Airbourne

It's been a while since I've done one of these, but Airbourne have a new album out so I thought I'd dive back in and take a look at these Aussie rockers. I often describe them as 'AC/DC, but now', and that is exactly what they are. There ain't no lofty artistic goals here, this is straight-up, in-your-face power chords for 3 minutes at a time. 

Airbourne, set up by the O'Keeffe brothers, are:

Joel O'Keeffe - Vocals and lead guitar

David Roads - Rhythm guitar (2003-2017)

Harri Harrison - Rythm guitar (2017-2022)

Brett Tyrell - Rhythm guitar (2023-Present)

Justin Street - Bass

Ryan O'Keeffe - Drums

Runnin' Wild (2007)

Like many other bands, my getting into Airbourne started with Guitar Hero. On 'On Tour', Airbourne had a song called Too Much, Too Young, Too Fast. It wasn't particularly hard or fun to play, but it was such a solid hard rock song that I went out and bought this album. And I'm very glad I did. 

There's a huge amount of youthful energy to this album. Barely out of their 20s, Airbourne brought a whole new life to the AC/DC template. Straight out of the gates, Stand Up For Rock 'N' Roll is a statement of intent for the band - 'drink your beer, drink your wine, let's have a good time; we're ready, so get ready, we're gonna rock, rock tonight!'. They're not here to make you think, to break the mould, to innovate. They're here to rock. 

The title track follows, the video of which guest stars one of their heroes - Lemmy. Runnin' Wild keeps up the breakneck pace, and is a perfect driving song. Third we have Too Much, Too Young, Too Fast - the whole reason I bought the album - and though the tempo drops a tad, the intensity remains at peak levels. 

Much like AC/DC, Airbourne suffer a bit due to the general similarity of sound throughout their albums, so that it is more difficult for songs to stand out from the pack. Having said that, Runnin' Wild suffers from this the least of all of the Airbourne albums. Diamond In The Rough, Blackjack, Girls In Black, Cheap Wine & Cheaper Women are all great tracks that could have stood alone as singles. If I want to be a bit critical, Fat City and What's Eatin' You are the most 'filler-ey' songs here, but they still deserve the places here. 

Up to 2025, this might be the best Airbourne album. Maybe it's because it's the first, maybe it's the youth. But I also think the songwriting is particularly strong here. Sure, it's all verse-chorus-verse-chorus-solo-chorus, but the riffs are heavy and memorable, and for the most part the lyrics are pretty good in a 'classic rock'n'roll lyrics' kind of way. 

Before moving on, it's worth mentioning that Runnin' Wild has several versions with bonus tracks. If you collected them all, you would have 4 bonus tracks, and 3 songs which were re-recorded versions of their very limited release 2004 EP. Some of these are decent songs, though I think their songwriting improved a fair bit between 2004 and 2007...

No Guts, No Glory (2010)

You can get a good feel for this album from the cover art. A screaming, topless Joel thrusting his guitar high - yep, that's what it sounds like. But also, far too much going on around him - there are visual representations for about 7 songs in that background. 

This is an overstuffed album. The standard edition runs at a reasonable 13 songs, while the special edition adds 5 extra songs for a total of 18. It's impossible for a band like Airbourne to fill an 18-song album without resorting to filler in places. And, honestly, I think it might have been better to swap in some of those bonus tracks for standard tracks (e.g. My Dyanamite Will Blow You Sky High for White Line Fever, and Kickin' It Old School for Get Busy Livin') and leaving the album as is. 

The energy which permeated throughout the entire first album is a little more restrained here - being allowed out only on some tracks. Born To Kill, Raise The Flag, It Ain't Over Till It's Over are all played with speed and ferocity. But elsewhere the tempo is a lower, and the playing a bit more relaxed. Admittedly, this is because some of the songwriting is a tad more considered and thoughtful than perviously - Bottom Of The Well stands out well above the rest in that regard. 

