 at the time this album was created, so there are elements of being young in every rap, too.
Do I think this album deserves one of the highest scores on the Metacritic list? No. There are some songs where I just did not get what was going on. Rascal’s lyrics and flow may be very interesting overall, but some songs just didn’t work for me. However, I can appreciate why the record received such critical praise. His flow is very good, and he’s able to put together his rhymes in a very creative way.
Thursday, November 11, 2010
Stepping into Jazz: Historicity
I must confess that, despite my love and fascination with jazz music, I am not well versed in the artists or songs that jazz artists have performed over the years. I know some of the big artists in the genre: Miles Davis, Louis Armstrong, Charlie Parker, Wes Montgomery, John Coltrane, Cannonball Adderley, Vince Guaraldi, etc. But as far as listening to albums and my knowledge of the songs, I am very weak. I wish I had my friend Charlie’s knowledge on jazz; he was and is knowledgeable on a great many things related to jazz and had a great collection of records. The fortunate part for me in doing this little project is that I will get a chance to listen to some well received jazz music.
Historicity by the Vijay Iyer Trio is a recent entry into the Metacritic list, having been released in 2009. The trio consists of Vijay Iyer on piano, Stephan Crump on bass guitar, and Marque Gilmore on drums. All three musicians are very talented and versatile on their instruments. Historicity is a very interesting record in and of itself, so I am very pleased to provide uneducated remarks about the album.
#82 – Vijay Iyer Trio, Historicity (Metascore = 87)
I did some reading on Vijay Iyer himself, and he has a very impressive resume. First, he has a degree in mathematics and physics from Yale, and he was pursuing a PhD in physics at UC-Berkeley until this jazz career got in the way. He is classically trained to play the violin, but he learned piano by ear through experimenting with different songs he liked. He is a very accomplished composer and has published articles in numerous jazz publications.
Historicity is a fascinating record in that, while he has his own compositions on this record, he also explores compositions from different artists of different genres. For instance, “Somewhere” is a Bernstein/Sondheim composition most commonly remembered for being in the musical West Side Story. The Trio does an improvisational take on the classic, moving within different keys and beats while never really straying from the original tune. “Galang” is a jazz interpretation of rap/avant garde artist M.I.A. and bounces around much like the original track does. “Big Brother”, which was originally by Stevie Wonder, is presented in a way that is reminiscent of raga music. The mix of the original compositions with covered compositions mesh together very well and keep in line with the sound of the record.
Not being knowledgeable, I can’t tell you that something doesn’t feel right. One aspect of jazz, particularly since the release of Kind of Blue, is that the music tends towards improvisation, so while something might seem off-key, it could be intentional. There are not many moments in these songs where I felt bored or confused by the sound choices, but there were a couple. “Dogon A.D.” is not one of my favorite tunes, but it does have some interesting moments.
Overall, I was impressed by this record, particularly by the depth of sounds created by three musicians. Some people like jazz, and some people don’t. Jazz fans will enjoy the interaction between the players and the song choices. Non-jazz fans may find the record interesting but possibly tiring because of the improvisation. I still think the record is very accessible and a good listen.
Historicity by the Vijay Iyer Trio is a recent entry into the Metacritic list, having been released in 2009. The trio consists of Vijay Iyer on piano, Stephan Crump on bass guitar, and Marque Gilmore on drums. All three musicians are very talented and versatile on their instruments. Historicity is a very interesting record in and of itself, so I am very pleased to provide uneducated remarks about the album.
#82 – Vijay Iyer Trio, Historicity (Metascore = 87)
I did some reading on Vijay Iyer himself, and he has a very impressive resume. First, he has a degree in mathematics and physics from Yale, and he was pursuing a PhD in physics at UC-Berkeley until this jazz career got in the way. He is classically trained to play the violin, but he learned piano by ear through experimenting with different songs he liked. He is a very accomplished composer and has published articles in numerous jazz publications.
Historicity is a fascinating record in that, while he has his own compositions on this record, he also explores compositions from different artists of different genres. For instance, “Somewhere” is a Bernstein/Sondheim composition most commonly remembered for being in the musical West Side Story. The Trio does an improvisational take on the classic, moving within different keys and beats while never really straying from the original tune. “Galang” is a jazz interpretation of rap/avant garde artist M.I.A. and bounces around much like the original track does. “Big Brother”, which was originally by Stevie Wonder, is presented in a way that is reminiscent of raga music. The mix of the original compositions with covered compositions mesh together very well and keep in line with the sound of the record.
