Tyler Jarvis brings us back to center in new song, "Circles"

Combatting the lack of live shows during the pandemic, Tyler Jarvis took the time off the stage and returned to pencil and paper, honing into the craft of songwriting and authentic artistry. Over that last year, Tyler Jarvis worked on new music to be released throughout 2020 and 2021. Kicking off the year strong and refreshed, Jarvis released his latest single, and first of the new year, “Circles” on February 5. 

Quick like striking a match, the intro to “Circles” immediately ignites atmospheric sounds and synth that gains momentum the moment Tyler Jarvis starts singing. The 80’s essence blends meltingly well with rich, contemporary moods and vibrant pop sounds. In true Tyler Jarvis fashion, he uniquely merges the current state of pop music with nostalgic and bold tones of the 80’s, capitalizing on a new transition period for music that is relevant but authentically his own. 

With cracks and pops of synth and echoes, the melody and musicality frames the story line and lyrics in what matches the feeling of the roller coaster of emotions we experience in a relationship when we are criticized for misunderstanding the other, dismissed for taking things out of context, or in need of closure to mend some type of imbalance and the cyclical “going through the motions” that ensues. The story line builds in verse 2 where Tyler Jarvis names the punch: “Feels like we’re strangers playing lovers” and “you keep on saying we’re forever/Sounds like lines you just memorized.” Jarvis puts words and a story to a feeling or experience we can all relate to, and leaves us contemplating if closure is actually attainable.

There is beauty in the madness, though. Jarvis reassures those running through the motions that honesty and transparency in a situation takes courage and we move forward with hope that our vulnerability will be met where we are. Life and love leads us running in circles and Tyler Jarvis takes us along that journey with the perfect new song for the new year. 

Tyler Jarvis leaves his listeners with this: “Have you ever felt stuck in a situation and nothing makes sense? Even when you’re honest, the other person doesn't seem to hear you, and it feels like no matter how hard you try they can't quite hear what you're saying. ‘Circles’ is a song about having the courage to be honest and transparent and hoping the other person will meet you there.”

Listen now on all major music platforms.

Tyler Jarvis releases his latest single "In the Fall"

Memories feel like the moment a match is struck and a flame dances powerfully, or the moment a single leaf — green turned gold from the change of seasons — breaks off its branch and whimsically falls to the ground. It can feel fast and it can feel slow. The power of a flame or the haunting descent of a falling leaf can emulate how a memory feels when it abruptly, and sometimes unwelcomingly infiltrates our being, but it always, always is for something good: like shining light or for transformation and new growth. 

Tyler Jarvis, with his latest single “In the Fall” released November 6, 2020, brings to surface that exact feeling when a season or a moment ignites a memory. “In the Fall” pays homage to the places and people of our past that shape us into who we are, whether or not the feelings tied in with remembering are difficult ones to relive. 

“In the Fall” is a transcendental capsule in its lyrics, its musicality, and its meaning. Tyler Jarvis uses unique and powerfully driven 1980s-influenced piano, guitar, and drums to illuminate the storyline in a way that expounds on nostalgia, freedom, and feelings — regardless of the kind. Lyrically, Tyler Jarvis catapults us into the moment and scene by capitalizing on senses, describing a hauntingly beautiful Tennessee memory in no other season than the fall, signifginf the very seasons of change we go through in life.

The storyline builds and explodes into an epic portrait through the chorus and effortlessly bleeds into a striking acoustic set of the same powerful chorus. The song is a framed picture of how it feels to remember a unique place, person, or part of your life that was prominent but perhaps now subsequent to the ever-evolving places life brings us. He sings, “These three long years have changed all our moments, but in the fall it still feels the same” and continues with, “mountain scenes and valley streams feel so make believe when it takes me back to how it used to be.” He leaves us feeling like “oof” to the same places of a difficult memory that come rushing back to surface while we grapple with the way we remember a memory compared to the way it is now. And all for the good.

“Memories have a way of making us feel unlike anything else in our lives. ‘In the Fall’ is a story of recognizing how important every memory is, and that we don’t have to let go of the bad ones.”

