Rolling Country 2013

What does everyone else think of the new Brad Paisley song with LL Cool J? I think it starts off OK, but LL's verse sinks it. Plus, when they start the choral part I just think it's a rehash of his last single, where they started singing "Dixie."

I hate that "Dixie" chorus so much.

I hope I'm wrong but the first third of Wheelhouse is the dullest music Paisley's recorded in years.

I have been way too afraid of that song to come anywhere near it. Still trying to hold desperately to my LL fandom but dude is making it VERY difficult (for about 15 years now).

He's good on NCIS:Los Angeles Keeping it country, Kimberly Williams-Paisley is good as important minor (?) character on Nashville.

I knew it--"Those Crazy Christians" had to end up twisting the knife on the guy singing. Those crazy Christians are instead of being outside on a nice day are at the bedside of a dying friend, and, also, "What if they're wrong/right" line in there. Nice sound actuality of a church service in there. Paisley's Wheelhouse has some fun. vocal things at the first of "Beat This Summer" (the fun. vocal things happen again in the record). Glitch-country-rock-banjo thing at the beginning and throughout.

"Outstanding in Our Field" has a Roger Miller sample and a rock 'n' roll guitar lick. lines about Clara Belle and the cafe and the carwashing and the keg. "I Can't Change the World" finds Brad flipping channels while his wife is fixing a brick wall in the back yard. They kind of ripped off "Across the Universe" kind of extended-phrasing thing on the chorus--but he can change her world, just after she mixes up the Quik-Krete and makes dinner. Jesus will look down from the same level as the powers that be.

I do kinda like the electro-beat and mock-classical electric lick and the way the program music mimics the tension of the song, of "Karate." But here's an example of what's wrong with this record--OK, now would a guy really be "chasing" "Cuervo" and "Tecate" in a bar or is this a clumsy way of saying he's fucking around? No, he's really drunk and knocks her around. And wait, Charlie Daniels comes uneasy riding into the song. So it's a joke song about domestic abuse, fair enough, it's basically a comic universe...?

"Southern Comfort Zone" just also seems under-imagined to me. Paisley/DuBois/Lovelace call the South "the land of cotton" which is the wheelhouse of the title, "Dixie" is heard, Grand Ole Opry ads, and it's kind of like a bright tenth-grader creating his own Pro Tooled song at home about Southern Heritage, but tweaked by professionals, as in the chorus, which is about the only good thing about the song. The stealings from U2 or whoever are interesting. And "Harvey Bodine," Paisley/DuBois/Lovelace again, is another comic tune about dying, with whistles, and a defib machine, and I think you could maybe hear how the thing is just spoiled by what I perceive is an uncertainty of tone that pervades the whole album, and I'm sure that Paisley/DuBois/Lovelace had the idea of couching "Harvey" in terms of a Monty Python sketch. Taken piece by piece, some of this works, but the combination of whimsy and kitsch emotion is pretty hard for me to take. "Tin Can on a String" really isn't bad, Paisley/Ashley Gorley/Lovelace, pretty straight.

In my "Southern Comfort Zone" blurb a few months ago I noted that the strain of reaching different audiences finally showed. I'm thinking whether it belongs on the album; instead, it serves as bookends.

I started a thread. Figure he needs his own by now: Anticipate Brad Paisley's "Wheelhouse"

Right after Paisley I put on Jonnny Fritz' Dad Country, at basically the other technological extreme from Paisley. I'd say as a combination of Tom T. Hall and Michael Hurley or whatever, Fritz/nee Corndawg has something about 30% of time time on this record. As a singer, he's lousy, but bravely makes it halfway work a lot, I give him credit for that, and in "Goodbye Summer" he asks the Older Lady he's just picked up to "swing by a CVS, I left my contact solution at home." In "Ain't It Your Birthday" he drives 250 miles in the middle of the night to see his ex and their kids, but she blocks the driveway, which prompts Fritz to meditate on stardom and "all the money they're trying to give me just so sign a couple compact discs." And "Suck in Your Gut" takes a realistic look at the mini-stardom Fritz has presumably enjoyed.

