Don't You Fake It, Jeff

You wanted stronger opinions, right? 

2006 brought some of my personal favorite albums including The Devil and God Are Raging Inside Me, Louder Now, and Define the Great Line. The genre, whatever you want to call it, was seeing peak commercial success. The commercialization also brought us trash like The Black Parade (yeah I said it), Still Searching, and Don't You Fake It.

It is weird (but I think normal?) how rigid opinions can be with the same genre. I will toss my dislike of My Chemical Romance up to personal preference (soo dramatic), and Senses Fail, while certainly influential to the genre and my entrance into the scene, was simply never that good.  But why do I not like the Red Jumpsuit Apparatus and Don't You Fake It? 

There is certainly a little bit of pompous arrogance here (was the hipster created in 2006?), and I think, after listening to the album in full, I would have really liked the band if it was 2002. But it wasn't. By 2006, the formula for success had been set and bands and labels were following suit. No doubt, this album is good. It's too good. It's every bit as polished as other band's third albums. I'm sure there are demos and basement recordings out there, but it certainly doesn't feel like it. It feels like they were handpicked to be an overnight success which, with this album specifically, incorporated more from the genre's forebearers than any kind of originality. They are riding on coattails and that type of success annoys me.

Mirrorland, Jeff

You had me at ATL hip-hop. With a heavy dose of nostalgia, I am still listening to hip hop from early 2000s southern artists regularly. Because there is a lot of (what I consider) crap in the genre, it's a lot easier to continue to lean on the OGs than to find something new. I had no idea who EARTHGANG was, and I really enjoyed this introduction.

The thing about Atlanta hip hop is that you cannot escape Outkast's shadow, and you shouldn't. It should be embraced. Several songs including the opening song "LaLa Challenge" could be on an Outkast album. However, there's a fine line between being influenced and being a copycat. There has to be separation, and I think EARTHGANG does it well enough to stand on their own. They successfully blend traditional ATL beats and sounds with weird, unpredictable, funky structure and a unique vocal combination. This album feels like it has more creativity and "art" then a typical hip-hop album. I know the music is a bit out there when my wife curiously (with a hint of judgement) asks "What are you listening to?" ...Just Record Club, babe.

There are a few heavy hitters early on in the album highlighted with "Top Down," which is deserving of anyone's summer playlist. I couldn't get into the end of the album as much. Can we please retire T-Pain and autotune? Seems wrong for music that is uniquely its own throughout the album to accept something so basic. He ruins what is otherwise a good song.

Mostly, I am excited to have another hip-hop artist to listen to that isn't 50 years old. Thanks Galia.