— Tyler Jarvis

Memories can be magical, they can be painful, they can be exhilarating, and they can be beautiful. Tyler Jarvis with his latest single, “In the Fall” takes us on a journey to memories being all of this and more, and reminds us that life is made of beautiful seasons and powerful memories.

Back to the Drawing Board for Stapleton with his New Release, "Starting Over"

From the first chord progression and tinge of the acoustic guitar strum, Chris Stapleton’s latest single “Starting Over” has strong Tom Petty influence. Cue “Wildflowers” vibes. Harmonizing with the melody is the subtle whoosh of a shaker sound creating a frolicking and comforting complement, reminding the listener of simple life mixed with a gypsy-country panache. Harmonizing lyrically with Stapleton is his wife, Morgane, who adds a calming richness to the song, and brings to life the literal message behind the simple serenade: “Wherever we are is where I wanna be/And Honey, for once in our life/Let's take our chances and roll the dice/I can be your lucky penny, you can be my four-leaf clover/Starting over.” Her voice blended with his illuminates the ‘love song’ personality this single has in its roots.

Though the song was recorded before the pandemic, the release of “Starting Over” could not be more timely or better suited for now; a time when rough days still sting, but hope is on the horizon — and the song reminds us we can create that very hope if we want to. Stapleton sings in verse 2, “This might not be an easy time/There's rivers to cross and hills to climb/Some days we might fall apart/And some nights might feel cold and dark/Nobody wins afraid of losing/And the hard roads are the ones worth choosing/Some days we'll look back and smile/And hope it was worth every mile.” And if that doesn’t say what every optimistic mind wants to feel in 2020, I don’t know what does. 

A unique characteristic of “Starting Over” that makes the single so singable and charming, is the perfectly executed use of simple rhyming. The last word of each line rhymes inseparably and each verse is an accumulation of couplets in classic AABBCC rhyme scheme. Using rhymes so inextricably and literally is a narrow and dangerous path to walk, as this tactic can often come across through song as unoriginal, too simplistic, or cliche, but — of course — leave it to Chris Stapleton to execute this feat with cleverness and dexterity.

With plenty of nature imagery and metaphors, Stapleton draws us into simpler times behind our graphite engraved desks in fourth grade when the hardest part about our lives was the grass stains on our skinned-up knees. But he does this by simultaneously pulling on our adult heart strings, through relatable age and experience, admitting the moments when rough days feel extra tough, and we daydream of dancing across the opposite coastline with our love. Speaking of imagery and metaphors, the song puts me behind a desk graffiti-ed with graphite stains and indentations scourged out by dull pencils. Suddenly I’m reliving learning about rhyme-scheme and allusions, nature imagery and metaphors, cliches and analogies. Not only is Stapleton’s song mature in tone and appeal, it’s simplicity brings us back to childlike roots of daydreams and yearning for more in a hypnotically beautiful rabbit hole of ways. Suddenly, I want to pick it apart with a fine-tooth comb — out of admiration, not critique — and teach it in middle school language arts. The clever approach to Stapleton’s song is almost too simple to bear — it’s simply genius. And starting over means going back to the drawing board.

Stapleton opens the song with, “The road rolls out like a welcome mat/To a better place than the one we're at/And I ain't got no kinda plan/I've had all of this town I can stand/I got friends out on the coast/We can jump in the water and see what floats” and ends with the chorus, “..../Let's take our chances and roll the dice/I can be your lucky penny, you can be my four-leaf clover/Starting over/Starting over/Starting over/Starting over” paints the beauty and balance of life’s richness and troubles, and that the possibilities of taking the world at its worst and pursuing its best with the one you love is a journey worth every mile.  

“Starting Over” has 1970’s charm but is classic to Chris Stapleton’s authentic country appeal. “Starting Over” sounds like a sweet charade in a timely place — as if starting over is palpable in this very moment. With whimsical references to nature complementing a soft country love song, “Starting Over” is the hard reset and invigorating refresh we all need. In addition to “Starting Over,” released on Thursday, August 27th, Stapleton in the same week alluded to the release of his next full album on November 13, 2020. I for one am wondering if the album will be an eclectic collection of songs that might blend classic Stapleton with a new and unexpected side of Stapleton. ‘Starting over’ can have many meanings after all.