Sometimes the quick little half-assed country tunes he's lifted from wherever work, sometimes his singing is truly funny, and I think he's kinda funny, really. He's trying really hard to be casual and I give him credit for that concept, but he's no Michael Hurley or Hall or Jack Clement or Billy Swan--all his grandaddys, none of whom would have necessarily sung in public about going down there "where her belly ends and her legs begin," altho the bit about her "writing down her numbers on the wrappers of their Almond Joys [truckers she meets that is]" is good. I give it a B minus.

I miss the songs about stuff ("Ticks," "Water").

"Just to sign a couple compact discs."

Yeah, Alfred, Paisley has lost his songwriting touch, seems to me. The extended apology that's in the booklet may contain some clues, though.

I reviewed the Paisley for Rolling Stone (maybe or maybe not coherently -- only had 110 words, and I'm not even sure if all of those made it into the mag; haven't seen the review in print or on line, though I did see it quoted on Wiki already), and I agree with a lot of what's being said here. Just a really mediocre mess of an album, ambitious in its way but totally confused about it; though then again, wasn't his last one pretty mediocre too? I've kind of stopped expecting much from the guy. Best cut is probably "Karate," though he's obviously done much better than that, and I'm not really sure what Charlie Daniels is doing on there (rapping, I guess, sort of -- if so, has anybody mentioned that three songs on the album have rap parts of some kind?) Cool J duet is well-meaning maybe but full of dumb false equivalencies (uh, gold chains do not equal iron chains, guys) and embarrassing escape hatches, and gets worse when Cool J comes in. (By the way, is calling the confederate flag a "red flag" a thing? I'd never heard that before.) Not really sure why the album deserves its own thread here, to be honest -- there have been way more interesting county albums this year. I'm kind of done thinking about it, myself.

I only got through a couple songs on that Johnny Fritz album; at least when he was calling himself Johnny Corndawg last time, I got through the whole thing a few times before chucking it. I get that he's aiming for Hurley (hadn't thought of Hall), but he's just not good enough at it. Who he really reminds me of Jeffrey Lewis, this precious "anti-folk" annoyance in New York a decade or so ago; with a dirtier mind maybe, but with singing this horrible it just hits me as cutesy-poo. If anything, I've become even less tolerant of inept vocals like that lately.

New Band Perry album is not bad, not great. Think I like "I'm A Keeper," "Forever Mind Nevermind," the single "Better Dig Two" from last year obviously, maybe the title track "Pioneer." Maybe others will sink in, but the track I really love -- one of my favorite rock songs of 2013 -- is "Night Gone Wasted," which really could almost pass for a Slade hit from the mid '70s. George Smith had compared Kimberly Perry's belting to Noddy Holder a couple times circa the first album, and I could sort of hear it, but this time I really hear it. Just a huge jolly shouted stomp. At first I could've sworn she'd sneakily changed one of the words in the line "I'll have you home soon and then I'll tuck you in bed" (a la Smokey Wood in "Everybody's Truckin'"); pretty sure I was wrong about that, but the song still shakes the rafters.

Also should add that Paisley implying that those crazy Christians are somehow more likely to help him if he ever needed help than, oh I dunno -- those crazy Jews or Muslims or Hindus or Buddhists or agnostics or atheists, I guess -- really pisses me off. Wanted to work get that into the RS review, but I couldn't figure out how.

"Night Gone Wasted," which really could almost pass for a Slade hit from the mid '70s

at the ACM awards tonight, they played "done," which could almost pass for franz ferdinand's "take me out." unfortunately, kimberly perry was having a really hard time putting it over live.

Not really sure why the album deserves its own thread here, to be honest

This was kind of unfair, I guess -- There's obviously a whole lot going on on the record, even if most of it is fair-to-poor. I just prefer to have all the country talk on one thread; I tend to avoid one-album threads in general. But that's just me, obviously.

