However, I thought there were still a few misses, but it was still much better than what we’re getting out of the country scene in the 21st Century. Needless to say, I was looking forward to what the Oklahoman was going to offer us not even a year after dropping an album and a EP.

Let’s get into it!

Like the last album, we start off with the spoken-word track “Lucky Enough (Poem)”. A criticism I’ve had towards Bryan’s fan base is that they make him out to be some sort of deep lyrical genius who has so much to say, quite similar to J. Cole’s fan base. While I don’t think he’s a bad lyricist (more on that later), I was never bought into it as many others seem to be. The same will apply to this track, which I think is far weaker than the first track of the self-titled, which I liked very much. Sure, the music and the meaning are nice, but I found it the lyricism and rhymes schemes to be very weak.

The next track, “Mechanical Bull”, can be paired with the title-track that comes right after it. I find both of these songs to be a slower burn than the first, which already sets this album at a very slow pace. The two tracks just sounds like B-sides off the last album, which does have that raw production, but it definitely felt wanting by the end of it. At this point, I was starting to get concerned, speculating that The Great American Bar Scene was going to be a repeat of what we already heard, and a more boring one at that.

However, the next track helped me start to throw those worries away.

“28” is a really nice and heartful track, which is a pattern on this album. Did it sound familiar (and a tad bit generic)? Yes, but the song has a really nice chorus and melody to it. It was short, catchy, and straight to the point. “American Nights” is similar, but in the way that both songs represent different types of sounds that Bryan is experimenting with. However, “American Nights” is a bit more of a rocker, a contrast in energy to what we have been listening to thus far.

“Oak Island” has Bryan going on a roll, with this being one of the best of this album (and possibly my personal favorite). I really love the addition of the trumpet, adding to the intensity of the song in a Zach Bryan kind of way (don’t bother asking for an explanation). “Purple Gas”, featuring nice vocals from Noeline Hoffman, is a sweet and soothing track, with not much else to ask for.

The first half of the album closes out well, even though “Boons” was a snoozefest with an irritating chorus. However, it’s hard to ignore songs like “The Way Back” and especially “Memphis; The Blues”, which features fantastic guitar work and John Moreland, who I thought outshined Zach with his performance.

The second half starts off stronger than the first with a track that has become one of my favorites, “Like Ida”. This song has a nice old-fashioned melody and good story telling, along with slide guitar done right (take note, Morgan). It’s followed by “Bass Boat”, which has an interesting piano section and an intriguing melody. It was also during this song where I started to wonder if I should take back all the things I’ve said regarding Bryan’s lyrical talent.

Needless to say, I did.

The next two tracks continue the pattern of Zach Bryan diversifying his sound, starting with “Better Days”. This might be the grooviest song we’ll ever hear from Bryan, and it caught me by surprise to say the least. Overall, the guitar work was pretty good and did the job well. “Towers” is a track with obvious gospel influences on it, which I believe to be a nod to the religious themes that Zach usually calls back to. I’ll admit that the track started off a little slow, but really picked towards the middle all the way to the end.

“Sandpaper”, featuring the legendary Bruce Springsteen, was a track I was looking forward to, but not for any good reason. I really wanted to see what this old boomer had to add, and why Bryan would even want to invite him in the first place. Unfortunately, my foresight was accurate once more. Don’t get me wrong, from a musical perspective, this song was far from being bad, actually featuring one of the more colorful instrumentals. However, Springsteen did not shine whatsoever, with his voice and Bryan’s style mixing together like oil and water.

I’ll have to admit that the last four tracks off this record were not the strongest, with it sounding as if Zach Bryan was running out of breath. “Northern Thunder” is the best song out of this whole section, though it has a bit of slow start. “Funny Man” is a song I want to love, with its wonderful and heartful meaning behind it, but the chorus might be the worst thing on this album, feeling like a rip-off of “Come and Get Your Love” by Redbone. “Pink Skies”, the hit single off the album, is honestly my least favorite track off the album. Don’t get it twisted, it’s not a bad song and I really appreciate the story-telling behind it, but I found the melody and the instrumentation to be very lackluster. The final track, “Bathwater”, was admittedly generic, but it’s very nostalgic and short enough to where I can let it slide.

