Country music is slowly becoming more popular in Sweden and I feel I am on a mission to make it even more popular. Sadly, to many people in this country, country music is Dolly Parton (by whom they mean Jolene) and Johnny Cash (by whom they mean Hurt), then little more.
Today, my mission means opening my fellow countrymen's ears for the little known Bakersfield sound and one of the top acts of that sound, that is Buck Owens.
The Bakersfield sound is a favourite of mine, I really, really love Buck Owens song Act naturally, it's definitely on my top ten of all times. What makes it special is the crude guitar sound. I am a former skinhead and have listened to pretty brutal music in my days, but I've never heard anyone play that melodic and upbeat tunes like Buck Owens can and then throw in some guitar chords as simple, yet brutal as that. It's undescribable, you'll only know what it sounds like once you've heard it yourself.
The music is upbeat most of times, but lyrics are not always that positive, although there are exceptions. If you want to criticise Buck Owens, one could say that he got stuck in the 50's and pretty much learned his wordsmithery from Hank Williams sr, cos there's quite a few number about heartaches. The closing track though, made famous to my generation from the version Buck cut with Dwight Yoakam, Streets of Bakersfield contain som social commentary.
Buck is good at playing good tunes (dunno whether he wrote them himself or not) and has a voice good for singing. He's by no means no Pavarotti, but he can sing allright. That means that this album, maybe with the exception of the Tall dark stranger tune, is worth buying. There's no reason not to like this record and I give it two thumbs up.
A good, but by no means flawless album gets 97,3% in level of satisfaction.
Thursday, 27 October 2011
Sunday, 23 October 2011
Merle Haggard, "20 greatest hits"
Merle Haggard is an artist I can't stop listening to. Sure, not everything he has done is a masterpiece, but he's made quite a few tunes good enough for one to invest in this cd. They're all here.
If you like Merle or never heard about Merle, but you like outlaw country, then you'll like this. There's been quite a few outlaw country artists, but most of them come out sounding like a poor man's Johnny Cash. Merle is different in the sense that he has added his personal touch in the form of his background in the 50's Bakersfield sound and the guitars you love from Buck Owens tunes are all here. Sometimes Merle explores a gentler touch as well, there's quite a few love songs on this cd too.
No matter how much you love Merle's gentler side or his socially aware stuff, when you make a Greatest Hits album, you must include Okie from Muskogee and The fightin' side of me and they are of course both included and Okie... is the version that is best, the live version.
For those of you that have never heard Merle, these tunes are tunes that you, due to their lyrics, either love or hate. The fightin' side of me is a declaration of war against peaceniks and hippies at a time when America fought a war in Vietnam. It's a rallying call for the silent majority to stand up and be counted, to defend American values.
Okie... is simillar. It's a song of love directed towards the American redneck. It's about a place, Muskogee in Oklahoma, where "even squares can have a ball" and include lyrics like "we don't smoke mariuahna in Muskogee, we don't take our trips on LSD" and lines about not lettings one's hair grow long and shaggy like the hippies down in San Francisco do. This tune came out about the same time as The fightin' side of me and became a huge hit among rednecks at the time, though Merle later claimed that Okie... was a pisstake and that he himself smoke weed everywhere cept for when he's in Muskogee.
These two tunes are my faves on this album, but there are many other good tunes too, among them Workin' man blues and Branded man.
Get this record somehow or get any other, there's plenty of Merle Haggard compilations out there!
A good, but in no sense perfect intro to the work of Merle Haggard receives 82,1% in rate of approval.
If you like Merle or never heard about Merle, but you like outlaw country, then you'll like this. There's been quite a few outlaw country artists, but most of them come out sounding like a poor man's Johnny Cash. Merle is different in the sense that he has added his personal touch in the form of his background in the 50's Bakersfield sound and the guitars you love from Buck Owens tunes are all here. Sometimes Merle explores a gentler touch as well, there's quite a few love songs on this cd too.
No matter how much you love Merle's gentler side or his socially aware stuff, when you make a Greatest Hits album, you must include Okie from Muskogee and The fightin' side of me and they are of course both included and Okie... is the version that is best, the live version.