I do like "Death Of A Single Man" okay, fwiw. And the short instrumental that apparently has at least three different names --the download the label sent me called it "Onryo," but the promo CD that came in the mail titles it with what I assume are two Japanese characters.

I like "Officially Alive" despite not having a damn clue what he's so excited about.

I saw that The Band Perry performance, and there's one immediate link to glam there, which is that it took me a minute or two to nail down the bass player's gender.

Stevie Wonder doing "Sir Duke" with Hunter Hayes? was it? on ACM over the weekend was pretty awful in its way, and pissed me off as much as the Paisley record does. On FB, I've read that Dave Marsh had bad things to say about "Accidental Racist" on his Sirius XM show, and comments so far have been about 60-40 against Paisley so far. He should team up with the guy from the Meat Puppets, whose new album, Rat Farm I think does some of the same things country is trying to these days, and Curt Kirkwood would make a good foil for Paisley on guitar.

http://www.cnn.com/2013/04/08/showbiz/country-music-awards/index.html

gretchen wilson's "still rollin'" sounds an awful lot like jackson browne's "running on empty." i kinda like it.

First spins cont.:
Gary Allan, Set You Free---at least half is primo. esp “It Ain’t The Whiskey” (yeah, if only it were, if only one's problems could get with a Program), but then again, the usual shields, however discounted, do take their own toll, and the hole takes a lot of sunshine, tequila, nearby young people, and “Sand In My Soul”; then in “Hungover Heart”, the longer he’s dry more he remembers being her man, goes w dangers of removing those shields, crutches(but also spends sometime begging and suffering from comparison with "Love Is The Drug"); “One More Time Around”, if that’s the title, in orbit w slight phasing and supple beat, worn and yet fresh; “Drop”, even more genre-bending country adventure, watchout Jerrod! “Bones”, good tight Southern Rock. Some others lag, or a little vague re sustaining momentum--so far.
Holly Williams, The Highway---like Allan, a balancing of and on and way in the polarities, of black and white as color, vitality and focus ahead of weariness and meltdowns, by a nose, most of the time, or at least it's a draw (I like more of this than Allan's album so far, but he's got more musical and maybe emotional variety---but she's younger, and looking back keeps curving into the present and immediate future more frenetically, also like that she writes and sings from POV of different ages, gender and other roles). Still, gets a bit soggy and predictable toward end.
Marshall Chapman, Blaze of Glory---vivid small group sound, Tony Joe or other late 60s/early 70s grooves: dig the bass guitar merging with and separating from the left side of the electric piano; Stones-era Coodery guitar, but mainly as punctuation; translucent, somewhat androgynous vocals; not too much of the Boomeristic musing one might expect from a poised 65-year old. "Call The Lamas" even seems like it could have been a groovy crossover Top 40 hit, or gotten her on The Smothers Brothers show anyway.

This weekend's Prairie Home Companion is from Lubbock, featuring Ashley Monroe, the Flatlanders, Buddy Holly's big brother Travis, who gave him some tips re music, and Peggy Sue, who also taught him a thing or two.

Pistol Annies not grabbing me like its predecessor.

I almost definitely like it more (just more energetic, over all), but that's partially because the first one didn't take too long to cool on me once I finally realized how slow most of it was. Plus, the only thing I really love on the first one, in retrospect, is "Takin' Pills"; not sure which other songs on the debut I like more than "Hush Hush," "Being Pretty Ain't Pretty," "Don't Talk About Him, Tina," maybe "Dear Sobriety." That said, I wouldn't say I like the new one all that much more than the new Band Perry or Lady Antebellum albums.

Keep going back and forth on the new Kenny Chesney. Favorite track is probably "Must Be Something I Missed," where he's attempting vocal jazz like Gary Allan in "Drop," which Don mentioned 3 posts (and almost 3 weeks) up. Some of the rest is pretty cringe-worthy, but that doesn't necessarily make it unpleasant to listen to, or uninteresting to think about. There's probably an essay to be written about what that album says about country's current relationship to reggae.