The Record Club Final Word: Jeff on Purgatory

If you pick an album for Record Club, you will get an "exit survey" on Friday morning, after the reviews have been published. This isn't to add more to your workload; I instead just want to provide space for the album picker to have the final say, if they feel like they need some sort of closure on the week. It's totally and completely optional. Not gonna lie, though, I'm always pretty happy when the album picker deigns to respond. I'll read about Record Club all goddamn day.

~~~~~~~~~~~

1. Was there anyone who convinced you to consider a different opinion regarding the album itself?

No real surprises here. It's difficult to have strong opinions on music that simply isn't "your type".

2. Was there anyone who you felt did a good/bad job at presenting their own views, regardless of whether you agreed with said views?

In terms of effort, I appreciate Pam's input. Coming off a big week of Florence, I was nervous about participation. Thank you, Pam! 

3. Were the reviews varied, or did this album elicit same-y opinions? What about that album made that true? Or do you think that this answer is reviewer-dependent and not album-dependent?

In general, the reviews are the same, but I think that's OK. I was happy to see people engage in something new. It's both—it's a pretty simple album and no one has stock in having a strong opinion either way.

4. Did the variety of reviews justify the album choice? Would you choose a different album (yes/no) based on the reviews received?

I was happy with the choice and response. It's a fine line between being obscure and people not enjoying themselves. While people may not have had a lot to say, It seems like they enjoyed themselves, and that's a win for me. What excites me is that people tend to lump genres they aren't familiar with. "I don't like country." It was clear in everyone's review that within all genres there is talent and the group appreciated that.  

5. What can Record Club do differently to make your RC experience (especially as a weekly captain) a worthwhile one?

As a rookie, I was not aware of the "rules." That link could have been shared. 

6. Any other takeaways you have from this experience?

I love that Joe connected "Universal Sound" to Springsteen. I haven't shared my opinion on the War of Drugs (thinking I need to go back and review that album), but the jist would be the (beaten-to-death) comparison to heartland rock. I know he and others are WoD fans, and I almost wrote about how I could hear the similarities.

Purgatory, Jeff

Admittedly, this choice is pretty backwoods. What I discovered this week is that I've never actually listened to one of his albums in whole, and because I'm streaming him, I am only getting the "greatest hits." My first thought when the record starts with "I Swear (to God)" was, "What have I done to these good people of the Record Club." I hope you made it through, as it gets better.

I feel the need to explain how we got here. As many of you don't know, I grew up in Lancaster County. While country was not my favorite genre, it was always in the background. It was a preset on your radio, and everyone went to the free "Fall Fest" concert (sponsored by Turkey Hill, of course). It was the age of "real" pop-country. McGraw, Chesney, and Underwood. The real Taylor Swift! There was an industry shift in the late 2010s with the rise in popularity of more universally accepted radio "country" music. To the dismay of many hardliners, Florida Georgia Line and the like, featuring Nelly, Ludacris, and autotune, came to a festival near you. Thankfully, as often occurs in the industry, there was a resistance and a new generation of talented musicians started seeing commercial success. Artists like Luke Combs, Chris Stapleton, Elle King, and, further down the charts, Tyler Childers.

With that background, the sound of a steel guitar or a picking banjo will always bring comfort to my ears. I will even bashfully admit that the stereotypical patriotic, beer drinkin', fishing song is a guilty pleasure, and makes for the best summer concert experience (you should go), but that's not Tyler Childers. I find his music more genuine and purposeful. It is as if he is telling a story, perhaps his own, in each song. My favorite music is that which can transport you somewhere else. I previously wrote about using hip-hop to understand a different experience and I feel the same way about this. I don't understand the hardships or living experience of the dying coal towns of Appalachia, but when listening to this album, I can get a glimpse. (Fun fact: Childers and Chris Stapleton are from the same town of 3,000 people.)

I think the album settles in after the rough start. What I like about Purgatory, and more generally his music, is how genre blends through each song. I think it's his greatest attribute and why he has been able to have commercial success. There's enough to pull you in if you're in the neighborhood. There's a lot of Appalachia bluegrass here, and these are certainly fine lines, but the varying instrumentals of each song is drawing influence from other origins. The prominent steel guitar in "Tattoos" is reminiscent of more traditional, Texas country. There's a sing-along pop chorus in "Whitehouse Road," and I hope everyone enjoyed "Universal Sound," as it’s far more approachable and borders alternative. The album ebbs and flows and it keeps my interest throughout. Each listen pushes me further into a mountain holler, and all of a sudden those weird backwoods sounds aren't so strange. There are some duds. The title track, "Purgatory," matches that song pretty well, but as a whole, there's something for me in the "next" song.  And of course, the constant is Childers' unique, twangy, and earthy vocals. Like a good moonshine, they are a bit abrasive at first, but will have you coming back for more.

Album of the Week: Purgatory