SCORE/Excellent: I will say that while I prefer the raw production of Zach Bryan’s self-titled album, I like The Great American Bar Scene a little more. Sure, it didn’t have what attracted me to Bryan’s music in the first place, but it did offer me a lot more to enjoy. Most of the criticisms I have about the last album were essentially wiped away with this one. Bryan’s vocals has drastically improved here, along with his lyricism and story telling. Not to mention that the features on this album were all good (except Springsteen’s), which was a big part of what I disliked about the last record. I really look forward to see where Zach Bryan’s career goes from here, though it looks like it’s not going to stop rising any time soon. The country music genre is admittedly in a weird place right now, with several key figures wanting to take the genre in different directions. I feel like Zach Bryan offers a level of stability, with his music offering no eccentricities, just speaking the unadulterated thoughts of a man’s heart. Sure, this Oklahoman didn’t have a lot going on in his life, but he sure does have a story or two to tell.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Starting with the intro song, AMERIICAN REQUIEM, Beyoncé immediately addresses the driving forces that inspired her to create this album and choose this particular sound, a departure from her entire discography. Citing in an Instagram post in March 2024, Beyoncé revealed that the creation of this album took over five years to make and was inspired by an experience she had years ago where she did not feel welcome and faced criticism when first entering the country genre. She is most likely citing back to her performance of “Daddy Lessons” at the Country Music Awards in 2016 in which she received backlash from country fans who found issues with her lack of country credit and liberal-leaning political undertones.

With this criticism, Beyoncé wanted to challenge herself and her limitations of herself to release an album that not only blended genres together but pushed the boundaries of the societal expectations placed on her within the music industry. With this intro song, Beyoncé clearly states her roots in Louisiana, her frustration with past criticism stating she sounded too country in old interviews and now facing criticism for not being country enough.

This intro perfectly establishes the intention behind her album, the motivation factor, and her feelings about it, and showcases in the production, lyrics, performance, and execution that she is not taking this on lightly and has instead taken the time to make a carefully curated listening experience.

The album then finds Beyoncé giving her rendition for the first of two covers within the album with “Blackbird”, originally written by Paul McCartney and performed by the Beatles, and later with her own re-working of Dolly Parton’s smash hit, “Jolene”. Between the two covers, Beyoncé excels above and beyond with her rendition of JOLENE as she re-works some of the lyricism of the original from the singer begging Jolene to not steal her man to Beyoncé threatening and defending her man and their life with a flourishing of attitude, confidence, and assertiveness that breathes fresh and modern air to the dated original.

With Dolly Parton herself included on the project twice, once in an interlude and a second time in the track TYRANT, Beyoncé includes an impressive roster of country superstars that give their blessing, essentially, to Beyoncé’s intentions behind this album with endorsements from Willie Nelson, Linda Martell, and Dolly Parton herself.

The incorporation of these particular country stars is intentional as Linda Martell was considered to be the first commercially successful Black Female country star in the 1970s despite facing discrimination throughout her career and Willie Nelson facing backlash for his Outlaw Country genre that protested the imposition of the Nashville sound. Beyond the classic country superstars, Beyoncé also includes features of modern artists who have leaned into the genre fusion of country inspired songs with Miley Cyrus and Post Malone who both lean into the country theme of the album.

As the album progresses, it becomes more and more evident that the project is very much to prove a creative point about creative license and expression as Beyoncé takes that time to not make a mockery of the genre or offer a cheap imitation but, instead, to make an album that truly does challenge her to infuse her style, attitude, and brand to a genre she hasn’t explored yet. With lyricism revolving around her life, grind, and work to reach the status she has obtained along with social commentary, romantic/dedicated love, and fun, nonsensical lyricism akin to the country scope, Beyoncé is most successful in her thematics when coming from a meaningful and grounded foundation such as in her song PROTECTOR featuring some vocals from her daughter, Rumi Carter. While each song is so uniquely different and pulls in sounds of Americana, Folk, Pop, Country, Trap, and Singer-Songwriter, there remains a cohesive feel to the album despite its 27-song track list with a runtime of 1 hour and 18 minutes. Listening to COWBOY CARTER from start to finish feels more like an experience than just another album, a rarity for releases of this magnitude from an industry superstar especially.

