​Well this is certainly a switch.


Now, for anyone who remembers The Last Bandoleros' debut single, “Where Do You Go?”, you might have remembered that it emulated the Mavericks of all acts. Don't get me wrong, I like the sound a lot, but that's an interesting sound to try and take after. Hell, I don't even mean in terms of just here and now. Remember, The Mavericks never really caught onto mainstream country radio, so it's no surprise (unfortunately) that The Last Bandoleros' single flamed out pretty quickly.

Now, I'm merely making assumptions here based on observations, so take them as you will. However, judging by this particular new single from the band as well as their last song, “The River Man”, it seems like the band is now going for more of a straight rock sound than Tex-Mex. The odd part is that it actually plays to their strengths pretty well, and “Fly With You” is evidence of that.

I guess we can start with the lyrical content first. Look, lyrics have never been the band's strongest asset, and I made that clear in my long lost review of their EP from last year. Still, at this point I'm wondering if I should even care, because they more than make up for it in literally every other area. As for this song, there is at least more of an effort towards crafting something unique. On the surface the song reads as a pretty average love song, but the fact that he wants to “fly” with her while rejecting other pleasure activities seems to suggest this guy wants something more out of this relationship, and that's a nice, small detail.

Again though, the lyrics hardly even matter with this band. Between the great harmonies and a band with a ton of charisma that's reflected in their performance here, you've got a whole array of other elements that do the heavy lifting. The attitude is there as the narrator asserts that he doesn't just want a quick fling from this girl. Is it a little pushy even still? Sure, but the swagger is forgivable in this instance.

Of course, the best asset to this song is the instrumentation and production. Yeah, it belongs in the genre as much as most top ten singles these days do, but I couldn't care less. The song sort of starts off sounding sort of dreamy making you think it's going to be a pretty sleepy, basic love song. Then all of a sudden that starting riff kicks in and the energy is turned up to eleven. The closest comparison to the pace and energy would be Brothers Osborne's “It Ain't My Fault”. The beat is sped up, and the guitars have an incredible amount of crunch to them to actually give them some hard rocking edge. I was definitely a fan of stripping back the pre-chorus of “give me something good, give me something real”, because it provides a nice breather moment before the stomping chorus.

So all in all, if the band is looking to pursue a more Rock oriented sound I say more power to them. If it's just a one-off thing, then hey, at least it shows they're versatile. Either way, The Last Bandoleros are quickly becoming a young band that I really want to root for. They've got a certain kind of energy to them that's hard to replicate, and while they're not the second coming of Shakespeare by any means, they're even stepping things up in the lyrical department. Considering that country radio has kind of moved on from any traces of rock (even Brantley Gilbert is struggling), I don't see this doing much on the charts, but it would be a shame if the Last Bandoleros continued to remain a secret.

Grade: B+
Listen: "Fly With You"

Author: Zack

I've been critical of the singles released thus far from Jon Pardi's California Sunrise. Sure, I was glad to see him gain some much deserved success, but not with terrible songs like “Dirt On My Boots” or “Heartache On The Dance Floor”. I mean, no offense to Jon, but you can't just release catchy ditties all throughout your career. Eventually you need to show that you're more than that.

Well halle-freakin'-lujah folks, it looks like my prayers have been answered. I explained why I thought “She Ain't In It” would make for a great single, and it seems like we've finally got what is easily the best song released to radio in a long time.

Now, I'm no purist. Sure, I used to go around hammering folks like Sam Hunt and Florida Georgia Line for not being “real country”, but truth be told I like Country music of all shapes and sizes. Still, there's just something about hearing some lush steel guitar and fiddle (that sounds like it belongs in a George Strait song) that gets me all excited. The back and forth motion of the steel guitar that creeps up after the hook is a nice touch. Sure, I could go on about how great it sounds, but like other country songs as of late such as “Make A Little” or “When It Rains It Pours”, this feels like someone rode in a time machine back to the 90's and brought it here to 2017. I'd never praise a song strictly for being country, but this just has such a relaxed, melancholy, rich feel to it. .

We'll never hail Jon Pardi for being a great singer (probably ever). However, on this song he honestly feels pretty comfortable in his range. He's not shouting like he has been on his past singles. Instead, he's actually doing an excellent job of playing the heartbroken, sad guy. Sure, the sound is nice, but even in terms of sheer vocals, this is Pardi's best single to date.

Lyrically it explores the ever famous theme in country music of heartbreak, but I think there's a little more to it than that. I mean, the narrator thinks he can finally go out and enjoy life again just as long as he doesn't think of his past lover. However, the fact that he's saying how much he needs to not think about her means he is thinking about her, and it's a nice subtle detail about how much this heartbreak is torturing him.