McGraw Blurs Lines of Life in Latest Album, Here on Earth

The cumulation of 14 songs make up Tim McGraw’s latest album, Here on Earth. The album is an anthology culminating what it means to be living here on earth. The album as a collection is brilliant. Not only is there a common woven theme of simple beauties throughout life that make it worth living, there is also a paradox of space and atmospheric plays mixed with the literal essence of living on earth. For instance, the album artwork is Tim McGraw (replicating years of past Tim McGraw album art portraits) with his iconic black shirt and black hat, but has purples and blues with the foggy and star-studded appeal of a galaxy overlaid on the classic McGraw image, with galaxaic artwork and an album titled Here on Earth. Well played, well played. Already McGraw’s latest album is unique. 

Though unique, the paradox is comforting to long-standing McGraw fans because the music on the album is still inherently his sound that fans have come to love for decades. The beauty of McGraw’s Here on Earth is it explores the connections made that give life purpose through the simplest day-to-day moments. 

A few notables on the album are: 

“L.A.”

In the same realm of paradox, “L.A.” is a sweet song with classic country tones about a cowboy chasing a girl in California. He feels out of place but he’s willing to stay.

“Here on Earth”

As the title track it’s only right for “Here on Earth” to represent the existential beauty of breathing in life’s most precious moments, that ground us, reminding us of the purpose we each hold here on earth.

“Damn Sure Do” & “Good Taste in Women”

These two are notable because they are SO Tim McGraw. Lyrically and musically, these two scream Tim McGraw’s best in all of his eras.

“7500 OBO”

“7500 OBO” references two of his classic hits, “Where the Green Grass Grows” and “Shotgun Rider.” The song is a treasure load of memories made in an old truck. Strong “Red Ragtop” vibes with this one, too. 

The album as a whole is a musical testament to McGraw’s country roots and contemporary sound. 

Tyler Jarvis releases his latest single, "Springsteen"

Close your eyes and picture your most exhilarating memory. Who’s with you? Where are you? What year is it?

No matter where you go in your mind, Tyler Jarvis’s latest single “Springsteen” will take you exactly there.

Tyler Jarvis released his latest single, “Springsteen,” on July 17, 2020. “Springsteen” is a modern anthem of a retro feeling, making it relatable, nostalgic, and transcendental of every era of adolescent recklessness— from the James Dean era, to the Bruce Springsteen era, to today’s era.

Tyler Jarvis touches on the quintessential feeling of naïveté and living life in the moment, which speaks volumes to everybody who had a childhood — (that means us). Speaking of volumes… this song is one to spill out of your car speakers, preferably with the windows down. Tyler Jarvis pulls influence from the 80’s rock sound— near and dear to all our hearts— with reverberating keys, chilling drums, and passionate guitar solos. He balances the classic 80’s influence with modern-pop traction that grasps our attention with today’s music. There are unique musical attributes about “Springsteen” that give it an even deeper expression of the story line through synth and rich echoes of vocals.

Lyrically, Tyler captures the essence of the supreme and pristine moments that make up naive recklessness and young love. Strong lyrics open the storyline and it’s immediately gripping: “Friday night my eyes are dreaming / moved me right across the room / every thought I could think / had eyes on you / too young to know better / a bit naive to play it safe / I was caught in the face of midnight’s game.” He puts you in the context and suddenly you’re shapeshifting into your own memory of what midnight’s game means for you. His lyrics grasp the fleeting moment that sometimes the most wide-eyed, innocent feelings sometimes make the most sense. He sings in the chorus: “Heaven’s on the far side of reason / chasing after love like it’s freedom / singing at the top of our lungs to Springsteen.” And, of course, he does Bruce Springsteen right by perfectly capturing remnants of his iconic persona through referencing his hits.

“Springsteen is a vessel, going back to the good 'ole days where going to bed by midnight was early, where cool, summer nights were what we lived for; where having a sense of naïveté wasn’t such a bad thing.”