With this jam-packed album full of various styles, themes, deliveries, and twists and turns, this album isn’t going to be an easy/accessible listen for everyone BUT, this release isn’t going to be as limiting of a release as many people might expect it to be thanks to the unique, fresh, and surprising creative risks Beyoncé and her team made for the album.

COWBOY CARTER is an ambitious project and a huge risk for Beyoncé and her brand in many ways especially given that this is a stark departure from RENAISSANCE, an album met with much success that played within the scope of her discography. While not every song is outstanding or even excellent, it is not due to lack of effort or execution but down to a matter of taste and personal preference. While there are some lulls in the album, for a project of this size, there are surprisingly few and they are far in between.

Even in the face of a potentially dull moment, Beyoncé’s vocal performance which finds her singing, rapping, and even giving an opera-like performance more than saves the day as this album sees her giving her usual powerhouse performance her fans are accustomed to. While some of the features don’t mesh as well with her deliberate choices in the album, the addition of the features feels more fan-service and symbolic than practical for the most part.

Rating/Good – ‘COWBOY CARTER’ is Beyoncé’s most ambitious project to date that is full of creative risks that mostly payoff. Her fresh take on the tropes of the genre, sound, expectation vs reality, and effort makes this release one of her most iconic albums in her entire discography. While objectively, there are some lulls in the album, some songs that don’t particularly land, and a dash of being a bit try hard at times, there is more than enough good about the album to look past these shortcomings. While this album has the potential to be divisive amongst fans of Beyoncé and the genre, as time progresses and her final act in the trilogy comes out, I foresee people warming to the release and finding this album to be a classic down the line. For an album with such a creative point and yet no point at all, there is a lot or very little to take from this project that will vary from person to person depending on what they are looking for but overall, the effort, execution, and care is there start to finish.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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In her highly anticipated fourth album, Sonya Lorelle embarks on a captivating journey, weaving together a tapestry of ten deeply evocative songs. Each of these tracks delves into the intricate labyrinth of grief, an emotion that unites us all in its universal embrace. 

What truly sets this album apart is its raw, unfiltered honesty, a fearless portrayal that exposes the very essence of her being. It’s a musical odyssey that speaks from the depths of the heart, fearlessly exploring a diverse range of genres while evoking the spirit of a Carol King-esque aura while imprinting her unique signature onto every note and lyric.

The album gracefully opens with “Surrender,” a breathtaking debut single that serves as a testament to Lorelle’s avant-garde prowess and encapsulates the grandeur of a Bond-esque epic. In its soul-stirring verses, it gently captures the raw vulnerability experienced when we lose someone dear. For me personally, it’s not just a track; it’s an emotional powerhouse that not only sets the stage but invites you to an emotionally charged journey that lies ahead.

While the album undoubtedly carries both lyrical and sonic weight, it also has melancholic moments. It’s Time” is one such instance where the music becomes a soothing balm for the soul. Then there’s “Whiskey Crying,” a contest-winning traditionalist country gem that adds depth and variety to the record. 
Furthermore, “Who Am I” takes a similar approach, evoking a sound reminiscent of the timeless tunes in Dolly Parton’s “Jolene.”

The melodies woven throughout this album are often rich and full, creating a complex and enchanting soundscape. Yet, amidst this lush musical tapestry, there’s a hidden gem waiting to be uncovered. “Drunk On Your Kisses” is a raw and beautifully intimate piece, a testament to Lorelle’s remarkable ability to convey profound emotions with simplicity.

Below is a rating for each song on a scale of 1-10:

“Surrender” – 7

“Want This Life” – 6

“Losing You” – 8

“What You Gonna Do” – 7

“You’d Be Sorry” – 6

“It’s Time” – 8

“Who Am I” – 7

“In to The Wild” – 7

“Whiskey Crying” – 7

“Drunk On Your Kisses” – 8

SCORE/EXCELLENT: “Into The Wild” is an album that takes you on an emotional rollercoaster, traversing the depths of grief and painting a vivid musical portrait of the human experience.