In short, Jon Pardi really did need to release this single now considering the momentum he has right now. Sure, a fun ditty such as “Cowboy Hat” wouldn't have been egregious by any means, but “She Ain't In It” is the type of song that will do more good than bad for Jon despite its eventual chart peak. Like I said, it's the best thing at radio right now, and it's good to be rooting for this guy again.

Grade: A
Listen: "She Ain't In It"

Author: Zack

Why Dan...oh wait, Tyminski? First of all, why bother with mainstream radio success? Not to sound like a stuck up hipster or anything, but do you really think radio is going to embrace you no matter what you do? You're part of a Bluegrass band for his Holiness' sake. I get trying new things, but this feels more like a mid-life crisis more than anything else. 

Of course, none of that really matters if the music is good, right? Well, here's the tricky thing. For anyone who's heard Tyminski's previous work, you're probably going to think "what the f*&%?!?", and that's understandable. I was taken aback myself upon the first listen. But you know, the more I listen to this, the more I realize that I'm not against the thought of Dan fusing bluegrass music with borderline EDM or Pop. That is until realize that the only part of this that could even remotely be considered Bluegrass are the lyrics, and think about what that means... In other words, no, this isn't another version of High Valley that I likely would have welcome greatly. 

In fact, the production pulls more from what you would have heard from a slicker bro-country song just a few years ago. The chorus is terrible with the slick drum beats and Tyminski's awful processed vocals. Gee, it's almost as if this song is a terrible fit for him as an artist!

Lyrically, well, here's where it gets even more confusing. The entire song is a homage to his roots and growing up with music all around him. Sure, it takes the approach of small town, "my years before I turned twenty were so awesome" approach, but it approach it from a unique perspective, and that I can appreciate. 
​
But wait, if what you're singing about is growing up learning how to play Bluegrass, why the hell is the sound about as far removed from what you grew up on as it could possibly be? Again, all I can think of is High Valley and how they'd likely at least approach this song with some more organic instrumentation such as dobro and banjo (and actually make it work!). Aside from a compelling (even if he sounds awful) performance and an honest take on the subject, I can't find much else good to say about this, and that's a damn shame. I don't blame Tyminski for wanting to try something new. I just hate how much he sounds like he's trying to go for a sound that's not him at all. 

Grade: D+
Listen: "Southern Gothic"

Author: Zack

​Before we really get into this review, can we please leave the NFL incident out of the discussion with this song? It was chosen as a single likely long before that incident, so please, chill.

Anyway... we're back to talking about Trace Adkins, an artist who is literally the definition of hit or miss. Case in point, I thought his last single, “Watered Down” was one of the best songs of the year, but his new single, “Still A Solider” is one that has a strong sentiment even if it falls short in its delivery.

If there's anything that deserves to be praised in this song, it's Adkin's vocal performance. He's always been good on a technical level due to his sheer power, and while this song doesn't test that ability at all, his performance is sincere enough to not come across as preachy or pandering. However, while Adkins doesn't give off that preachy and pandering feeling, the lyrics on the paper do.

Much like Kellie Pickler who I'm also talking about today, this is a song that feels both like it's made for critics as well as critic-proof. I mean, how can I disrespect a song about the soldiers fighting for our lives and our freedom? The truth is I'm not. The second verse does do a great job of alluding to possible small effects of PTSD that this soldier back home is suffering from, and that's important to consider since they're “still soldiers” even off the battlefield. It's that verse though that just makes it feel all fake and plastic though. Why does it matter what kind of house he has or truck he drives? We get it, he's a perfect American who likes to drive trucks and drink beer. It's surprising there isn't a reference to hunting or fishing here. The song really does have a nice sentiment, and it gets better after that first verse, but to paint it in this ideal limelight to start it off with hurts it.

Of course, an even bigger issue comes with the production. It's fitting that his last single was titled “Watered Down” because that's exactly how I'd describe the guitar work here. It's trying to be modern and anthemic but it ends up coming across as boring. I just wish Trace would realize his hit making days are behind him and start to infuse more dramatic performances like he has on similar sounding songs like “Til The Last Shot's Fired” or “Arlington”. This just has no muscle to it.

So overall, again, I would say this has a strong sentiment underneath it that's doused by some weak production and questionable lyrics. It's not a bad song, but it's also not really a good one either. It just exists really.  

Grade: C
Listen: "Still A Solider"

Kellie Pickler is just such an easy artist to like. I mean, she gave up commercial success to make the album she wanted to make and went down with a smile on her face and hope in her heart. That's saying something. The only unfortunate part is that since 2013's The Woman I Am, we haven't heard a ton from Kellie aside from her television show as well as other personal matters. Still, if there's anyone who would know when a new Kellie Pickler song was coming, it would be my friend, Jeremy Chua. Because of him I saw that Kellie was set to release a song dedicated to her grandmother, Faye, so naturally I was intrigued to check it out, and it didn't disappoint.