For those of you that have never heard Merle, these tunes are tunes that you, due to their lyrics, either love or hate. The fightin' side of me is a declaration of war against peaceniks and hippies at a time when America fought a war in Vietnam. It's a rallying call for the silent majority to stand up and be counted, to defend American values.
Okie... is simillar. It's a song of love directed towards the American redneck. It's about a place, Muskogee in Oklahoma, where "even squares can have a ball" and include lyrics like "we don't smoke mariuahna in Muskogee, we don't take our trips on LSD" and lines about not lettings one's hair grow long and shaggy like the hippies down in San Francisco do. This tune came out about the same time as The fightin' side of me and became a huge hit among rednecks at the time, though Merle later claimed that Okie... was a pisstake and that he himself smoke weed everywhere cept for when he's in Muskogee.
These two tunes are my faves on this album, but there are many other good tunes too, among them Workin' man blues and Branded man.
Get this record somehow or get any other, there's plenty of Merle Haggard compilations out there!
A good, but in no sense perfect intro to the work of Merle Haggard receives 82,1% in rate of approval.
Saturday, 22 October 2011
The Bob Marley and Desmond Dekker of country music
As an old skinhead, I am a fan of reggae music or at least was so until a few years ago. I can't stand modern reggae or "ragga", as they call it, though I really liked Willie Nelson's reggae album.
Anyhow, whenever one says that one likes reggae, you get the usual reaction. "Oh, you like Bob Marley". Which I, in fact, don't particulary do. Sure, some of his 60's stuff was great, but when he progressed to his rastafarian, drug-fuelled crap, it just got too druggie for my taste.
I do appreciate his role in spreading reggae music to a wider audience though, he was a fantastic embassador for the genre. It's just, I think, a bit arrogant to believe that the whole genre starts and ends with one man. I am a far bigger fan of Desmond Dekker, who was the first Jamaican reggae artist with a major smash hit abroad (no, I don't count Millie, cos she was ska and not reggae) and Toots or Jimmy Cliff.
Lately, it has been popular to like Johnny Cash and you get a lot of people talking about Johnny as people talk about Bob. You tell them you like country music and people say "Oh, I love Johnny Cash". Good for them, Johnny Cash was a genious, but can you truly claim to love a genre if you've only heard one man's music?
When it comes to country music, the Desmond Dekker of country is Hank Williams sr and Johnny Cash was the Bob Marley in my book any day. Johnny revolutionised country and brought it a social commentary it hadn't had since the days of Woody Guthrie, although Johnny was definitely not a bloody commie, like Woody was.
The social commentary bit is another reason why I think Johnny as the Bob of country and why I think Hank was the Desmond Dekker. Like Des, Hank stuck to easy listening like themes, most often about broken hearts and misery and never took the step into radical stuff. As a beacon of light for country music in a time when country was not all that it was to become after him, Hank changed a lot of things in the scene and is still an inspiration for many young artists.
Anyhow, whenever one says that one likes reggae, you get the usual reaction. "Oh, you like Bob Marley". Which I, in fact, don't particulary do. Sure, some of his 60's stuff was great, but when he progressed to his rastafarian, drug-fuelled crap, it just got too druggie for my taste.
I do appreciate his role in spreading reggae music to a wider audience though, he was a fantastic embassador for the genre. It's just, I think, a bit arrogant to believe that the whole genre starts and ends with one man. I am a far bigger fan of Desmond Dekker, who was the first Jamaican reggae artist with a major smash hit abroad (no, I don't count Millie, cos she was ska and not reggae) and Toots or Jimmy Cliff.
Lately, it has been popular to like Johnny Cash and you get a lot of people talking about Johnny as people talk about Bob. You tell them you like country music and people say "Oh, I love Johnny Cash". Good for them, Johnny Cash was a genious, but can you truly claim to love a genre if you've only heard one man's music?