(We rank albums on a scale of: Poor, Mediocre, Good, Excellent, Outstanding).

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Beware the Monsters is like an old road in a southern state, rocky in parts, but full of grit from start to finish.

Woody Mac’s second project is a Rock-infused country blues mash up that winds up being a decent attempt of capturing the gritty, more angsty, side of the genre.

The album shines mostly in its instrumentation, especially the guitar. The first song “Stand Tall” feels cinematic in its opening, with dirty guitar chords that drag you into the rebellious atmosphere that encapsulates the sound of the album.

Woody Mac’s gravelly vocals compliment the instrumentation like whiskey and coke, on the third track, “Rock N Roll Band”, his voice grates against the guitar’s agitation, as if he was retaliating against it. Although the song’s lyrics themselves are quite generic and the song idea isn’t all that original, it’s still fun and engaging to listen to with its in-your-face attitude.

Unfortunately, some of the album’s pitfalls however are also to do with how Woody uses his voice. “Good Lord Almighty” is the worst song on the album for that reason, I know Woody wants this to be more of a tongue-in-cheek type of song about girl problems, off-kilter tone he used ends up leaving the guitar feeling like its being overshadowed.

“Was Your Momma Right” falls victim to similar setbacks. The lyrics are uninteresting, and the delivery is a bit too out there to take seriously, the way Woody says lines like “your daddy scolded you” feels almost like a parody to how Country Rock singers sing, which is good if it’s supposed to be, but unfortunately, I’m pretty sure it isn’t. What this track needed the most was slicker which would’ve complimented its cool instrumental a lot more.

However, whilst an old southern road does tend to have its bumps and cracks, every few miles you find a short stretch of road that’s still pretty much intact. “Live Your Own Blues” feels like one of those stretches, it’s solemn yet determined atmosphere sets the scene of a lonesome wanderer looking for purpose, the lyrics are well-written and cohesive, and the guitar playing does an excellent job of setting the sunset, introspective tone of the song.

For me, the album’s finest stretch of gritty road is the album’s title track “Beware the Monsters”. Definitely the most cohesive track on the album and the best song idea too, telling the listener to beware of negative people that have come with the circumstances “of our time”, creatively calling them “rotting sow in a big farm”. Woody’s voice works perfectly with the instrumentation like it did with “Rock N Roll Band”, gravely warning the listener of “the monsters” over a wickedly sinister guitar riff. In my opinion, the album should’ve ended on this high note rather than “Little Diddy”, which feels a bit like a throwaway.

Score/Good: At the end of the road, Woody Mac’s “Beware the Monsters” feels like a trip worth taking if you’re into rough, rock music. It has cracks that need filling and potholes that need fixing, but for what it’s worth it’s the grit that counts.

Beware The Monster Available For Purchase

[I rank albums on a scale of: Poor, Good, Excellent, Outstanding.]

Written by Jake Campbell

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Peter Hansson is an countrysongwriter from Sweden. So far has he co-written with two other artist on some songs Some of the songs have been played on radiostations in the Us. 

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Machaby’s musical journey, marked by his experiences in New York City, Muscle Shoals AL, St Croix USVI, and Massachusetts, has undoubtedly shaped his eclectic style. “Bound to Flood” draws inspiration from a wide range of influences, including blues, jazz, rock, funk, and folk, creating a sonic landscape that transcends traditional boundaries.

One of Machaby’s strengths lies in his ability to convey different aspects of the human condition through his music. With “Bound to Flood,” he skillfully weaves together elements of hope and positivity, leaving the listener with a renewed sense of optimism. The song’s infectious energy and groove make it impossible to resist moving to the beat.

As the owner of Underground Recording Co. in Cape Cod MA, Machaby takes full control of the production process, from recording to mixing and mastering. This hands-on approach is evident in the polished and well-crafted sound of “Bound to Flood.” The studio expertise shines through, enhancing the overall listening experience and showcasing Machaby’s commitment to sonic excellence.

Machaby’s versatility as a performer is noteworthy, whether he’s captivating audiences in solo shows with a full and dynamic performance or leading his 5-piece band through an electrifying set. This adaptability is a testament to his skill as a live performer, engaging audiences with his musical prowess and infectious stage presence.