- Tyler Jarvis

For Tyler Jarvis, this song is a portal to reach people who feel on fire from a memory. “Springsteen” is the flame on the match that fuels it. Beyond the story of the song that translates to everyone in some form or fashion, “Springsteen” is inherently a testament to Tyler’s biggest musical influences— from Springsteen in 1984 to modern day music makers.

Roll down your windows, drive down an old road, and sing at the top of your lungs to “Springsteen.”

I don’t think it’s a coincidence “Springsteen” was released in the middle of July. It only feels right. It is now streamable on all music platforms.

Brett Eldredge’s Latest Album Is easy like a sunday drive

Nostalgia and paying homage to feelings of home— 

We can all go there in our minds with an inner sanctum, a sidekick of a soundtrack, to accompany us on our journey. For Brett Eldredge, his thoughts paying that homage and the soundtrack playing to it is one in the same, and it’s eloquently enveloped in his latest album, Sunday Drive. 

After taking a hiatus from social media and song, Eldredge released, arguably, his most authentic music yet. Sunday Drive in its entirety serves as a reminder of the lessons we learn from the experiences we have in the places that mean the most. Eldredge somehow poses two positions with this album:

• He communicates his own, specific history in a vulnerable and personal way, but

• He does so in a way where anyone and everyone can relate to. 

  We can all find ourselves where he found himself— it’s a transcendental bridging of the gap between another’s experience being interposed with our own. Eldredge does this mystically well in Sunday Drive.

The album is a seamless blend of a variety of emotion and experience. The songs on the album are country, they’re soul, they’re crooner; they’re heartbreak, they’re memories, they’re joy. But they’re all Brett Eldredge. 

“Magnolia” has sounds of a subtle influence from songs like “Jambalaya (On the Bayou)” [Williams’ version, rest in peace] —  a little soul, a little country, a little jazz. Then there are songs like “Then You Do,” which transpire from the exciting moment of discovering and falling in love to the halt of unexpected heart ache, and the cycle that ensues. The song is rich and slow but fast and exciting; the song gains momentum— kind of like the way falling in love feels, and then the song breaks unexpectedly, like a heart tends to. “When I Die” is a testament to living with a contentment and peace up until that very day comes.

Eldredge is vocal about his admiration and influence of Frank Sinatra and it is accentuated deeply in his album Sunday Drive. In “Good Day,” Eldredge mentions “Blue Eyes” in the first verse, and in songs like “When I Die” and “Paris Illinois” the crooner influence is perfectly placed amidst an album of contemporary country flair. 

Brett Eldredge’s natural, rich runs compliment every lyric paying homage to nostalgia and the promise of a memory, and encouraging the hope of more of both in the future. Sunday Drive could be Eldredge’s best album to date, and it’s no coincidence it isn’t conventional or commercial.

Nothing Lasts Forever

3 minutes and 4 seconds of “oof.” Sam Hunt released his latest album, SOUTHSIDE, Friday, April 3rd. The entire album is the epitome of Sam Hunt appeal, but the one song I can’t get over yet is “Nothing Lasts Forever.”

Closure is essential when a relationship ends and not having it is sometimes just as grueling as the heartbreak itself. Not knowing can be worse than hurtful, piercing spoken words. “Nothing Lasts Forever” is extremely simple. The chorus repeats and each verse capitalizes on the other, spilling truth that nothing lasts forever. But the statement is two-fold and brings a whole new layer of clever creativity to closure.

The song implies two concepts everyone can relate to. It’s so simple, it’s genius. Sam Hunt sings nothing lasts forever, stating their fling or relationship has ended and he’s facing the common disposition that some things don’t last. Leading up to the line in the chorus Hunt pleads, “So say I'm someone that you wish you never met / Your best mistake, your worst regret / Say everything, say anything but nothing,” unveiling that saying nothing rings an unwelcome but still present echo of ‘what did I do wrong?’ ‘Where did it go wrong?’

“Nothing” fills a void of silence that screams for forever. The silence screams louder than the words could. Sometimes it’s better to hear the hurt and truth from a voice than to hear the screams of silence that fill the air, which can haunt forever.