Sonically the song nods to Kellie's neo-traditional roots with some tasteful piano anchoring the melody as well as mandolin during the verses and pedal steel during the chorus to add some flavor. It takes a “less is more” approach, and that's probably the best thing they could have done given the subject matter. The personal nature of the song also naturally means that Kellie's vocal performance is sincere and full of power and raw emotion.

Like I said before, the theme is an easy one to guess. This is essentially Kellie honoring her grandmother and detailing how she had such a huge influence on making Kellie into the woman she is today. She recalls events such as picking buttercups from the garden as well as throwing tea parties with her grandmother as ways of remembering her before later stating how she wouldn't be half the woman she is if not for her grandmother. The thing with this song is that it is personal, and yet it's also highly relatable for anyone raised by their grandparents or even a single mother (like me). In that sense, it's one that I can see easily connecting to people and perhaps earning Kellie some much deserved buzz.

The weird part about this song is that it's essentially made for critics, and yet it's also seemingly critic proof. Still, you're going to make me say it aren't you? Oh you are... well, I will say that the choice to make it relatable instead of super personal may also be its small Achilles heel. I just think the first verse could have benefited from really detailing how Kellie's grandmother helped shape her into who she is rather than just listing events that she associates with her. Even a small personal event added on as an extra verse could have turned this great song into an excellent one.

I digress though, because this really is a beautiful tribute to Kellie's grandmother overall. It unfortunately won't do squat at radio, but it is a fantastic song that hopefully will serve as the lead single from Kellie's yet to be announced next album. Until then, this is a great return for Kellie, so welcome back.  

Grade: A-
Listen: "If It Wasn't For A Woman"

Author: Zack

Really? This is the next On The Verge pick? Don't get me wrong, I'm sure Devin Dawson is a nice guy and all, and On The Verge has made some great picks in the past. They've also made some absolutely stupid picks for songs that obviously have no distinctive qualities whatsoever to them. That's the short version of how I'd describe Devin's debut single, "All On Me". 

​If you're wondering who he is...well, join the club I guess. He's from California and apparently rose to fame due to a viral Taylor Swift mashup. That's kind of it. 

As for this song, I think the biggest problem here is that it's trying way to hard to be serious, especially given the subject matter. The tones used are a little darker, and besides an organ in the background as well as some restrained guitars throughout, you're not really getting much here. Sure, it's nice to hear a debut single from a mainstream country artist that isn't so cluttered, but the problem is that nothing here is spectacular or really grabs your attention. The song just sort of exists. That's really its only purpose. 

I guess I can give a little bit of credit for the vocals. Devin isn't a distinctive singer by any means, and I swear if I hear one more male country artist try (and often fail) to go into their falsetto I'm going to scream. Still, his delivery is sincere enough given the subject matter. It's not an exciting performance at all, but there's believability. 

As for the subject matter, eh. It's essentially about a guy offering support to a girl whenever the weight of the world is too much for her. There's nothing all that clever about the wordplay used here. In fact, there's even some awkward one-liners such as "come get high on me". The theme isn't bad necessarily. It's just such an overdone one in country music, and if you want to make this kind of song stand out you need to either insert some clever details in the writing or make your production more interesting. Unfortunately none of that happens. 

So overall, boring would be the perfect word to describe the debut single from Devin Dawson. It's not particularly offensive, but it goes in one ear and out the other, and quite frankly you won't remember a bit of it once you're done with it. Devin is a new artist and this is his debut single, so maybe there's more here than what his debut single is offering, because it unfortunately doesn't offer much. 

Grade: C-
Listen: "All On Me"

