Blake Shelton Texoma Shore
If I'm honest, I will say that Blake manages to surprise me with his ability to record a full album of good songs. I'm not talking about hits, because he manages to extend his list every cycle, but I don't always find the deeper cuts to be as appealing. His last record was a consistent entry into his catalogue, while his trip to the Texoma Shore was a pleasant walk alongside the aural aquatic. The opening tune remains my favorite, but what is a shore without the wave? While not as engaging as the aforementioned, its sentiment can be appreciated and rinses out the initial distaste of hearing its water related metaphors that have already been established. "Got The T-Shirt" is even better in its own metaphorical apparel, no sarcasm adorning this statement. I would be remiss to mention that Miranda comes to mind, and that it was a wave goodbye to his last ex while the preceding track is Gwen Stefani and her welcome embrace. With all of this heartwork, Shelton has a hangover due. Some of these tracks are just feelgood pleasantries that may end up making Shelton a little money, the hick-hopper of the bunch, and balance out the numbers a tad more taxing emotionally. "I Lived It" is a memoir of sorts, listing some risky business, or some things that sound so when it comes to the standards of today. It is high on reminiscence and is a serene vignette of what Shelton had conquered.
Kid Rock Sweet Southern Sugar
Rock has always been cocky, and has lived u to his name as an "All -American Bad-A--," but along his musical journey he has shown that he has a softer and sweeter side, and sometimes the speakers pour out honey, the "Tennessee Mountain Top" comes to mind with its own version of utopia and a backing vocalist reminiscent of Billy Gibbons. "The Greatest Show on Earth" is an energizing and adrenaline fueled ride that fosters visions of that show in action. After seeing The Greatest Showman, I can see this musical number being choreographed by the circus troupe of misfits P.T Barnum had assembled. Although, it does heighten expectations with this song worth the price of admission, the rest of the album may not excite as much, but it engages you all the same. While "I Wonder" and "Po-Dunk" are good enough, Rock serves a few uplifting tunes that are the trapeze artists that may catch their counterparts not as likely to hang on.
Although an American is ultimately born free to live how they prefer to some degree, the same can be said for how they want to die; or "Stand the Pain" and thrive. The prevalence of suicide is asserting itself, and is appearing to be a more viable option for those considering an early retreat "Back to the Otherside." The song is honorable in aim, and is accurate in its description of how everyone may feel at some point living "in the age of this life where it seems that love ain't enough." It offers reassurance for the optimistic as well, because even they experience existential crises, and true believers "because God is great and he always forgives." We may not know the reason why some things happen or why our plans never come to fruition, but it can be said that God is more aware of what is better and interjects his idea while we may struggle with indecision. "Take it easier on yourself, don't ask why," and that is one of my resolutions I should shift its prompt to more than try. The former tackles the same subject, and is another uplifting anthem to arm oneself with when an existential crisis rears its ugly head, or you feel that you may have missed the mark when it came to achieving your dreams: "Sometimes life's plans can be postponed, and it's hard to step back into the unknown."
KId Rock's cover of "Sugar Pie Honey Bunch" may not posess the same amount of energy that the Four Tops had mustered, but it is just as sweet. "Grandpa's Jam" sounds like Rock is in the mood to break someone off with Uncle K in a condiment of sweet nostalgia with a pinch of all the best ingredients to make it ring true.
Thursday, April 30, 2020
Monday, April 13, 2020
Demi Lovato "Tell Me You Love Me"
Before we start, I must say that it could have been love at first sight, and moreso at first song but I still cannot tell you that I love you. "Sorry Not Sorry," but there is no need to be apologetic in the approach when what follows is honest and predominantly constructive when it comes to criticism; quirky at times, but it's real and its me.
I am not calling it synesthesia, but am I the only person that sees purple? or is it the posthumous phenomena? Seeking traces of greatness and influence of an artist we love in artists still active. The purple one's reputation precedes, and leads me to believe he still wouldn't mind sexy dirty love now and then.
