Garth Brooks- Time Traveler (Pearl)
We could become completely distracted from the task of reviewing music by just waxing poetic all day on Garth Brooks’ incessant need to be curiously out of touch in the digital age. From the continuous cash-grab repackaging of his catalog and head-scratching retail exclusives, to the flat-out refusal to make his music available on streaming platforms, he certainly doesn’t make it easy for a new generation of listeners to find his music, old and new. Which is a damn same in the case of his newest release, Time Traveler, easily the country icon’s most solid LP since he embarked on his comeback a decade ago. While it goes without saying that the record still possesses plenty of Brooks’ signature, hammy melodrama and character cliches, it lacks the forced and awkward gimmicks that marred so much of releases like Man Against Machine and Fun. It’s a well-rounded and satisfying course-correction that finds the superstar sounding like the naturally charismatic but accessible entertainer and storyteller that conquered the music world three decades ago. The production is crisp, clean, and brimming with fiddle, steel, and mandolin. In other words, perfectly in tune with the classic 90s neo-trad trappings that he helped champion, and that are so ubiquitously en vogue at the present moment. Rave-ups like the Ronnie Dunn duet “Rodeo Man” and “Neon Neighborhood” are unabashed honky tonk fun. “Only Country Music” and “Pleasure In the Pain” are faithful, astute celebrations of the country art-form, without dipping into his well-known pandering tendencies. His soulfully powerful pipes are also as robust and resonant as ever. He and wife Trisha Yearwood sing the absolute blazes out of David Allan Coe’s classic, “The Ride”, while he and Kelly Clarkson prove to be a tremendous match on the understatedly lovely, “The Ship and the Bottle”. His tender storytelling gifts remain equally strong on moments like opener “Me Without You”, “St. Paul-Minneapolis”, and on the timely closer, “We Belong to Each Other”, a neo-soul ballad of unity that graciously avoids all the pitfalls of similarly themed mis-steps from the past decade (“People Loving People, etc) Time Traveler may not reign as an all-time masterpiece, but simply the kind of sturdy, friendly and faithfully country work that listeners want from Garth Brooks in this stage of his storied career. It is, in fact, an album worth going out of your way to find, for both long-time loyalists and new listeners alike.
Jimmy Buffett- Equal Strain On All Parts (Sun)
When Jimmy Buffett sadly departed this earth on September 1st, the fabled singer-songwriter left behind a trove of musical gifts within his five-decade catalog of music. Also left in his pipeline was one final album–his thirty-second–and it proves to be both a tender and joyous final farewell from the beloved legend. Equal Strain On All Parts is a generous helping of all of Buffett’s classic calling cards. Comedic and carefree fun bookend moments of bittersweet nostalgia and life reflection, all while traveling through his signature blend of sonic trappings that are both country and calypso, folksy and rocking. The set opens in delightfully brassy fashion as the Preservation Hall Jazz Band accompanies him on the vibrantly New Orleans-inspired, “University of Bourbon Street”. Brimming with Buffett’s most festive qualities, “Bourbon” sets the stage for a parade of typically charming novelties, ranging from silly ditties like “Like My Dog” and “Fish Porn” to frivolous anthems like “Nobody Works on Friday”, the jaunty country jam “Close Calls”, and the dubious “My Gummie Just Kicked In”, which features Paul McCartney on bass. Additional guest appearances abound with Angelique Kidjo’s reggae fusion on “Ti Punch Cafe”, breezy support from Will Kimbrough and Lennie Gallant on “Portugal or PEI”, and Emmylou Harris recreating the luminous harmonies she provided on the Bob Dylan original as she and Buffett close the set with “Mozambique”. At the center of all the vibrant colors provided by these various guest turns and catalog staples are two heartwarming and poetically resonant moments that instantly rank among Buffett’s most moving. The title track, which at the core is the mere appreciation of a satisfying nap, transcends itself into a moving celebration of the wisdom and life perspective that Buffett’s grandfather (a common character in his catalog) passed onto him. Then there’s the lead single, “Bubbles Up”, a track that’s still difficult to survive without a lump in your throat and a tear on your cheek. A mission statement of survival and perseverance, it’s a moving narrative all on its own, but is truly elevated when delivered by a journeyman at the end of his life. It’s also one of Buffett’s greatest vocal performances ever, full of the uplifting soul and love of life that has been the ultimate heartbeat of his entire legacy from day one. Equal Strain both stirs the soul and busts a gut in the same wonderful way that all of Buffett’s classic LPs always have; it’s a jubilant and moving goodbye from a performer who always felt as much a friend as an entertainer. Rest easy, Jimmy.