In addition to the heavy story wrapped in the simple lyrics of “Nothing Lasts Forever,” the musicality is noteworthy, too. The song crosses over into the terrain of multiple genres. It is inherently the pop-country sound that is Sam Hunt, but transcends into something you’d hear from Justin Bieber’s latest album or even Drake (people do call Hunt the Drake of country music). There are tracks adding depth to the song that sound pop and current, but the most interesting trait in the song adds a slight juxtapositon to the sound. There is a taste of strings that feel like a sweet serenade, a signal of sadness, confusion, and desperation. It’s beautiful and hollow and couples the simple lyrics with unique depth. It heightens the realization that 1. nothing lasts forever— their relationship is over and 2. nothing lasts forever— the void of silence and not-knowing why lasts forever, too.

One of the coolest things about music is the inherent versatility of the story behind the lyrics. When listening to the song again, I thought about it in a different light (shout out to Doug Stone). What if he is saying “go ahead and say it, because the pain will wear off just like this relationship did. Nothing lasts forever anyways so go ahead and say what you want to say.”

I always wonder if this is a source of confliction or paradoxical contortion for songwriters. It’s a blessing and a curse, a love and a hate. A songwriter may deliver a song with one particular feeling or experience behind each word, with the intention of creatively conveying the song in a unique two-fold type way, like “Nothing Lasts Forever” does, but what if the listener takes a completely fresh, unintended view of the song? Is that a frustration or a flattery for the songwriter? Sam Hunt, let me know?

Either way it’s a talent. “Nothing Lasts Forever” simply conveys the concept in all aspects. Listen to the song below—

Come On Home to Tyler Jarvis’ latest release

It’s crystal clear that music is passion for Tyler Jarvis, and it seems to be a personal challenge to beat every single he has previously released. Personally, I tend to say of many artists, “I like their old music better than their new,” but for Tyler Jarvis, every new release outshines the one before, which never seems possible until he does it. For Tyler Jarvis, success and growth is quantifiable— and “Come on Home” is the new standard.

“Come on Home” emphasizes the emotions behind human experience in a light-hearted tune. The song starts with a nostalgic-filled static, crackling into a current drum pattern and snap beat. The listener immediately feels immersed in something unique and new, but with old school charm. Before the story unfolds, it’s already something everyone can relate to, but nothing like anyone has ever heard before. The beat is happy, but the lyrics transcend into a sense of longing. The story develops into living and reliving a loved one lost with a “no questions asked” mentality, hoping they will return. He sings, “in my mind nothin’s really changed,” and he welcomes their return without question, “in the morning, it’ll be like you never left. You can just come on home.”

He continues, singing, “Left the porch light shinin’, back door’s still open,” creating a balance of hope and desperation that’s almost indecipherable between the funky, head-nodding melody and the hopeful lyrics. Between the story and the musicality, Tyler Jarvis expresses a type of new nostalgia through song. He plays with unique instrumentation and sounds, bringing in contemporary beats with raw and authentic percussion, keys, and guitar. Each sound and lyric feels newer than the one that just past.

This is the song you’ll want coming through your speakers and spilling out your windows, and it released just in time for fitting warmer weather.

Listen to “Come on Home” and other Tyler Jarvis music on every platform you can stream music.

Thoughts on home from Tullahoma

The concept of home is evolutionary, constantly changing, always adapting, and is oftentimes places and people all at once. But there is always one original home that accentuates the traits and roots behind who we are as people. For Dustin Lynch, home may have a million different destinations, but he is where he is and he is who he is because of his hometown in Tullahoma, Tennessee.

Tullahoma, Tennessee has a nice ring to it, doesn’t it? It’s almost like it’s begging to be written about. Lynch welcomes his listeners into a personal piece of his life through the town that charmed him. Tullahoma is a small town of about 20,000 residents, located in southern middle Tennessee, somewhere on a map between Huntsville, Alabama and Murfreesboro, Tennessee.