“Bound to Flood” serves as a teaser for Machaby’s highly anticipated upcoming studio album, and if this single is any indication, fans are in for a treat. The song showcases Machaby’s instrumental prowess and hints at the depth and range of emotions that his full-length album is likely to explore.

Rating/Good – Mike Machaby’s “Bound to Flood” is a stellar addition to his growing discography. Its fusion of funk and rock, coupled with Machaby’s distinctive musical fingerprint, sets it apart in a crowded musical landscape. As we eagerly await the release of his upcoming album, “Bound to Flood” stands as a testament to Machaby’s artistry, leaving us hungry for more of his musical magic.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Simply, because of how it seems to tell a story frozen in time. Almost as if it were an old pantomime, retold for generations to come. Songs in this particular genre have a way of being a time capsule! It may not match the hyper-futurism or production of songs I’m generally used to, but I think the best way to truly evolve is to expose yourself to forms of art, or even genres of music, that you’re not typically used to. It is an art form in the rushed medium of time, as we grasp ourselves while taking note of how much quicker the second row of the clock runs.

In today’s article, we will be reviewing ‘Bloomer Girls’ by Ron Pandy. As a person who never usually analyses lyrics in conjunction with instrumentation, this song challenges the boundaries of my limits. To be fair, I don’t deem most lyrics very educational or informative, however, this song paints a story that is quite interesting and historically factual.

However, Ron Pandy is extremely unique as he interweaves the terminology as well as the phenomenon of baseball as a lens to America’s evolving moral and social climate. Interestingly, he mixes particular social ills such as racism, misogyny, and mental illness, and addiction- known human vices- with the latter. This leads to something that I’ve truthfully never seen before in terms of songwriting and gives him an edge. As someone who isn’t necessarily part of the social consciousness of this aspect of Americanism, it makes me feel as if I can understand the history and evolution of it- through Pandy’s sheer ingenuity.

As for the instrumentation, it starts with very warm and inviting folksy/country chords and riffs. It paints the picture of quaint, essential ‘America’, where people come together and there is no divide. The bass and the melodic guitar give the song the accent it needs, with character as well as slight melodic variation. I must admit, though, there isn’t too much going on in terms of music production.

The real star of the song is the singer, Ron Pandy, coming in with a twang to his voice, as well as that of a ‘grandfatherly’ wisdom. He then sings the lyrics, transcribed below:

Roll out the red carpet
Strike up the band
The Bloomer Girls are coming to town
They’ll outplay any man

It was the early 1900s Baseball’s at a fever pitch
The Bloomer Girls train rolled out they were out to make it rich
From the eastern seaboard to the prairie towns of Kansas
They carried their own ballpark fence and a grandstand made of canvas
And they’d challenge all the men’s teams to a game win or lose
In their Turkish style harem trousers and high button shoes

People came in from the city they came down from the farms
Women dressed their Sunday best their menfolk on their arms
And in a game of skill and guile the men often took the loss
Their wives cheering for the Bloomers to show the men who’s boss
For women could not vote could not own land in their own name
The Bloomer Girls are here to say those laws will have to change

This song contextualizes the ‘Bloomer Girls’, an All-Star women’s baseball team from the early 1900s. They paid homage in name to a particular woman named Amelia Bloomer, who was a newspaper editor as well as a women’s rights advocate in the late 1800s. Her newspaper was somewhat of a vessel for the Women’s Suffrage movement- a movement meant for women to achieve their right to vote. She also normalized pants in terms of women’s fashion, as a pioneer of the ‘skirt-pants’ combo that bore similarity to certain Turkish and Western/Central/South Asian pants, known today as bloomers.

As the song implies, they would travel across the country by train, carrying a ballpark fence and a canvas grandstand, challenging the men’s teams. They ingeniously did this, tying their whole brand and motive to the women’s rights movement in context, as well as changing the direction of American sociocultural politics.