Cold War Kids- Cold War Kids (AWAL)
The self-titled studio album from Nathan Willett’s soulful indie-rock outfit follows their three-volume New Age Norms series, which navigated them through the pandemic years while exploring their widespread palate of influences. This record proves to be a suitable sonic follow-up to those projects. In many ways, it proves to be their most concise and efficient blend of all those styles while remaining within the confines of a proper studio set. Willett’s elastic, evocative voice continues to prove itself as one of the most dynamically intriguing in all of modern rock, and his excellent ensemble of musicians keep up unflappably with every stylistic and emotional pivot he leads them through. Prominent shades of New Wave, modern pop, blue-eyed soul, and post-punk blend marvelously through the now-signature CWK rock filter. Meanwhile, the band tackles topical material ranging from self-discovery and reinvention, romantic insecurities and perseverance, and the struggles in balancing the duties of a parent with that of a rockstar. The opening one-two punch of crackling singles “Double Life” and “Run Away with Me” provide a slapping energy right out of the gate that rarely lets up, through the house-flavored “Empty Inside” and the seductively disco-rock dynamo of “Sunday In the City”. Their thrilling sonic mash-up of high-octane rock guitar and pulsating, frenetic piano showmanship continues to reach new heights on this album. Yet, when they slow it down on more introspective U2-esque moments like closer “Starring Role” or the standout “Another Name”, they’re as soul-stirring as any group of the past three decades. Cold War Kids is another winning effort from a group that should have long since risen from their cult-status. This band remains equally compelling emotionally, intellectually, and sonically. It’s a late-year highlight in the 2023 rock story.
Dolly Parton- Rockstar (Butterfly)
When country pioneer Dolly Parton reluctantly accepted her induction into the Rock & Roll Hall of Fame in 2022, she promised to return the favor by delivering the first bona-fide rock project of her sprawling six-decade career. Spanning over two hours, across thirty tracks, and featuring nearly three-dozen guest appearances from a host of rock giants and modern superstars, Rockstar certainly finds Parton more than making good on that promise. It’s a gloriously arduous effort and its results are certainly mixed, ranging from truly captivating moments to those that are entertaining in spite of, and at times because of, their sheer messiness. First and foremost, one can’t help but be in awe of the obvious magnitude and reach of Parton’s universal popularity and adoration, as evidenced by the staggering list of greats assembled here: Stevie Nicks, John Fogerty, Ann Wilson, Steven Tyler, Elton John, Debbie Harry, Joan Jett, Pat Benatar, Sting, Steve Perry, just for starters. She even freaking reunites the surviving Beatles for their first unified chart appearance in decades on “Let It Be”. It’s a testament to Parton’s powerful pull across the entire musical spectrum. Dolly’s catalog has always been equally rich with classic strokes of genius and camp, with both proving to be essential to her overall legacy, regardless of critical reception. There’s no denying that Rockstar as a whole definitely falls more frequently into the latter category. Her vocal inflections and cheesy banter with her guests carry a milquetoast quality, particularly when paired with such aggressive rock arrangements. It makes for a charming and cringe-worthy combo all the same. With its core sensibilities so deeply rooted in youthful rebellion, rock has always been the most difficult performance style to gracefully age within. And while there’s no disputing the box-office nature of these unions, one cannot help but wonder what these performances could have sounded like even twenty-five years earlier. The bigger challenge however, outside of the record’s marathon length, is Parton’s tendency to stay so devotedly loyal to the original productions that it results in a overblown karaoke vibe on the bulk of the track. It would’ve been interesting to hear her experiment more with the overall arrangements, an ability that we know she can do fabulously (i.e. 2001’s “Shine”). Those liberties certainly