By the way, in case anybody who cares missed this, I wrote 900 words at the link below on country rap before rap existed (i.e., '70s on back to the '20s -- either 1920s or 1820s, depending how you slice it.) And if you keep scrolling, you can read another 3000 or so I wrote about hickish hop and/or hoppish hick from Trickeration, Malcolm McLaren, Bellamy Brothers, Sir Mix-a-Lot, Crucial Conflict, Kid Rock, Toby Keith, Britney Spears w/ Ying Yang Twins, Big & Rich w/ Cowboy Troy, Gretchen Wilson, Trace Adkins, Colt Ford w/ Nappy Roots, Jason Aldean w/ Ludacris, and a bunch of dumb new bands. (And other writers wrote interesting stuff about other songs, too.)

http://www.spin.com/articles/rap-country-uncomfortable-history-accidental-racist/?slide=1

I'm liking the new Pistol Annies album.

I've started to soften.

was definitely initially disappointed by the new pistol annies - starting to soften and i definitely like it but as a collection it hits much less hard than the debut - the songwriting just seems more content to paint broadly rather than specifically

http://arts.state.al.us/actc/1/radioimages/braxtonoldpic00pixel.jpg
Braxton Schuffert, of Hank Williams' Drifting Cowboys (wrote and recorded w Hank, also his own releases) died last month at the age of 97. Some lively tales in this interview, with a bit of his own singing, as well as Hank's. His voice reminds me of Ira Louvin's "boy contralto," but richer and like Schuffert's more at ease in his own skin. So, he's no tortured genius, but he's not bad, it seems (will seek out some more). 28 minutes, 38 seconds. Can stream or (where it sez mp3 Audio), download, without subscribing to the podcast etc:
http://arts.state.al.us/actc/1/radioseries.html#braxton2

Why does Bryan — a 36-year-old Nashville crooner with solid-though-not-spectacular vocals, whose songs are relentlessly catchy, but tackle standard country fare — elicit such hysteria? It could be because of the dynamic dual character he has created through his music. On one hand, he’s the ultimate guy’s guy, dedicating about half his material to drinking beer with buddies, partying on spring break and watching girls in bikinis. Then, a minute later, he is the ultimate Romeo, wanting nothing more than to take the love of his life out to the country for some romantic off-roading or a picnic for two in the woods.

http://www.washingtonpost.com/lifestyle/style/luke-bryan-masters-the-two-sides-of-his-country-music-persona-at-wmzq-fest/2013/05/19/9047fdfa-c0a3-11e2-9aa6-fc21ae807a8a_story.html

He's not unique in having these traits though, is he?

I don't think so -- Sounds to me like what lots of male Nash-country tries to do these days.

So...has anybody made it through the new live Eric Church album? Just seems premature to me, don't see the point after just 3 studio albums, but I've noticed a couple people raving about it. Did jump ahead to "Smoke A Little Smoke" to hear it briefly transform into Sabbath's "Iron Man" at the end, presumably a commercial country first but I'm not sure I care that much. The other tracks I've made it through just mostly sounded like rehashes of studio versions. Maybe I need to pay closer attention, but I don't know whether I'm motivated enough. So maybe somebody else should.

Did make it through the imminent debut album by the Henningsens a few times -- A lot of it's just fair, but "Darrell," "Sittin' In An Airport," the single "America Beautiful" and maybe 1 or 2 other things seemed at least a little better than fair.