Not being knowledgeable, I can’t tell you that something doesn’t feel right. One aspect of jazz, particularly since the release of Kind of Blue, is that the music tends towards improvisation, so while something might seem off-key, it could be intentional. There are not many moments in these songs where I felt bored or confused by the sound choices, but there were a couple. “Dogon A.D.” is not one of my favorite tunes, but it does have some interesting moments.
Overall, I was impressed by this record, particularly by the depth of sounds created by three musicians. Some people like jazz, and some people don’t. Jazz fans will enjoy the interaction between the players and the song choices. Non-jazz fans may find the record interesting but possibly tiring because of the improvisation. I still think the record is very accessible and a good listen.
Thursday, November 4, 2010
Welcome to Mali
First, I should explain my being away for a few weeks. I recently took a trip to Great Britain, visited many, many sites, and overall had a blast! London I thought was a very fascinating city and probably my favorite of the trip, though Edinburgh and Bath were also very, very good. I thought about music a lot, especially the music from this country, which has always inspired me or at least excited me. Some of it was good, a lot of it was bad, but I think the bad was the result of the BBC not playing enough good stuff. Or maybe I have it backwards. Either way, I’m back.
Welcome to Mali is an album from Amadou & Mariam, a couple from Mali that has been making music for years. Their music mixes elements of African beats with blues and pop to make it easily accessible. Both Amadou and Mariam are also blind, which makes their music even more inspiring. Welcome to Mali is their 5th studio album.
#109 – Amadou & Mariam, Welcome to Mali (Metascore = 86)
Welcome opens with the single “Sabali”, an 80’s-sounding track with synthesizers, a drumbeat straight from a drum machine, and high-pitched singing (from Mariam). “Ce N’est Pas Bon” brings in guitars, chimes, and Amadou’s singing (backed by Mariam). This is one of my favorite tracks from the album because it feels like it has chants but also because of Amadou’s crisp guitar to back the music. “Magossa” is also a great song with a head-nodding beat to it that adds an oboe (maybe?) and another stringed instrument (possibly the kora?).
While most of the album is centered around Afro pop, numerous other musical styles permeate from the songs. “Djama”, for instance, feels like it came straight from the Bob Marley catalog. “Je Te Kiffe” includes Spanish elements provided by artist Juan Rozoff. “Masiteladi” has distorted guitars and other harder rock elements mixed into an Afro pop beat. “Africa” contains raps from K’Naan; while it is one of their weaker songs (and a lot more sensual), the music is not bad at all.
One aspect of the album that does become tiring is that the songs start to sound the same over time. There doesn’t appear to be any exploration into other keys, and vocally the songs start to sound the same even though the lyrics are different. Maybe this uniformity was intended and there is a theme built around it, but at times the songs can seem monotonous.
“I Follow You” and “Welcome to Mali” are, in my opinion, the two songs that summarize the message they send. They are dense songs with multiple instruments mixed behind Amadou and Mariam’s vocals. Overall, the record is a solid record. The songs are fairly catchy (despite their monotony) and is a great introduction for someone that has never heard their music before.
Welcome to Mali is an album from Amadou & Mariam, a couple from Mali that has been making music for years. Their music mixes elements of African beats with blues and pop to make it easily accessible. Both Amadou and Mariam are also blind, which makes their music even more inspiring. Welcome to Mali is their 5th studio album.
#109 – Amadou & Mariam, Welcome to Mali (Metascore = 86)
Welcome opens with the single “Sabali”, an 80’s-sounding track with synthesizers, a drumbeat straight from a drum machine, and high-pitched singing (from Mariam). “Ce N’est Pas Bon” brings in guitars, chimes, and Amadou’s singing (backed by Mariam). This is one of my favorite tracks from the album because it feels like it has chants but also because of Amadou’s crisp guitar to back the music. “Magossa” is also a great song with a head-nodding beat to it that adds an oboe (maybe?) and another stringed instrument (possibly the kora?).
While most of the album is centered around Afro pop, numerous other musical styles permeate from the songs. “Djama”, for instance, feels like it came straight from the Bob Marley catalog. “Je Te Kiffe” includes Spanish elements provided by artist Juan Rozoff. “Masiteladi” has distorted guitars and other harder rock elements mixed into an Afro pop beat. “Africa” contains raps from K’Naan; while it is one of their weaker songs (and a lot more sensual), the music is not bad at all.
One aspect of the album that does become tiring is that the songs start to sound the same over time. There doesn’t appear to be any exploration into other keys, and vocally the songs start to sound the same even though the lyrics are different. Maybe this uniformity was intended and there is a theme built around it, but at times the songs can seem monotonous.