When it comes to country music, the Desmond Dekker of country is Hank Williams sr and Johnny Cash was the Bob Marley in my book any day. Johnny revolutionised country and brought it a social commentary it hadn't had since the days of Woody Guthrie, although Johnny was definitely not a bloody commie, like Woody was.
The social commentary bit is another reason why I think Johnny as the Bob of country and why I think Hank was the Desmond Dekker. Like Des, Hank stuck to easy listening like themes, most often about broken hearts and misery and never took the step into radical stuff. As a beacon of light for country music in a time when country was not all that it was to become after him, Hank changed a lot of things in the scene and is still an inspiration for many young artists.
Earl Scruggs, "Classic bluegrass live 1959-1966"
I like this record. I like it a lot, I can't stop listening to it no matter what it does to my image as a former skinhead with tattoos and stuff.
Still, I think I like bluegrass for the same reason I like ska music, it makes you happy listening to it.
As someone raised in the oi! scene, lyrics mean a lot to me, but strangely, I don't care if the lyrics to this album are a bit naive. Take, as for an example, the lyrics to Jimmy Brown the newsboy, not something Kris Kristofferson or even Zac Brown would have penned, but who cares? This music is made for dancing, not for changing the world.
This album is, as the title gives away, a live album, collecting appearances by Earl Scruggs from three folk festivals in Newport, 1959, 1960 and 1966. Scruggs had then become a legend, not just among the traditional bluegrass punters, a scene he had changed with his groundbreaking way of picking his banjo, but also among the trendy middle class students who had discovered American folk music, a scene spearheaded by Bob Dylan.
There's a lot of stuff coming out from the 60's and most of it hasn't aged well. This album, however, has aged surprisingly well. Scruggs music is timeless.
Another thing which strikes you is how well it sounds live. Today, you get a lot of artists recording as their first priority and using computers to enhance their music and though it might sound the business on disc, they come out sounding poor live. You don't get that with Earl Scruggs, listening to him, you listen to someone who simply loves playing live.
I am going to look for more records by him, definitely!
A near perfect record get a near perfect level of satisfaction, 96,1%
Still, I think I like bluegrass for the same reason I like ska music, it makes you happy listening to it.
As someone raised in the oi! scene, lyrics mean a lot to me, but strangely, I don't care if the lyrics to this album are a bit naive. Take, as for an example, the lyrics to Jimmy Brown the newsboy, not something Kris Kristofferson or even Zac Brown would have penned, but who cares? This music is made for dancing, not for changing the world.
This album is, as the title gives away, a live album, collecting appearances by Earl Scruggs from three folk festivals in Newport, 1959, 1960 and 1966. Scruggs had then become a legend, not just among the traditional bluegrass punters, a scene he had changed with his groundbreaking way of picking his banjo, but also among the trendy middle class students who had discovered American folk music, a scene spearheaded by Bob Dylan.
There's a lot of stuff coming out from the 60's and most of it hasn't aged well. This album, however, has aged surprisingly well. Scruggs music is timeless.
Another thing which strikes you is how well it sounds live. Today, you get a lot of artists recording as their first priority and using computers to enhance their music and though it might sound the business on disc, they come out sounding poor live. You don't get that with Earl Scruggs, listening to him, you listen to someone who simply loves playing live.
I am going to look for more records by him, definitely!
A near perfect record get a near perfect level of satisfaction, 96,1%
Friday, 21 October 2011
Kris Kristofferson, "Closer to the bone"
I like Kris K, but I don't worship him like some reviewers do.
Sure, mr Kristofferson is beyond doubt one of the best wordsmiths country music has ever fostered and although his voice isn't beautiful, it's distinctive and it "works". Then add the fact that he has a talent for good music too.
On this album, what you get is a bunch of emotional country songs, not necessarily emotional as in crying material, but simply songs investigating various emotions, although there is certainly a few blue tunes too.
Musically, there's not much more than an accoustic guitar on this little darling and Kris comes across sounding a little bit like Johnny Cash did on his last recordings and a little bit like Townes van Zandt, but most of all like himself.
There's a few surprises too, like a song about Sinead O'Connor, didn't see that one coming.