I listened a lot more than usual before posting this on What Are You Listening To In 2013? As I mention at the end, could easily imagine several of these tracks on a Chicks album; maybe all of 'em, with a tweak here and there (or even without, considering how much classic etc rock makes it into mainstream country these days, and has for some time):

Natalie Maines--Mother Philosophical/romantic/musical companionship on the fly (as much momentum as a midtempo set is ever gonna get) while she pushes herself out of the nest, finds exhilaration and ongoing inner/outer struggle--that increasingly familiar bed "down at the Silver Bell," around a couple of hairpin turns, sounds like, can be like a prison cell, if you draw the shades down just little too far, and yet maybe that's part of the appeal, the kink of it (thought of this again watching latest Mad Men ep, re Draper finally getting too greedy up at the Sherry-Netherland). "Vein in Vain" is even worse than its title, but otherwise she unerringly selects, sequences and sonically illuminates songs written by singers who don't get to me very often: Vedder, Waters, Jeff Buckley, Jayhawks, her co-composer/producer/accompanist Ben Harper, for that matter, Harper and his crew sail jangle 'n' drone right on through 60s/70s (and Dixie Chicks) nostalgia, almost as unlikely as aforementioned midtempo momentum, in my experience.
"Mother" teaches me not to stumble over somewhat Spinal Tappy verses, on the way to what she makes into a glorious chorus--okay, Waters redeems himself here as a writer, but she sings it as a self-aware mother and daughter "Mother's gonna put all of her fears into you", climbing to "safe and warm", which have never been further, in awestruck, scary beauty (thee sublime, ay), from "comfortably numb." So now it also honors what Waters may have been glossing: Larkin's "They fuck you up, mum and dad/They may not mean to but they do/They fill you up with all the faults they had/And add some just for you/As they were fucked up in their turn/By fools in old-style hats and coats"--get back, Daddy Pink!. "Trained", with Harper as Jagger to Maines' Michael or Janet, doesn't even need a literal cowbell to be an effective answer song. "Lover, You Should Have Come Over" is the swoonworthy extended killer, and she does respect Buckley's original rendition when she should, without imitating his Son of Tim acrobatics. "Come Crying To Me" (which didn't make it onto the last Dixie Chicks album, amazingly enough, so maybe the extended hiatus is well-desserved) here is like the Pretenders covering Tom Petty, in a really great way, though could well imagine it as some kind of "Rollin' In The Deep" radio OD. "Free Life" is another cumulative dazzler.

― dow, Thursday, May 16, 2013 10:25 AM (4 days ago) Bookmark Flag Post Permalink

Also, re illumination respect, etc., several of these could and prob should fit the Dixie Chicks, so not like a rawk-off to them or their still-loyal fans.

― dow, Thursday, May 16, 2013 11:08 AM (4 days ago) Bookmark Flag Post Permalink

Gonna miss Kenny Chesney's upcoming local football stadium concert with Eli Young,Kacey Musgraves, and Eric Church but 2 of my nieces will be there. Woulda been interesting to check out

so is the new George Strait worth bothering with? "I Just Can't Go On Dying Like This" is terrific.

Don't know, but his record company is trying hard to get folks to hear it:

George Strait turned 61 on Saturday. Today, he gets a belated birthday present: His single Give It All We Got Tonight hits the top of USA TODAY's country airplay chart, giving the country great the 60th No. 1 single of his career.

Give It All We Got Tonight, written by Tim James, Phil O'Donnell and Mark Bright, is Strait's 115th single.

Strait's record label, MCA Nashville, made the single the subject of a unique marketing push called 60 for 60, enlisting the assistance of fans and fellow artists to get the single to the top of the chart by his birthday.

http://www.usatoday.com/story/life/music/2013/05/20/george-strait-sixtieth-number-one-hit-give-it-all-we-got-tonight/2326951/

He's second to Vampire Weekend in album sales for the week

At the runner-up position is King of Country George Strait with "Love Is Everything", moving a close 125,000 copies in its initial sales week in the chart. It may have fallen short of the top spot in its debut but Strait's new album sets a couple of new records for the legendary country artist.