All in all, I appreciate this song’s existence. As someone from Gen Z, living and breathing influences that may not have been possible even 10 years ago, this song’s style as well as its lyrics puts me in a trance in imagining the past. We forget music styles as well as events in history that lay as the precedent to the wealth of information as well as possibilities that we get to navigate through these days. The more I listened to this song, the more I liked it, even if it was the complete opposite of my typical repertoire of music.

Rating/Good  – ‘Bloomer Girls’ is an intriguing song, that will give awareness to genres of music and social events that younger listeners may not even be aware of. It is warm, innovative, and pays homage. True to the genre of folk, and the spirit of folk, as is.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Nash’s journey in creating this album began in March 2021 when he delved into the creative process to craft the lead single, “Walking Tall,” in collaboration with Martin John (their synergy is evident). Despite encountering various obstacles that caused multiple delays in the album’s release, Nash’s unwavering determination and unwavering passion have ultimately triumphed. Now, he is ready to unveil what promises to be his most exceptional musical collection to date, eagerly awaited by a global audience.

The hallmark of “On A Constant Roll” is its pure and unfiltered authenticity. The majority of the tracks on this record possess a rare quality that makes you feel like you’re right there in the room with the artist, forging an intimate and personal connection. It’s as if Nash is serenading you directly, and this experience is nothing short of enchanting.

The album’s sonic landscape is lush and organic, with most tracks exuding a rich and authentic sound. Backed by a four-piece band on most songs, there are moments of raw, unadulterated musicality that shine through. 

“Sorry Eyes” emerges as a standout track on the record, offering a stripped-back, acoustic nature that showcases Nash’s raspy vocals, an acoustic guitar, and beautifully interwoven electric guitar parts. Listening to “Sorry Eyes” evokes a feeling reminiscent of the legendary Yusuf / Cat Stevens, establishing a deep emotional connection with the listener.

As the release date draws near, anticipation is building for the unveiling of “On A Constant Roll.” It promises to be a musical journey that celebrates authenticity, heartfelt storytelling, and a genuine connection with the listener.

Below is a rating for each song on a scale of 1-10:

Walking Tail – 5

Spite Doesn’t matter – 6

Healing Curraghchase – 4

Crawl To The Shrine – 6

Snapshot – 4

On A Constant Roll – 5

Hideaway – 4

Same Boat – 4

Sorry Eyes – 6

As It Is – 4

Rating/Mediocre – On A Constant Roll” indeed reveals glimpses of promise. Despite the earnest pursuit of authenticity that underscores the album’s core, it’s evident that specific challenges have impacted its overall cohesiveness. However, it’s essential to acknowledge that Fergal Nash is an artist with potential.

[We rank albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The EP kicks off with “The Road”, which gives us a clear indication of how the EP is going to sound from here on out. As I mentioned in the intro, Kevin and Greg’s guitar playing goes very well together and creates a vintage country atmosphere. I also really like the melody and vocals, which are fitting for the genre. That said, I thought Josh’s bass tone was off-putting, being too loud and upfront.

Speaking of the vocals, they were okay overall, with some hits and misses. “April’s Song” was definitely a miss, with the boring melody not doing the trio any favors. “Wondering Through” has a similar issue, only being saved by better acoustic passages.

To build upon the guitar playing, we have “When The Lightning Came”, my favorite song off the EP. It’s a gentle tune with a soothing melody, further complimented by the brothers’ musicianship. The only time we see any electric guitar playing is on the song “For Now”. While I didn’t like it, due to an irritating chorus, I thought the addition of the guitar solo added some much-needed flavor.

The last track, “Not Just Somebody”, is just a sappy love song that left me uninterested within the first minute.

Here are my ratings for each song on a scale of 0-4:

1. The Road – 3
2. April’s Song – 1
3. For Now – 1
4. When the Lightning Came – 4
5. Wandering Through – 2
6. Not Just Somebody – 2

SCORE/Mediocre: There were definitely hints of talent throughout this EP, just not enough for it to materialize into a formidable and interesting project. With the project being as short as it is, there really isn’t much more to say. However, I wouldn’t be surprised if the Winter brothers cooked up something great with enough time, brainstorming, and practice. After all, this EP is still more interesting than most of what the country music world has to offer.

[We rank albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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