Even though Tullahoma and the all-encompassing experiences Lynch describes in his latest album are unique to him, the funny thing about music and concepts of home is that everyone can relate in their own way. He sings about old flames, the house he grew up in, and the roads he got rowdy on in his homage to his hometown in his Tullahoma album. It allows listeners to understand Lynch more, to relate to their own nostalgia, and to roll windows down and blast on their own back roads.  

Lynch’s Tullahoma album excites sparks about nostalgia in a sexy and endearing duet with Lauren Alaina, explores a unique take to the phrase ‘country star,’ and takes a stab at a fresh and relatable “Dirt Road Anthem” in his own “Little Town Livin’.”

Stars Shine in Nightfall

What feeling do you get when you think of nightfall? Odds are, Little Big Town’s latest album fully encompasses that feeling in one way or another. Little Big Town released their first full album, Nightfall, since The Breaker in 2017, and it comes fully equipped with new features. Nightfall was a personal project for the group, which demanded that they stretch their limits and rely on each other more purposefully than ever before. The album is self-produced by LBT, which might be the most noteworthy feature. It is the product of 13 delicately chosen songs from a vast multitude of options, and, so— Nightfall came to be.

Nightfall as a whole is a cinematic experience, in the words of Karen Fairchild, which is conceptually about connection and understanding in every variation of emotion. From songs on the album like “Sugar Coat” and “The Daughters,” which expound on societal expectations of women; or songs like “Forever and a Night” and “River of Stars,” which capitalize on the intense and objectifying state of love that knows no boundaries; or the rectifying familiarization of the misunderstood underdog in “Problem Child,” each song on the album represents something entirely different from the next. The magic, though, is despite different experiences expressed via individual song, the album collectively expounds on human connection as a whole. It expresses the relatability people feel in love, in lust, in struggle, hardship, loss, in whimsy, or in a social night of drinking, as imagined in “Wine, Beer, Whiskey.”

Each song is a different cloth woven together to create a coat of comfort for each listener. Each song has its own personality and musical flair, but somehow ties in effortlessly the classic and contemporary direction of country music in its current state.

As a personal LBT fan and pure enjoyer of country music, I have narrowed down my three favorite songs on the album:

1.    Forever and a Night

Phillip Sweet takes the lead on vocals in “Forever and a Night.” It is a genuine cry of passion but packaged in an easy listening kind of way. Sweet’s sound makes the song successful. I am a fan of LBT individually and collectively, but I do believe that Sweet’s voice makes the song as charming as it is. He brings a texture and purposeful crack to his voice that progressively builds at the end of each chorus. The lyrics are deep and personal, but the sound is gentle and easy to listen to.

2.    Throw Your Love Away

Kimberly Schlapman holds down the lead vocals in the heart aching “Throw Your Love Away.” It is the perfect counterpart to follow the deep sentiment of “Forever and a Night”—an unfortunate sequel, a cynical soul might say. And, also quite possibly a fitting sequel for song number three. “Throw Your Love Away” has a lighthearted, almost joyful sound accompanied by desperate lyrics of ridding every material thing but not being able to be devoid of a memory.

3.    Trouble With Forever 

“Trouble With Forever” is tried and true of the LBT sound. Karen Fairchild leads on the vocals of this one. It feels exactly as it sounds. The song goes through a turbulent relationship; it starts with high school infatuation mistaken for love and travels through time ultimately absorbed in a longtime relationship coming to a heart-stopping end. The song claims that even forever ends. I, arguably, think the ending is up to interpretation.

The complexity of the album is wrapped up in the hauntingly pristine harmonies that Little Big Town capitalizes on and captivates listeners with so well. Congratulations on Nightfall, LBT!

o

All My Fires

Local Tucson, Arizona artist, Adam Townsend, released his first full-length, debut album at midnight on June 7. His album, titled All My Fires, is an 11-song testament to the intrinsic passion that makes life rich.

The leading song on his album, “Everyday,” embodies the most surreal, sunny day in New York City. “Everyday” is essentially everything good. The song is current and contemporary, but also sparks the wonderment of nostalgia. I’ve never skipped through the busy sidewalks of sunny New York City in the 1990s, but the song echoes the perfect soundtrack to that magical, made-up memory. I think that is the power of good music— it illuminates feelings, whether truly experienced before or not, good music takes the listener to a charming and eerily close feeling of remembrance. “Everyday” is good music. And it’s just the first song.

