Who hurt you, Savannah? Who hurt you and your beautiful soul?
It envelops your soul with all of the comforts of a rocking chair and a glass of sun tea on the front porch.
How does it sound? Ugh. Awful.
Dreamy synth-pop alternative surf sound
This album sounds like Southern California
Polished grit. Garage rock by seasoned professionals.
This is the style of music Elvis would be making today.
This is country garage rock.
Akin to Elvis recording in the jungle room at Graceland
Like Pink Floyd and Daft Punk adopted a kid
Can music be sexy? Absofuckinglutley.
Imagine Rage Against The Machine reincarnated as three teenagers from New Zealand
A continuation of the ska revival from my high school years
Many live albums struggle to truly recreate the feeling of being in the room, but this album absolutely does
The sadness on this album is palpable
The funk groove will gyrate a little piece of you
This is the most I’ve ever spent on a record
I imagine that some snooty music critics would consider this high art and look down upon us plebeians who don’t understand it.
It sounds very much like old-school Kiss with a hint of Lenny Kravitz mixed in
This album is not made to listen to while sitting and reflecting on life
It is angsty and sad power pop punk.
Neon Native totally jams and is made to be played loud. Very, very loud.
If you like country music and despise the drivel on the radio, buy this record.
His beautiful baritone is pure and simple and makes me feel like I could listen to him read the phone book
This record as a whole is a brilliant piece of soulful art.
Led Zeppelin. Seriously.
Garage rock with jazzy, funky bits and soul galore.
A sing-a-long metal album with country heart and soul.
The soundtrack to a late-night rave in Gotham City just before Batman shows up.
This record drips with emotion and the sadness is real.
An amalgamation of soulful sounds à la 1960s Stax Records and country music styles born and bred in the East Tennessee hills.
There is a little bit of Tom Petty, a dash of Bryan Adams, and a pinch of Tom Waits all mixed into the Kieferness.
This record sounds like ABBA got way into Salman Rushdie, tattooed pentagrams on their arms, and decided to write an album praising the beast with many names.
Listening to this album will teach you about where free agency comes from, the fact that perfect pitching never guarantees a win, the mysterious death of an early baseball great, and more.
It is tongue-in-cheek angsty music for teenagers driving around in their mom’s Toyota Corolla
This album sounds like something you would hear on the sound system in that store at the mall that sells skateboards, Vans, and overpriced t-shirts.
Family Tree is a backroad driving, horseshoe pitching, beer-drinking record.
This album is as close as you will ever get to sitting at Graceland and listening in on a late night jam session with The King.
Encore oozes soul.
It is folk music without being too folk-y; it is country without being too country-y; it is bluegrass without being too blue-y.
This record sounds like The Runaways asked Duran Duran, Heart, and the Eurythmics to help them make an album produced by Cyndi Lauper.
If you are a fan of country music at all do yourself a favor and pick up this album. It is a great bridge to the origins of the modern outlaw/alternative country moment.
Jack White is single-handily thrusting rock music into the future with Boarding House Reach.
Terraplane is the kind of record you put on the turntable to impress people in the know or in the music industry.
It has flares of singer-songwriter simplicity and the lo-fi sound of indie rock packaged inside a full and highly polished production
Sing out “Hail Satan!” and frighten your neighbors.
Stevens’ voice is fantastic when he actually sings, but most of this record is speak-singing and I am convinced that he is a damn genius.
Jason James is the Stars & Stripes cola of country music
This record honestly feels like a group of Disney-style pirates learned to play rock guitars and write songs about their sailings on the salty seas
Trinity Lane is like a thousand paper cuts leaving you in emotional agony.
Who doesn’t want a record from America’s favorite principal?
There is a depth and fullness to this record that is absolutely stunning
Wrangled is pure two-stepping, Nudie suit wearing country music…with short flashes of punk rock attitude and feminist badassery.
Jack Johnson makes chill beach-y hippie music and he is absolutely amazing at it.
This is not an album of sing-a-longs; it is prog-rock.
Reema needs a hug to let her know that everything is going to be just fine.
Lifes Rich Pageant is an incredibly 80s sounding record and an incredibly timeless sounding record simultaneously.
Rockingham is more than a country album; this is blue-collar singer-songwriter music.