I haven't felt that saccharine infused perfection, and endorphin induced rush since that step into "La La Land," but this sugar in the microphone may come close. I may not have found a song to replace that pop-spunk attitude, but instead have heard and seen her grow into a confident young woman; there's nothing wrong with that. We have heard songs addressing her "Daddy Issues" before, but not in this manner or tone. This may not be a wake-up call to fathers absent from their daughters' lives or fathers dreading the inevitable; ready or not, your little girl will grow older, and not always "grow up." This is not calling the artist, or song, childish, but synchronized. It manages to capture the essence of a young teenager and a young woman at the same time, and that can be a little unsettling to think of one's sister or daughter "rolling with the frenches." The first few times I heard the title in the chorus I could have sworn that is what it was; odd, aware, but then it was rectified later.
The next song documents the struggle of friends on the fence, on the verge of a fling, or something greater, but the passion cannot be denied, and that horn sets the mood right. The struggle is not specific to an era or generation, and this song could track a scene in the teen drama of the year, or another vehicle, with or without teens, those in their twenties, thirties, or forties inside; we can go farther, but I should stop before I ramble.
It's best to refrain from investing your time and love in a "significant other" who makes you feel alone, and Demi seems to know, but she is not alone. I am not talking about the backing studio vocals which sounds on point, but it is the man whose protégé is known for writing songs that really vibe with the "Lonely."
If you concentrate hard enough you will realize that it is not a suite, but two separate songs. the pair did not bore me, they just seemed to end the record on a more submissive note. I'll be forgiving, as long as she is not the hitchhiker slipping in the car of her ex because I was rooting for that girl "...lookin' like revenge, feelin' like a ten," and continue to do so.
Still a lovatic, in love, with that indecision to profess it, eighty percent's not enough. I could play games with words and translate them into more critical frivolity, but I would rather not go overboard; I have reached the shore. There was also the vocal performance and production of "Cry Baby" that did not bring me to tears, but spoke to me, just not in a manner confident enough to resonate past the short term mem.
I am not calling it synesthesia, but am I the only person that sees purple? or is it the posthumous phenomena? Seeking traces of greatness and influence of an artist we love in artists still active. The purple one's reputation precedes, and leads me to believe he still wouldn't mind sexy dirty love now and then.
I haven't felt that saccharine infused perfection, and endorphin induced rush since that step into "La La Land," but this sugar in the microphone may come close. I may not have found a song to replace that pop-spunk attitude, but instead have heard and seen her grow into a confident young woman; there's nothing wrong with that. We have heard songs addressing her "Daddy Issues" before, but not in this manner or tone. This may not be a wake-up call to fathers absent from their daughters' lives or fathers dreading the inevitable; ready or not, your little girl will grow older, and not always "grow up." This is not calling the artist, or song, childish, but synchronized. It manages to capture the essence of a young teenager and a young woman at the same time, and that can be a little unsettling to think of one's sister or daughter "rolling with the frenches." The first few times I heard the title in the chorus I could have sworn that is what it was; odd, aware, but then it was rectified later.
The next song documents the struggle of friends on the fence, on the verge of a fling, or something greater, but the passion cannot be denied, and that horn sets the mood right. The struggle is not specific to an era or generation, and this song could track a scene in the teen drama of the year, or another vehicle, with or without teens, those in their twenties, thirties, or forties inside; we can go farther, but I should stop before I ramble.
It's best to refrain from investing your time and love in a "significant other" who makes you feel alone, and Demi seems to know, but she is not alone. I am not talking about the backing studio vocals which sounds on point, but it is the man whose protégé is known for writing songs that really vibe with the "Lonely."
If you concentrate hard enough you will realize that it is not a suite, but two separate songs. the pair did not bore me, they just seemed to end the record on a more submissive note. I'll be forgiving, as long as she is not the hitchhiker slipping in the car of her ex because I was rooting for that girl "...lookin' like revenge, feelin' like a ten," and continue to do so.
Still a lovatic, in love, with that indecision to profess it, eighty percent's not enough. I could play games with words and translate them into more critical frivolity, but I would rather not go overboard; I have reached the shore. There was also the vocal performance and production of "Cry Baby" that did not bring me to tears, but spoke to me, just not in a manner confident enough to resonate past the short term mem.