“I Follow You” and “Welcome to Mali” are, in my opinion, the two songs that summarize the message they send. They are dense songs with multiple instruments mixed behind Amadou and Mariam’s vocals. Overall, the record is a solid record. The songs are fairly catchy (despite their monotony) and is a great introduction for someone that has never heard their music before.
Friday, October 8, 2010
American Saturday Night
Brad Paisley has been a fixture on the country music scene for over a decade, and as the years pass by his popularity continues to grow. His tours routinely sell out and are exciting shows. His guitar prowess is the envy of many guitarists, particularly his ability to channel classic country with Southern rock and bluegrass. His records also are maturing in content while also retaining that comical side from the past on songs such as “I’m Gonna Miss Her” and “Celebrity”. His most recent release, American Saturday Night, has garnered his highest critical praise and is my current listen.
#105 - Brad Paisley, American Saturday Night (Metascore = 86)
American Saturday Night kicks off with the track of the same name and is homage to past and current cultural events. Lyrically this song tells a story of growing up, singing to the Beatles, and hanging out on Saturday night. Musically it’s more of a rock song than a country song, but that really doesn’t matter because it’s a toe-tapping, head-bouncing song. “Everybody’s Here” continues the theme of going out on Saturday nights, meeting up with friends and enjoying a cold one. (One running theme I’m noticing with critics is that if you continue a theme through a record and your songs are reasonably well-written, you’re going to get a higher evaluation.)
Another interesting theme under the periphery of the songs is how life has changed from being a kid to being an adult. “Welcome to the Future” probably brings this theme more to the forefront, going from things we used to do as a child (playing Pac-Man at the arcade) or act like (or more like how others used to act) to how we are now, how some things are better now than they were back then, and how some things will never be like they used to.
“Then” is one of his typical love ballads and is reminiscent of “Waiting on a Woman”. “She’s Her Own Woman” is a quasi-blues stomp with his blend of country added. “Anything Like Me” is Brad as an adult, wondering how his son will turn out, hoping he doesn’t turn out like him. “You Do the Math” is rather hokey, so I’ll pass on it. “No” steps back in time (compared to “Anything Like Me”) and focuses on his relationship with his grandfather, how he always seemed to have the answers that he needed to hear.
“Catch All the Fish”, while not lyrically challenging and takes Brad back to his songwriting on “Celebrity”, is a funky song to listen to. “Oh Yeah, You’re Gone” is a love ballad looking back at the fun times the narrator had before breaking up. “The Pants” is a comical country blues romp about exactly what you think.
This record is definitely Paisley’s best record lyrically. Musically it is very good, too, and I think many people could relate to what he says, regardless of whether or not you like country. Definitely check this record out!
#105 - Brad Paisley, American Saturday Night (Metascore = 86)
American Saturday Night kicks off with the track of the same name and is homage to past and current cultural events. Lyrically this song tells a story of growing up, singing to the Beatles, and hanging out on Saturday night. Musically it’s more of a rock song than a country song, but that really doesn’t matter because it’s a toe-tapping, head-bouncing song. “Everybody’s Here” continues the theme of going out on Saturday nights, meeting up with friends and enjoying a cold one. (One running theme I’m noticing with critics is that if you continue a theme through a record and your songs are reasonably well-written, you’re going to get a higher evaluation.)
Another interesting theme under the periphery of the songs is how life has changed from being a kid to being an adult. “Welcome to the Future” probably brings this theme more to the forefront, going from things we used to do as a child (playing Pac-Man at the arcade) or act like (or more like how others used to act) to how we are now, how some things are better now than they were back then, and how some things will never be like they used to.
“Then” is one of his typical love ballads and is reminiscent of “Waiting on a Woman”. “She’s Her Own Woman” is a quasi-blues stomp with his blend of country added. “Anything Like Me” is Brad as an adult, wondering how his son will turn out, hoping he doesn’t turn out like him. “You Do the Math” is rather hokey, so I’ll pass on it. “No” steps back in time (compared to “Anything Like Me”) and focuses on his relationship with his grandfather, how he always seemed to have the answers that he needed to hear.
“Catch All the Fish”, while not lyrically challenging and takes Brad back to his songwriting on “Celebrity”, is a funky song to listen to. “Oh Yeah, You’re Gone” is a love ballad looking back at the fun times the narrator had before breaking up. “The Pants” is a comical country blues romp about exactly what you think.
This record is definitely Paisley’s best record lyrically. Musically it is very good, too, and I think many people could relate to what he says, regardless of whether or not you like country. Definitely check this record out!
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