It's too hot out for a proper introduction paragraph. Just move through the archives and the goals and then continue on below. My words at the top of this weekly write-up don't matter anyway. The only things that matter are the albums you listen to and the words that you write about them on Friday mornings. Let me know if you wanna do that! Otherwise, keep cool and listen up.

WEEK 180 — July 10-16, 2022

What we're listening to this week (Jeff's pick):

ALBUM: Purgatory

ARTIST: Tyler Childers

RELEASED: August 4, 2017

LOCATION: Paintsville, Kentucky

WHAT GENRE IS THIS: Neotraditional country, bluegrass, folk

WHY JEFF PICKED IT: "Sharing the music you like has to be one of the most vulnerable experiences. As I am relatively new to the group, I was going to go safe. Screw it. We're all friends, right? I think he's popular enough that some of the group knows him, but he's certainly an acquired taste. I hope I am challenging someone to visit something they typically wouldn't. Don't hold back."

TRACKLIST:

1. I Swear (to God)
2. Feathered Indians
3. Tattoos
4. Born Again
5. Whitehouse Road
6. Banded Clovis
7. Purgatory
8. Honky Tonk Flame
9. Universal Sound
10. Lady May

LENGTH: 37:41

 

WHERE TO LISTEN FOR FREE: YouTube

 

READING SOME SHIT: Jeff offers an article from NPR for you to read. Looks like an article in anticipation of Childers' fourth album (Purgatory is his second), and proposes that he falls on the side of the country music left/right divide that Record Club is typically comfortable with (which makes sense especially after seeing that Sturgill Simpson, a country musician who despises the country music machine, co-produced Purgatory). 

PREVIOUSLY ON RECORD CLUB: The other producer, David Ferguson, appears to have a long history within the country music industry, mostly famously producing most of Johnny Cash's music. More recently, he teamed up with RC alumnus Dan Auerbach for a few projects, including a 2020 album from country legend John Anderson. (He also has worked with John Prine, who guested on that Kurt Vile EP.)

Another note: this album hit #1 on the Billboard 200 when it was released in 2017. Not that I'm familiar with every artist that hits the top position on that chart, but I was surprised that this album did it, because I don't know if I'd ever even heard of Tyler Childers before Jeff recommended him. My first thought for this "Previously on..." was to list all the other albums we've covered that have hit #1, but, like, how would I even do that? Would I have to look up all 180 albums individually? I don't want to do that. And Billboard's website is so fucking bad. Let's say that next time we cover a #1 album, I'll go through the ordeal, I promise.

[CORRECTION: After further review, it appears that the album did not, in fact, top out at #1 on the Billboard 200. Not sure what's going on with the album's Wikipedia page, but it's wrong. That was lazy of me to not double check, especially because my gut told me that it was unlikely. Purgatory peaked at #106, which is more like it. Interestingly enough, it didn't get to that peak position until October 2020, over three years after the album's release. I don't have the specific evidence to back this up—and again, I'm lazy—but if I had to guess, I'd say that a song from the album was featured in Yellowstone, and that's what got the public reinvested at such a late date. Regardless—this did not hit #1 on the Billboard charts.]

Happy listening, fam! Have a great week!

Dance Fever, Jeff

I will refer to "them" as "her" in this review because, like the introductory song says, Florence Welch is King. She is an incredible talent. Her powerful vocals always amaze me and are unrivaled in the genre. Very few artists could execute a song like "Back in Town." I loved it. Many of these songs are big productions, and her belting away is classic Florence + the Machine. That being said, fourteen songs is a long album and I couldn't, and didn't even really have the interest to, listen to the whole thing. Maybe it's because her voice is so prominent and strong that I am left thinking, "ok, we get it."   

Ultimately, that's a lot of praise for someone I don't really listen to. Other than the singles that hit the radio, I don't really hear or know much about her. I feel she is pretty underrated? Perhaps she needs to drastically lose weight before she makes headlines. Probably just the curse (blessing?) of the alt-rock genre.

Because I was interested in where she falls, here's monthly Spotify listeners of other artists. Lol @ Jack Harlow.

Florence + the Machine — 12.8 million

Jack Harlow — 47 million  

Adele — 44.4 million

The Lumineers — 14.4 million

Dropout Boogie, Jeff

The Black Keys are everything I love about a band. Raw, authentic, and just plain cool. You can feel their energy.  So then why have they been on the outer fringe of my musical rotation for as long as I can remember? I like this suggestion. I am excited to give the Black Keys an honest try and determine if I just missed the boat or if something about them is keeping them from being a regular.

There were a lot of moments in this album that made me think I should have given the band more airtime. Maybe it's just my ego. If I wasn't a "fan" in the early years, I certainly am not going to become one after the commercial success of El Camino.  Hopefully I have matured enough to call bullshit and just appreciate when I hear something I like.

On that note, I am assuming there is a fracture in the fan base and there are pre- and post-El Camino fans? I am not too proud to admit I would fall in the latter group and enjoyed the first 50 or so plays of "Gold on the Ceiling." I look forward to reading how many people comment on this. I've enjoyed their songs that blend pop-centric, harmonious sing-along choruses with southern blues & country instrumentals. How many bands could mix the synthesizer and hammond organ on the same song? To open the album with a "car commercial ready" song in "Wild Child," I thought the direction and audience of the album was set. However, as the album progresses, it retreats to the band's blues-rock foundation. I think there's a little for every Black Keys fan here.