There is not a weak song on this album, but there's also not a really strong standout song, no hammers, just good songs. The fact that this album is just about 30 minutes saves it, cos I couldn't listen any longer to a, by all means good, album, but somewhat repetitive.
This means that I can't give the album a rave review.
78,3% is all it gets in level of satisfaction.
Sure, mr Kristofferson is beyond doubt one of the best wordsmiths country music has ever fostered and although his voice isn't beautiful, it's distinctive and it "works". Then add the fact that he has a talent for good music too.
On this album, what you get is a bunch of emotional country songs, not necessarily emotional as in crying material, but simply songs investigating various emotions, although there is certainly a few blue tunes too.
Musically, there's not much more than an accoustic guitar on this little darling and Kris comes across sounding a little bit like Johnny Cash did on his last recordings and a little bit like Townes van Zandt, but most of all like himself.
There's a few surprises too, like a song about Sinead O'Connor, didn't see that one coming.
There is not a weak song on this album, but there's also not a really strong standout song, no hammers, just good songs. The fact that this album is just about 30 minutes saves it, cos I couldn't listen any longer to a, by all means good, album, but somewhat repetitive.
This means that I can't give the album a rave review.
78,3% is all it gets in level of satisfaction.
Saturday, 15 October 2011
Dwight Yoakam, "Guitars, Cadillacs, etc, etc" (Reissue)
You either love or hate Dwight Yoakam. There is no middle ground, you either think he's the worst thing that has happened to country music, or you rank him high among the legends.
Myself, I was prejudiced towards him for ages, but then I came across his album of Buck Owens covers and it blew me right away. I decided to check him out and discovered that there is no golden rule. Country music must not always sound as it did in the golden 70's of outlaw country.
Dwight Yoakam has simply taken good old honky-tonk style country music and given it a modern twist and it sure works.
This record was, if I'm correctly informed, his first and this cd is a re-issue from 2006 and includes his 1981 demos, as well as a disc with a live performance of his from the time of the first release in 1986, which means that Dwight Yoakam has been entertaining us now for a quarter of a century, which is no small accomplishment in itself.
I think people dislike Dwight Yoakam, not as much because he has brought pop into country, but because he has made it work. You get equal doses of honky-tonk rooted in the Bakersfield sound, with a few violins added, as well as sounds from the deep south Dwight hails from and radio friendly pop/rock.
Lyricswise, you get a lot of heartaches, as well as Dixie pride and though might not be the best lyrics ever written, they work for me, I like 'em.
The only bad tune and to be honest, it's not that bad, only Social Distortion covered it much better, is Ring of fire.
Dwight opened up the country scene to discovering more side projects than bluegrass and gospel and I think quite a few successful country artists owe their "break" to Dwight Yoakam coming and opening the door for them and has made country more accessible. Even if I really don't like some of the more recent big acts (ZBB remain an exception, but that is largely thanks to their lyrics), I think Dwight Yoakam is quite good and even if you don't like him, you have to admire the man for what he has accomplished!
A classic, but not a perfect album gets 91,2% in level of satisfaction!
Myself, I was prejudiced towards him for ages, but then I came across his album of Buck Owens covers and it blew me right away. I decided to check him out and discovered that there is no golden rule. Country music must not always sound as it did in the golden 70's of outlaw country.
Dwight Yoakam has simply taken good old honky-tonk style country music and given it a modern twist and it sure works.
This record was, if I'm correctly informed, his first and this cd is a re-issue from 2006 and includes his 1981 demos, as well as a disc with a live performance of his from the time of the first release in 1986, which means that Dwight Yoakam has been entertaining us now for a quarter of a century, which is no small accomplishment in itself.
I think people dislike Dwight Yoakam, not as much because he has brought pop into country, but because he has made it work. You get equal doses of honky-tonk rooted in the Bakersfield sound, with a few violins added, as well as sounds from the deep south Dwight hails from and radio friendly pop/rock.
Lyricswise, you get a lot of heartaches, as well as Dixie pride and though might not be the best lyrics ever written, they work for me, I like 'em.