"Love Is Everything" becomes Strait's 18th top ten album, tying him with Paul McCartney for the fourth most top ten albums in history among male artists, after such music greats as Frank Sinatra with 33, Elvis Presley with 27 and Bob Dylan with 20. It also gives Strait his 25th No. 1 album in the Country Albums chart, further strengthening his hold on the record for most No. 1's in this category.

http://www.aceshowbiz.com/news/view/00060577.html

I've heard a collection of his first 50 Number Ones, and liked about half, which is pretty good, considering how much shading can get shaved off the ol' persona on the way to the toppermost. His specialty is aging gracefully (incl. discreet updates) and always has been, seems like.
Speaking of considering how much classic etc rock makes it into mainstream country these days, and has for some time, guitar and drums provide most of the interest on Tim McGraw's Two Lanes of Freedom, although I do like all of the Cinemascopic windshield title track, including the bit about God watching (approvingly, sounds like) from "the skyblue ceiling", as the singer and his baby cruise the grand illusion, the nice warm Sunday sundae, anyway. Self-awareness at least keeps "The Book of John" from bathos: he knows how little can be preserved by the family pictures found in an almost-thrown-away "spiral-ring book", but he enjoys 'em anyway. He knows he's coming out of his "Mexicoma", and is very refreshed by it, thank you. Also like the "Sunshine of Your Love"-brushed "Truck Yeah", and the Stax-Volt x modern country "Let Me Love It Out of You", despite the title, which is also in the chorus, and still doesn't kill the vibe.

But jeez, most of it's bland rehash.

Sorry--been trying to ration the posts, but baby I'm bored.
Alfred and xhuxk were right about the Mavericks' In Time. It's almost the only country album to grab me and hold me almost all the way through the first spin: a killer, a chiller. Pistol Annies has been growing on me like carzy, but it and the country-enough-for me Maines took a little while). The other immediate ingredient, believe it or not, is Old Yellow Moon, by senior citizens Emmylou Harris and Rodney Crowell. Theme set rat off, by "Hanging Up My Heart", which here especially stands for hanging up my hang-ups, hanging my tears out to dry, fuck my feelings if they get in the way (when I don't want 'em to). Good rhythm, especially but not exclusively serving up honky tonk shuffles like "Invitation To The Blues," chased with with "Black Caffeine" and "Bluebird Wine", for inst. The only utterly resigned-sounding interlude is "Open Season On My Heart", and even that is about getting out of the house: "I hit the street, the fireworks start." "Spanish Dancer" brings a woman an unexpected encounter with shades of youth, incl. fear, self-awareness, self-consciousness and desire: a bouquet. But time really has passed, and she knows "he's just a man." Still--Spoiler Alert--she returns his gesture/overture in kind (what the hell). Also dig the way "When We Beautiful" opens and closes with "Guess you had to be there." And the way she can sooo sing along with or behind or ahead of the more restrained/limited yet expressive Rodney, while they're never too far apart.

"When We Were Beautiful", that is.

The e-vent that kicked off this year's thread, with more details. Guess the electronic dance party is countryonica, since all the live acts are country. ? Dang I'd like to go.

http://gallery.mailchimp.com/bf141dbbd818f4f933816b13a/images/2011_CravenLogo_lighter_sm.jpg
KENNY CHESNEY, TIM McGRAW, THE DIXIE CHICKS,
RANDY TRAVIS, PHIL VASSAR, SCOTTY McCREERY,
BRANTLEY GILBERT AND MORE
SET FOR CRAVEN COUNTRY JAMBOREE

The World's Greatest Country Music Festival set for July 11 – 14, 2013;
Weekend tickets available for $179 until June 1st at cravencountryjamboree.com

Craven, Saskatchewan (May 27, 2013) – The Craven Country Jamboree continues to astound with the amazing lineup set to play the World’s Greatest Country Music Festival from July 11-14, 2013 in Craven Saskatchewan. Once again, long-time weekend hosts, Williams and Ree, will serve as festival ambassadors.

“This may be the lineup to end all lineups,” said Troy Vollhoffer, executive producer. “We are always proud to bring the biggest and the best acts that are available, but this year I think we’ve outdone ourselves. The lineup is deep with a great mix of young, classic, and a trio of superstars. There is definitely something here for everyone. It’s going to be an explosive show in 2013.”