In terms of subject matter, the first album was all drinking, partying, women, and rock'n'roll. This second album is pretty much the same (see Blonde, Bad And Beautiful), but has a bit more of a working-class, industrial edge. No Way But The Hard Way, Steel Town, Get Busy Livin', and Kickin' It Old School all cover topics like factory-working, striving for a better life, and clocking off your shift and kicking it back with the guys. It's not particuarly nuanced social commentary, but I think it reveals both a bit of the background of the bandmembers, and of the audience they (think they) tend to attract. This is hard-working rock for hard-working people. 

Black Dog Barking (2013)

Ripping themselves off entirely, the opening track is too easily comparable to Runnin Wild's Stand Up For Rock And Roll. A long introduction, building and building, before bursting into a song about how hard this album is going to rock. This isn't a complaint, really, but I think it's worth pointing out that Airbourne seem to have returned more to the Runnin' Wild template.

And I think that first-album feel continues throughout the album. The youthful intensity was only let out for certain songs on No Guts, but here it's back to being all over the album. In fact, the tempo only really slows up on tracks 3, 4 and 9 - No One Fits Me [Better Than You], Back In The Game, and Cradle To The Grave. Now, Airbourne had flirted with some wink-nudge innuendo on No Guts with Armed And Dangerous, but No One Fits Me is the first hint that they may be willing to be a little less subtle...

Best song on the album - Live It Up, by an absolute mile. The build up takes absolutely ages, but when the song kicks in it really kicks in. A classic chorus that fans can sing along to at gigs, and a general YOLO message. It also has, what I think, is a pretty fun line of wordplay in 'The devil may care, but I don't give a damn'. Great song. 

It just feels like there's a lot less filler on this album. The standard edition's 10 tracks are all-out rock with no letup. The only track I'm not a huge fan of is Hungry, but even then I'm a fan of the twangy intro and the main riff. 

Unlike No Guts, the 3 bonus tracks on Black Dog Barking are a nice extra rather than being better than some of the standard tracks. Jack Attack could have comfortably fit on the album proper, pushing it to an 11-track length. But the other two are kind of forgettable and were rightly left as bonuses. 

The special edition also has an 8-track live album, recorded at Wacken 2011. This has some nice versions of Blackjack and Girls In Black from Runnin' Wild, and it does a good job of sounding fast and heavy - like Airbourne actually are live. But it has two main problems with the vocals: they're mixed too low, and also it's clear that Joel can't quite hit the high notes on a consistent basis. I found this when I saw them myself live - Joel often sings an entire octave lower. 

Breakin' Outta Hell (2016)

Noting above that Joel's voice seemed to be unable to hit the high notes live that he lays down on the albums, Breakin' Outta Hell is very noticably lacking in high-notes. Airbourne were never a screamy band, but most songs had that 'hold the final syllabus in the chorus as the song goes into the guitar solo' thing that rock bands often do, and in those Joel would often reach higher. There were also songs like Blonde, Bad and Beautiful where Joel gets high-ish throughout the song. 

In Breakin' Outta Hell, I just couldn't help but notice that the songs were lower, and there were fewer high holds. Which is a real shame, and it made me hope that Joel hadn't wrecked his voice in only 10 years...

But anyway, what about this album? Well, it's a bit mixed. The title track opens, and is probably the best song. It's fast, heavy, and mixes the messages of Bottom Of The Well and Live It Up. Actually, it might better be described as what might have happened if AC/DC had been asked to rewrite Bat Out Of Hell. 

Like No Guts, it feels like the energy is contained to only a few of the songs rather than throughout. The title track, Thin The Blood, and When I Drink I Go Crazy all have that up-tempo, headbanging feel to them. But elsewhere, we're a bit slower and stomping. I think I prefer my Airbourne fast and loud. 

It's All For Rock 'N' Roll is worth a shoutout as being a tribute to Lemmy. It's a nice, steady tribute with some poignant lyrics - but I can't help but wonder if Lemmy would have preferred something a bit more amphetamine-fueled...

And then we get three Steel Panther-alikes. Down On You, Never Been Rocked Like This and Do Me Like You Do Yourself are all just a bit misplaced on an Airbourne album. The first and third of those in particular feel weird. They're not as ridiculous as Steel Panther songs, but they're still a bit too 'single-entendre'. On the first listen I was thinking 'really?'. To be honest, I'd rather they leave that kind of material to Steel Panther and concentrate on other topics. Or, at least, only having one song of this kind per album. 