Author: ​Zack

I’m honestly at a loss for where to start with Justin Moore. You see, he’s always been a mixed bag for me, but this past year and a half has really made me confused on my opinion for Justin’s music up to this point. While I’ve never cared for his pandering outlaw shtick, I remember having a very favorable opinion for what was at the time the lead off single to his latest album (Kinda Don’t Care), “You Look Like I Need A Drink”. It seemed to fit perfectly with the mainstream at the time. It was a tad more modern, sure, but it was also a song that certainly belonged well within the country genre, and it also was pretty clever lyrically also.
Then his latest album came out, and oh boy is it hard to talk about. For country purists or country music bloggers who grade with consideration of genre, this was an easy album to bash. After all, Justin essentially ditched the twang and the country instrumentation to go full on pop. For others like me who don’t want to get into the genre debate as much, well…it was refreshing to hear him drop a lot of the outlaw pandering bullshit, but one the other hand, it was so big of a change that just didn’t fit well with Justin at all. That’s probably the reason I never covered it myself.
Thankfully his newest single (the title track off of Kinda Don’t Care) is more in line with the few songs that actually sounded like Justin Moore such as “You Look Like I Need A Drink”, “Robbin’ Trains”, and….uh….wow I guess that’s it.
Jokes aside, I have to give credit to Justin for this song. It’s a smart take on a familiar subject in country music. Unlike past songs of his such as “Backwoods”, “Beer Time” or all of the other horrible cliché fests, this track actually doesn’t center so much on trying to live the outlaw way. In fact, the narrator here has apparently been a good boy. He’s been watching his weight, going to church, and doing other things to ensure that he lives on the right path. The song’s chorus sees him wanting to indulge in the pleasures from which he’s kept himself such as drinking and smoking and other things of this nature. He’s going to as well, since tonight he kind of doesn’t care anymore. There’s a reference to a heartbreak that may have set all of this off as well. Yeah, it’s not the most original song in the world, and truth be told a better writer may have been able to come at this with a little more humor or wit. However, I like the angle the song plays. He’s aware of the dangers these things he enjoys will cause him, and he’s just doing it to blow off some steam from a breakup. It’s coming from a more mature, understandable position. The line about wanting to find a pretty little thing raises a red flag, but in all honesty it’s kind of a fun song.
Well, it’s a fun song on paper that is. My biggest criticism for this track is that Justin sort of comes across a little monotone in his delivery here. Sure, that just may be the frustration building up inside of him from holding off on his enjoyment, but I can’t help but feel as if there could have been a little more energy put into the overall performance.
The instrumentation and production is really where this song gets enjoyable however. In essence, it’s actually got a, dare I say it, outlaw bedrock complete with some old school, choppy electric guitar, nice bass groove, and definitely some nice pedal steel play. In other words, it’s the kind of song Justin has always wanted to make and finally actually has. The song remains good throughout, but I’m willing to give it some extra credit for the extended electric guitar/pedal steel outro. Again, it provides a moment of fun that I just wish was evident in the overall delivery.
One of my favorite things to do as a reviewer is giving credit where its due, and as I’ve stated before, Justin earns it here. The song is one of those songs that’s simple in what it’s going for, and yet it’s highly effective in its execution. It sort of feels weird praising a song that feels the closest to what Justin has been trying to be for so damn long on an album that couldn’t have seen him stray further from himself, but that’s why I’m reviewing this particular song. It works well, and while I do think the writing could have been sharper, this is definitely one of the better songs on the radio right now. 

Grade: B
Listen: "Kinda Don't Care"

Author: Zackary Kephart

Jason Aldean's latest studio album, They Don't Know, highlighted many of his greatest strengths as an artist, including melancholic performances and a nuanced emotional viewpoint. However, his most recent single, the title track, fails to capture many of those qualities, and instead relies on many of Aldean's worst habits.

While hardly a terrible record, "They Don't Know" is reliant on cliches and a formulaic structure that is reminiscent of his past work, and none of his better efforts at that. The guitar work lacks depth or nuance, while the lyrical content fails to rise above the blue collar pandering that was all the rage in the early 2010s. Aldean, who demonstrated a certain level of emotion on stellar tracks such as "Fly Over States" and "Amarillo Sky", doesn't deliver with even a subtle level of emotional intricacy. 

The track isn't particularly offensive, as the melody is relatively strong and Aldean is fairly technically proficient over the course of the record. It certainly doesn't reach the bottom of the barrel in ways that efforts such as "1994" did, but provokes an indifferent reaction more than anything. On an album with its share of strong recordings, "They Don't Know" feels like settling on Aldean's behalf.

Grade: C+
Listen: "They Don't Know"

Luke Bryan has long been criticized for failing to live up to his full potential, opting for mindless party jams over anything resembling depth. For the first five singles off his current record, Kill the Lights, one could argue this has been the truth. However, with his latest single "Fast", Bryan takes himself in a more reflective direction, with astonishing results. 

"Fast" depicts the struggles of time passing, transitioning through life's different phases and a seemingly unstoppable pace. While not an entirely complex message, it is an important one and one that is handled with more than enough proficiency here. The song's message is one that nearly everyone can relate to, and one we must all hold close to our heart. Where "Fast" thrives is not only in its lyricism, however. The production, while leaning in a pop-country direction, remains relatively rooted within country territory. The melody and hook are among Bryan's best work, while the melancholic atmosphere works to enhance the on-paper songwriting.

Bryan's own performance, from a technical and performance standpoint, easily ranks among his best work, adding a depth of realism to an already universal message. On all counts, "Fast" is one of the finest efforts that mainstream country has offered up of late, and a career highlight for Bryan, who continually shoots well below his potential as an A-lister. More of this, please.

Grade: A
Listen: "Fast"

Author: Markus Meyer