Adam Townsend’s All My Fires takes listeners through a familiar but personal journey of love, heartache, hard work, and passion. His album is the physical epitome of the years of dedication that brought him to complete and share All My Fires, and each song is representative of the process. The album is fully ‘Adam Townsend’ stylistically— meaning that his personal influence and sound shines uniquely through each song he wrote for the album. He is purely singer-songwriter soul, and touches on every good thing in an album: he plays with funky melodies and interesting intros, he joins a rasp in his voice with graceful runs, he has a song for every person and every feeling, and has a unique duet with “Hurricane” featuring Lindsey Lomis. Though he is Adam Townsend through and through, there are hints of influence from artists like James Morrison— current yet timeless.

Personally, my favorite songs on the album are the first and the last— “Everyday” and “The River.” In way, separately and together, these two songs represent bookends to the album in full. “Everyday” is a bit upbeat and fun, the soundtrack to the inherent good day. “The River” is a necessary, refreshing baptism into life, as it should be lived.

I’ve discovered, after listening to All My Fires countless times throughout its first week public, that the most preferable way to listen is with headphones, because it deserves that much attention and respect, but it also consumes head space in a creatively comforting way that it simply alludes to the magical charm of daily living.  You can listen to All My Fires on all popular platforms. Click here to listen now.

Paisley's New Album is Gold

Brad Paisley released his latest album, Love and War earlier this month. The album includes a few singles he released throughout the album process, like “Today” and “Heaven South.” A Brad Paisley album wouldn’t be complete without one of his noteworthy satirical and clever songs, so in preparation for the full-length album, Paisley wrote and release “selfie#theinternetisforever.” The album includes vocals John Fogerty, Mick Jagger, Timbaland, and Bill Anderson. Love and War is the epitome of Brad Paisley as an artist and proves to be a concoction of current, classic, and clever songs mixed with recognizable and unique voices. Paisley is getting positive feedback and media attention throughout his album process with all of its personality. My favorite song on the album, which has recently gotten the country music world’s attention, is “Gold All Over The Ground” – a tribute to Johnny Cash.

The song is a musical adaptation of a poem that Johnny Cash once wrote to June Carter Cash in 1967. “Gold All Over The Ground” is a touching addition to an album that successfully hits all aspects of country music. The single is a melodic, heartfelt song in honor of the written words and the man who wrote them. The video for “Gold All Over The Ground” has since been released and emphasizes the emotion and significance of the song. 

For more information and to watch the video, visit theboot.com.

New Singles by Stapleton allude to new album in 2017

Chris Stapleton is releasing new songs on Spotify in lieu of his 2017 tour and the release of his new album. This will be Stapleton’s second full length album, his first being Traveller, which won him best country album in 2016 and includes songs that he is widely known for: a current rendition of George Jones’ “Tennessee Whiskey,” “Parachute,” and “Nobody To Blame.”

Over the last week, Stapleton has released two new songs to Spotify, “Broken Halos” and “Last Thing I Needed, First Thing This Morning.” From the strum of the first chord and the raspy, soulful voice, “Broken Halos” is easily recognizable as a Stapleton song. “Last Thing I Needed, First Thing This Morning” has been released more recently, and again pays homage to Stapleton’s classic country voice. This song is a subtly slower than the first and has bluesy tones, harmonica sounds, and backup vocals from his wife, Morganne.

These two songs are released from his new album called From A Room: Volume 1, which will hit stores May 5, 2017. The title of his album alludes to the idea that there will be a volume 2 album released later on in the year.  The album cover is a drawn graphic of Stapleton’s iconic look: his long hair and untamed beard completed with his straw cowboy hat with feathers and turquoise stones.

Photo courtesy of rollingstone.com

What are you looking forward to most – the albums, or the tour? Let me know what your thoughts are by commenting below. 