This is rock n roll as if it had evolved in the hollers of West Virginia.
This is a solid blues-based rock n roll album that has flares of funky disco, big band rock with horns and pianos, punk rock lite, and stripped down coffee house music.
It is an album with an unobtrusive sound that is a perfect companion soundtrack to some relaxing time spent on your couch.
The music on this record is so country that it almost sounds like a caricature of what country music should be.
This record is generic-sounding, female-led, modern alternative that belongs on the soundtrack of a Wes Anderson movie……so long as you place the song titles symmetrically on the back cover.
This record is an excellent example of Judy Garland’s superhuman skills. She sings with a soft power and draws you in with the wisp in her voice before she blows you away.
The sounds on this record are pure, wholesome country music from a time before the pop bastardization that happened in the 80s and today.
Hearing a Chicago blues song in the style of southern rock sounds like something you would hear on Jimmy Fallon, but it totally works.
It is full of heartbreak songs written from the point of view of men who have been beaten by life.
Portions of 29 also give me the vibe that I am in some professional office and waiting patiently in a chair while a secretary types away and an intern is filing papers.
It is three songs of typical, fun-loving, country-inspired rockabilly. This album sounds like old Reverend Horton Heat.
This is the Jerry Lee that is full of sorrow and walking the line between rock n roll and country.
Shoji is simply amazing. His fiddling prowess is akin to Bob Wills and Charlie Daniels.
If you are interested to hear part of the creative process that went into making the Grammy award-winning swan song of one of the most influential bands of the past 30 years, then you should seek this record out.
There is a massive amount of sass, badassness, and heartbreak all squeezed into four little songs on this EP.
She sounds like she stepped out of the hills of East Tennessee in the late 60s. There is a seductive smoothness to her raspy, breathy voice.
If you are not aware of the funkiest and blackest white man in America, you should educate yourself.
What it sounds like to me is the soundtrack that should be playing in the gift shop after you get off of the Disney Jungle Cruise or maybe it is the music you hear in the waiting room of the spa that is in the hotel where you stay during your down time while on safari in Africa.
Live at the Mayan, Los Angeles is not a sing-a-long rock album; it is not a headbanging rock album; it is a rock album that has a groove that ebbs and flows without being jarring.
Listening to the kind of emotional pain that permeates throughout Always On My Mind is almost addicting.
Savage Times ventures into Quincy Jones-esque funky disco-pop, punk, 60s psychedelic rock, and political folk rock.
It is bar-room country. The music has grit and it has heart and it has soul.
It is bluesy and heavy like an amped up version of The Stones.
This record sounds like what Black Sabbath could have evolved into if Ozzy had stayed clean and the 80s never happened.
It is guitar-laden rock ‘n roll with a country twang and parts of this album are heavier than you remember.
This album could easily be disc 7 of Time Life’s 14 disc set of early 2000s Top 40.
This album is not far off from what finally became the sound that makes a Foo Fighters record Foo Fighter-y.
Heavy, dark, growling black metal. This record is full of anger and angst and rage.
It sounds like a punk band is singing country music.
Seriously, Margo Price is from another time. A time when genius female country songwriters ruled Nashville.
What does the music sound like? Elvis. Seriously.
Rest In Chaos is on the classic rock sounding side of the jam band spectrum, but definitely, has that quintessential jam band feel.
As for Volbeat’s style, it cannot easily be put into a simple category. They are power pop punk rockabilly metal.
Simple complexity. Does that make sense?
Howlin’ Wolf’s vocal work has that I-have-seen-some-shit-that-you-would-not-believe-type of feel to it. He is the kind of guy that you do not want to mess with, but want to hang around so you can hear his stories.
Just like many people I know, this record loves Jesus but also likes to have a drink and smoke a little weed.
Aftermath is almost 51 years old. Think about that for a moment; 51 years in the future is the year 2068. Damn.
There is never an overpowering sense of twang or bluegrass or honky tonk or western swing, but all of those elements live in harmony with the sound on this album.
My knowledge of Leon Russell is very limited: I know that he is greatly respected in the music world; I know he has worked with some of the greatest musicians to walk the Earth; I know that my uncle tells a story about sleeping with his wife one time.
The four songs on the two 45rpms that make up Why Don’t We Duet In The Road are as classic as classic country music can get.