wouldn’t have needed to have been in a country or bluegrass vein either. In fact, the nine original tunes that Parton unveils here demonstrate that she certainly can operate proficiently in the rock arena. Frankly, those tracks make up some of the very best moments on the album, including lead single “World on Fire”, “I Dreamed About Elvis”, and surprisingly, the fantastic Kid Rock duet, “Either Or”. Nevertheless, there are some truly endearing highlights to be found across the covers here, among them “Long As I Can See the Light” with Fogerty, “Don’t Let the Sun Go Down On Me” with John, a lilting solo take on Prince’s “Purple Rain”, and “I Can’t Get No Satisfaction” with Pink and Brandi Carlile. She joins goddaughter Miley Cyrus for a gorgeous reading of “Wrecking Ball, while Chris Stapleton expectedly masters his contributions to Bob Seger’s “Night Moves”. And in stirring tributes, the late Ronnie Van Zandt’s vocals are united with Parton’s on the Lynyrd Skynyrd classic, “Free Bird”, while Parton and Emmylou Harris pay homage to their Trio partner Linda Ronstadt (whose classic voice has been tragically stolen by Parkinson’s Disease) by joining Sheryl Crow on “You’re No Good”. In totality, Rockstar is unquestionably a moment of monumental proportions, if not necessarily a complete musical work of the same stature. It’s not going to join Dolly Parton’s generous ranks of all-time classics, but it sure is fascinating and entertaining for all its fun, ambition, and messiness. Thus are the powers of Dolly Parton’s irrepressibly legendary charms.
Chris Stapleton- Higher (RCA)
The fire-breathing standard-bearer for artistic integrity in modern Nashville returns with his fifth LP, and it is predictably one of the finest records of the year, bar none. Higher is without question a slow burn of an album, more-so than any other preceding release in Stapleton’s catalog to date. Much of that can likely be attributed to the feminine touch of Stapleton’s wife, Morgane Stapleton who, after years of supplying her gorgeous harmonies as an essential ingredient to Chris’ overall musical identity, joins her husband and long-time roots wizard Dave Cobb in the production booth for the first time. It results in some of Stapleton’s most subdued and intimate work, and certainly his most soothing album to date. There’s nothing with the immediacy of “Parachute” or even “Broken Halos”. Rather, the record lures you in steadily with simple and romantic country-blues showcases like the Miranda Lambert co-write, “What Am I Gonna Do”, “Trust”, “It Takes A Woman”, and “The Fire”. The sexy, effortless R&B grooves of moments like “Think I’m In Love With You” and “Lovin’ You On My Mind” eventually pick up the pace ever so subtly, dripping with pulsating anticipation and haunted, slightly glossy soul arrangements. From there, we enter the belly of the beast with hit single, “White Horse”, and oh what a gloriously ferocious experience that is. Stapleton’s voice remains a mind-blowing force of nature, and “Horse” is as evident of this fact as any performance he’s ever given us. Moving past this watershed moment onto the remainder of the album is no small feat; you’ll be tempted to keep hitting repeat. But power through, and you’ll be rewarded with other emotionally charged highlights, among them the weaving country heartbreak of “The Bottom”, the heart-swelling “The Day I Die” (a co-write with the fabulous and recent resurgent Carolyn Dawn Johnson), and the devoted lover’s pledge in “Weight of Your World”. Closing the record in deeply inspired fashion is the plaintive “Mountains of My Mind”, a sparse and anxious rumination that will surely connect with any listener’s given circumstances in today’s confusing world. Songs like these adamantly remind us that Chris Stapleton’s lyrics have always been as piercing as his wondrous voice. It’s an important observation to make on album like Higher, which is unquestionably a vocalist’s showcase in so many ways. He’s one of those unique voices that you long to sit and listen to for hours on end. But, it surely wouldn’t be as satisfying if his pen weren’t as golden as his voice. It’s that magic combination which continues to make Chris Stapleton one of the most pivotal all-around artists of his time, and also makes Higher one of the year’s biggest triumphs.
The 706 
Leave a comment