Rhett, Moakler, & More

On Friday Spotify’s Release Radar playlist became the soundtrack for the weekend. The playlist includes new music from artists like Thomas Rhett and Steve Moakler. Thomas Rhett’s new single, “Craving You,” features vocals from Maren Morris and could possibly be premiered at the 2017 ACM Awards tonight. Craving You is exactly what popular country music radio is at the moment, so there is reasonable expectation that Rhett and Morris’ song will climb charts and be very successful. Steve Moakler’s Gold was released on his new album called Steel Town, which includes songs from previous EPs and albums, like “Suitcase,” “Steel Town,” and “Love Drunk.’ This album is an anthem to his hometown in Pennsylvania mixed with the success and journey of his last ten years pursuing music in Nashville.

New Release Honorable Mention:

On my Release Radar playlist, pieced together by my personal music on Spotify, there are other songs that are worth listening to. Check out “Love On My Mind” by Brady Toops and “Back Seats & Burnt CDs” by Ryan Griffin.

What do you think of these new singles? 

If you are in the Tennessee area, Rhett will be playing in Nashville on April 20, 2017, and Moakler will be playing in Knoxville on April 5 and in Chattanooga on April 6. 

The Void Nation

Chris Parker and Greg Burroughs, the creatives behind the new boom of Nashville, The Void Nation, is a duo to be watched. The anticipated release of their new EP, Mountain Mixtape, was released today and already broke iTunes' top 100 on the Country Album chart. This new EP is the ammunition ready to explode in Nashville and ripple effect its way around. Get ready. 

The Void Nation is comprised of contemporary country shaken with alternative and electronic sounds. It adds a touch of sound that is exclusively The Void, and is irresistibly unlike anything else. They have defined their sound and created a strong footprint for themselves in the current music industry that is attractive to all types of listeners. The Void broke through the surface of music powerfully with Mountain Mixtape.

As singer/songwriters, the EP bleeds their lyrical ability, their talent in collaborating sound and music in unique ways, and amplifies their strength in the music industry early on. The lyrics behind their songs on the EP are relatable, current, and comfortably powerful. They know what they're doing. The vocals, drums, guitar, beats, and effects melt together, but are distinguishable and impressive in each song. The Void effortlessly intertwines guitar strums and lyrics of a good, country song with an alternative twist that proves each song to be absolute in their own sense, but easy to relate to. By the end of the EP, you'll be singing along and replaying each song. 

You are going to want to watch The Void Nation. 

You can purchase The Void's Mountain Mixtape EP here.

Déjà Vu

Instantly, the electric sound grips the listener with a current country charm collided with an alternative rock vibe. A timeless combination that you can’t help but rock to; the kind that causes you to nod and shake your head from musicality, lyrics, and the way it makes you feel, relive, and imagine.

Already Two Way Crossing struck gold.

The initial five seconds provides subtle foreshadowing to the growing intensity and passion the song produces and the quiet, back-to-real-life routine you naturally regress to though the night before consumes you, especially when triggered by a familiar melody.

Jenny’s voice and the accompanying music subtly sets the scene. You, yourself, are stuck at the red light on Broadway and 6th, too.  Quickly, but timely, the chorus reveals itself as Blake’s voice is introduced and the introduction riff is repeated, perfectly portraying the passion and thoughts the two in the song are having.  The chorus is powerful and bleeds the story’s passion and underlying meaning, but is sensitive in revealing the Déjà Vu element in the song. The story progresses and follows in a cycle giving “Déjà Vu” a clever and honest meaning.

“This melody takes me there” sung from both voices cohesively entangles the storyline together from the radio playing the perfect song to trigger the memory, to making the call to experience it at least one more time.

“Déjà Vu” is more than a great song about a feeling you can’t shake and the recurring memory of a mysterious fling. It entices the listener through an artistically intentional collaboration between sound and vocals, male and female tones, and a storyline you won’t forget.

As the song ties in at the end, leading into a new cycle of the essence of its meaning, you will find that your foot was tapping throughout the entire song.  Two Way Crossing is on to something huge with their new single, “Déjà Vu.”

twowaycrossing.com