Tickets are still available at $179, but they won’t last long. Ticket prices will increase to $199 on June 1st. Visit cravencountryjamboree.com to purchase tickets and camping.

Thursday, July 11 (Beer Garden kick-off party)
8:00 pm – Williams & Ree
9:00 pm – Phil Vassar

Friday, July 12
4:00 pm – Small Town Pistols
5:30 pm – Sawyer Brown
7:00 pm – Brantley Gilbert
9:00 pm – Tim McGraw

Saturday, July 13
2:30 pm – High Valley
4:00 pm – Williams and Ree
5:30 pm – Randy Travis
7:00 pm – Doc Walker
9:00 pm – The Dixie Chicks

Sunday, July 14
1:00 pm – CKRM Big Talent Contest Winner
2:30 pm – Bill Anderson
4:00 pm – Gloriana
5:30 pm – Chad Brownlee
7:00 pm – Scotty McCreery
8:30 pm – Kenny Chesney

About Craven Country Jamboree:
The Craven Country Jamboree is the longest running music festival in Canada offering an amazing experience on the same picturesque site for over 30 years.

In July, fans enjoy world-class entertainment and quaint prairie charm. The festival attracts super stars like Kenny Chesney, George Strait and Taylor Swift, and features new Canadian talent each year.

Besides the main stage talent, the Pump Roadhouse beer gardens features fun local acts to the thousands of people attending each night. As well, there are plenty of ther activities to keep fans entertained like bull-riding demonstrations, a hypnotist, a song-writers circle, and Circus Electronica, an electronic dance party.

Across the river, the Craven Country Jamboree can accommodate 8,500 campers, easily becoming the third largest town in Saskatchewan each year.

With its storied history, famous performers, and friendly appeal, the Craven Country Jamboree puts Canada on the map on the world stage of festivals.

For more information, visit Craven Country Jamboree at www.cravencountryjamboree.com.

From Miranda Lambert News--dig Oklahoma benefit concert on NBC tomorrow night:
http://mirandalambert.s3.amazonaws.com/media/newsletter/archive/2013/05/27/h.jpg
MuttNation Foundation is working with Miranda’s good friends American Humane Association Pedigree Adoption Drive and North Shore Animal League America for the tornado victims and pets in Oklahoma. Cleveland County Fairgrounds at 615 E. Robinson Street in Norman, OK is setup as shelter. OKCLOSTPETS.org also features lost and found pets. You can donate to the effort to assist in this and other pet related rescues at MuttNationFoundation.com.

Miranda will also join husband Blake Shelton, Reba, and Vince Gill for a telethon “Healing In the Heartland: Relief Benefit Concert on May 29, 2013 at the Chesapeake Energy Arena in Oklahoma City. The concert will be televised at 9PM (ET/PT) on NBC.

I know it's from last year but what do you guys think of Blake Shelton's "Drink on It"? I just heard it on the radio last night. I like the guitars on it: the lines themselves as well as the tones and production. Does his other stuff sound like this? Anything else I should check out if I like this?

Eric Church, Gary Allan.

Oh yeah, my country-loving friend is always talking about Eric Church. Where do I start with him? This year's album?

Home is my best to my ears, but the last one has "Ain't Killed Me Yet" and "Smoke a Little Smoke."

his best too

and of course I meant Chief.

for Gary Allan check out Tough All Over

as for Blake Shelton, my favorite album of his is Pure BS

Lee Hyori's new album starts off with a goofball quasi-bubble-country track, "Holly Jolly Bus" that's not nearly as fun as 2Yoon's goofball quasi-country "24/7," which I talked about upthread. But Hyori's nongoofy "사랑의 부도수표," which Wikip translates as "Bounced Checks Of Love," is a nicely smooth bit of western swing that edges into rockabilly. "Bounced Checks" is written by blues guy Kim Tae Chun.