So will this new album push the Black Keys into my regular rotation? Doubtful. For a few weeks following the Jack Harlow review, I had the urge to continue to listen to the "Whats Poppin" remix. I don't mean to degrade the Black Keys to the level of JH, I just haven't felt the urge to revisit this album over the week. I think that's telling. I find their music is served lukewarm. There is nothing that overly impresses or interests me in Dan Auerbach's vocals, and the guitar, while certainly a Black Keys trademark which has its moments, has never really sparked my excitement. (Side note: What's up with the Allman Brothers rip on "Baby I'm Coming Home"? I guess they are paying homage, but I don't necessarily like it.) The backing instrumentals leave the same mark. I could never get into the blues scale and, while I am not sure if this is typical of the Black Keys, it is hit pretty hard throughout the album.  I just feel I want something more complex, unique, or memorable for a band to own more of my musical real estate. Or maybe it's just my ego.

Taximen, Jeff

That horn is mariachi and I am poolside with a daiquiri. The tempo transports me to a dance club in Havana. The guitar is sharp and clean. Maybe I'm in the American south. Or maybe it's the melodic tune that has me on a beach in the Caribbean. The language is familiar but can't be placed. The world of music is cool.

Anyone a Mind of a Chef fan? The album reminds me of a great episode with Chef Sean Brock that focuses on his interest in southern foods that have flavors rooted in West Africa. Brought over during the slave trade, over time these dishes and flavors have been overlooked or forgotten about. Representation of southern cuisine has become little more than fatty, salty, and fried indulgences, while heirloom rice varieties have been replaced with your budget-friendly and ever dependable pal, "Uncle Ben." Similarly, trusty Wikipedia tells me that the Dioula language is a possible linguistic source of the, not nearly celebrated enough, slave-descendent Gullah-Geechee communities of the American southeastern coastal plains (Gullah Gullah Island, y'all!). Listening to the album, I am curious how these familiar sounds are connected, and I am assuming that at least some of these sounds can be traced back.  

It would certainly be better if I knew what the hell I was talking about before providing my presumptions of how the West African slave trade has infiltrated modern(ish) music, food, and language. Regardless, I think it is evident and pretty cool that when listening to Amadou Balaké you can hear the influence that West Africa (and less cool colonizing Spain) have had on the sounds we connect to the western hemisphere.

As for the music, I found it bright and refreshing. It would pair well with a cocktail of your choosing and a warm Caribbean or West African sea breeze. Which is interesting given the landlocked Burkina Faso doesn't give off the island vibe, appears to have a pretty turbulent history, and continues to face the many challenges of a developing country. I imagine the music and dance clubs are a refuge to the hardships. The exception being a nicely placed and beautiful ballad in "Migoussia," which highlights Amadou's vocal range and talent in what, I am assuming, is a more somber affair.

Thats What They All Say, Jeff

Hello new friends.

Speaking with Joe last week, I was stoked to hear there are other people in this world that not only still listen to complete records, but actually care enough to take the time to engage in and appreciate the art. Thank you all for your dedication to the rinse-and-repeat music rebellion, and thank you Joe for including me in the Record Club.

Perhaps, like my view of Jack Harlow, my romanticized and reminiscent relationship to music is... dated. I am a fan of hip hop. Specifically, hip hop that resembles the energy of my youth in the early 2000s. At that time, it was because my parents hated it and it was "cool." More recently, it's a new found appreciation based on the education and respect of the hard knock life experience I certainly never understood or witnessed.

Joe did Mr. Harlow no favors by also writing about one of my all-time favorites, Outkast's Aquemini, this week. To quote them, "Shit's gotta be spine tinglin' with mad style and crazy dangerous, bust your shit open beats." That's hip hop.

Listening to Thats What They All Say, I tried to refrain my SMH (I believe that's "shake my head" for those wondering) "Kids these days" ivory tower. I was pleasantly surprised and intrigued by the intro track, "Rendezvous." It’s a mystical dream of a track with provocative beats and smooth flow. At a short 1:53, I was left wanting more. This was short lived through the bulk of the album, where I was left unimpressed by a generic and repetitive drum machine that I couldn’t forgive. "Tyler Herro" stands out from the crowd, and is reminiscent of hip hop's past. I am not well versed enough in mainstream pop / hip hop, but it certainly seems we are in a different sphere, specifically with white rappers, where at least street cred was historically a prerequisite to be taken seriously. Is he rapping about riding horses in the Kentucky countryside? Certainly, there is a deeper conservation here about what hip hop is "supposed to be," who owns the keys to the gate, and what credentials are needed to be a part of the game. I am not in the position to answer those questions.

Everything can be thrown out the window at the close out of the album. Obviously, the commercial success of "Whats Poppin" is evidence. This song is an absolute banger. The piano is spine tinglin' and the remix is specifically repeat worthy.

My opinion: hip hop is controversial, even more so when discussing white artists. Sometimes it's ok to just hit play and enjoy. Jack Harlow and the like can be a damn good time.