The only bad tune and to be honest, it's not that bad, only Social Distortion covered it much better, is Ring of fire.
Dwight opened up the country scene to discovering more side projects than bluegrass and gospel and I think quite a few successful country artists owe their "break" to Dwight Yoakam coming and opening the door for them and has made country more accessible. Even if I really don't like some of the more recent big acts (ZBB remain an exception, but that is largely thanks to their lyrics), I think Dwight Yoakam is quite good and even if you don't like him, you have to admire the man for what he has accomplished!
A classic, but not a perfect album gets 91,2% in level of satisfaction!
Wednesday, 5 October 2011
Zac Brown Band, "You get what you give"
ZBB is one of the hottest acts in modern country right now, in fact they're so hot they even open for Kings of Leon.
When I first heard this record, I wasn't sure why they were given all the praise they've received. At first, it sounds like soulless, radiofriendly commerical country music with vague influences from bands like The Eagles.
But the more I listen to them, the more I like them. Not only for them being brave enough to experiment musically. Anyone can play an unexpected cover at a concert, but ZBB experiment with ska on the track Who knows and why not? If ska can go latin, jazz, punk or even folk, why not country? Willie Nelson did, after all, make a reggae album the other year. Is this a new trend? If it is, I like it, ZBB comes across sounding like Madness at times. Good stuff!
No, it's also the fact that they're good at their trade in the more regular songs as well. If you like your country music a bit poppy, then this is one record you don't wanna miss. They're good at what they're doing, I just don't appreciate it that much.
However, if the music is a bit bland, then their lyrics save the day. I'm from Skåne, the southermost region of Sweden and we get to live with the same prejudices about us from the northern Swedes as the Dixies have to live with from the Yanks. I can really relate to the lyrics, which are cleverly manufactured. It's the little man's point of view which comes across in their lyrics. This fact saves ZBB from becoming just another mediocre radio act to my ears and propells them into one of the best modern acts out there.
It's a good record, but unfortunately, it doesn't quite live up to the expectations The Foundation sat. The opening track, Let it go, is the closest thing to a smash hit in my ears and perhaps they should have saved it for a bit longer into the record. Now you just get a bit let down from expecting the following tracks sounding like the opening one. But what do I know? The kids today download their fave tunes and don't give a darn about succession on an album.
There is nothing compared to Chicken Fried on this album, but it's still a decent record which deserves 69.8% in level of satisfaction.
When I first heard this record, I wasn't sure why they were given all the praise they've received. At first, it sounds like soulless, radiofriendly commerical country music with vague influences from bands like The Eagles.
But the more I listen to them, the more I like them. Not only for them being brave enough to experiment musically. Anyone can play an unexpected cover at a concert, but ZBB experiment with ska on the track Who knows and why not? If ska can go latin, jazz, punk or even folk, why not country? Willie Nelson did, after all, make a reggae album the other year. Is this a new trend? If it is, I like it, ZBB comes across sounding like Madness at times. Good stuff!
No, it's also the fact that they're good at their trade in the more regular songs as well. If you like your country music a bit poppy, then this is one record you don't wanna miss. They're good at what they're doing, I just don't appreciate it that much.
However, if the music is a bit bland, then their lyrics save the day. I'm from Skåne, the southermost region of Sweden and we get to live with the same prejudices about us from the northern Swedes as the Dixies have to live with from the Yanks. I can really relate to the lyrics, which are cleverly manufactured. It's the little man's point of view which comes across in their lyrics. This fact saves ZBB from becoming just another mediocre radio act to my ears and propells them into one of the best modern acts out there.
It's a good record, but unfortunately, it doesn't quite live up to the expectations The Foundation sat. The opening track, Let it go, is the closest thing to a smash hit in my ears and perhaps they should have saved it for a bit longer into the record. Now you just get a bit let down from expecting the following tracks sounding like the opening one. But what do I know? The kids today download their fave tunes and don't give a darn about succession on an album.
There is nothing compared to Chicken Fried on this album, but it's still a decent record which deserves 69.8% in level of satisfaction.
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