The special edition of this album only has one bonus track - Bombshell. I have no idea why this wasn't added to the album proper - it's good enough to be on it and it feels a bit silly to just have a single bonus track given Airbourne's historical penchent for bonus tracks. 

Boneshaker (2019)

Blink your ears and you'll miss this album. 10 songs and barely coming in at 30 minutes. But don't worry, Airbourne haven't become a punk band. They just decided that some songs only need to be 2 minutes long when they're played fast and hard. 

I'm quite surprised on writing this blog that I've found a pattern in Airbourne's album output. They seem to go fast-slow-fast-slow-fast. And after the surprising plod along that was Breakin Outta Hell, Boneshaker feels like it's just downed 3 pints and run straight into a mosh pit. 

Burnout The Nitro, Blood In The Water, Switchblade Angel, and Rock'N'Roll For Life (see the acronym under the skull on the album cover...) are all about as fast as Airbourne can go. It's not speed metal or anything like that, but it's definitely Motörhead-esque. 

The slower (as in mid-paced) songs also just feel a lot more purposeful than anything on Breakin Outta Hell. The prior album felt like they were going through the motions, whereas here it feels like they've been reminded exactly why they like playing those power chords. We also get some bluesyness on Sex To Go, which is a nice change. 

But we've got to talk about some of these songs. The title track, Sex To Go, Backseat Boogie, She Gives Me Hell, and Switchblade Angel are all on one topic. Sex To Go (a series of puns about fast-food) and Backseat Boogie (which unironically uses the phrase 'hoochie coochie') are still a bit Steel Pangher-ey. The other 3 songs mentioned can just about get away with it with some not-so-subtle metaphors. But the other two are a bit too obvious for me, and make me cringe - a feeling I'm sure they weren't hoping you to have on listening to their hard rock album.

Overall, though, I think this is a big improvement over Breaking Outta Hell. And, I haven't even mentioned yet that it sounds like Joel's voice is fine. There's plenty of chorus screaming going on, phew. 

For the first time ever, the bonus edition of Boneshaker doesn't have a single original bonus track! All we get are live versions of Heartbreaker (solid version), and Raise The Flag (slightly better than the live version on Black Dog Barking, but not so much better than you need to get it). 
This is a particular shame because the album is so short. Reviewers used to joke that you had to read Douglas Adams novels twice to get your money's worth because they were so short. The same applies here - lucky, then, that it's pretty good. 

Airbourne (2026)

Well, this took a long time didn't it? Seven years after the sub-30 minute Boneshaker comes Airbourne. A big swing, naming an album (other than a debut) after the band. Sometimes it works (Metallica), sometimes it's just baffling (Dream Theatre). In time, I wonder if this will get a nickname like The White Album... Gutsy, perhaps?

What happened in those seven years? Well they toured, and toured, and toured. And wrote 12 songs. Well, they wrote more than that but unlike with prior albums where the off-cuts got served as bonus tracks, here they seemed to focus more on making the 12 as good as possible. Quality over quantity. And, unlike Boneshaker, which sounds as if it was rushed off in about 3 days, this album does sound like they've spent a very long time tinkering and tightening. They also worked with some outside songwriters, getting some pointers from Bryan Adams (what?), Mutt Lange, and Phil Collen (of Def Leppard). 

Every Airbourne album is a variation on the AC/DC theme. No Guts is the 'long and samey' one, Breaking is the 'slow' one, Boneshaker is the 'quick and dirty' one. This one? Maybe this is the 'arena rock' one. 

Opener, Gutsy, is your big, stompin, fist-pump rocker. It's Live It Up, it's Runnin Wild, it's Breakin Outta Hell. The groove is guaranteed to have you bobbing your head along no matter what you're currently doing. So far, we're in familiar territory. But then things go a bit... different.

Alive After Death (Last Plane Out) is the first of many songs where you detect much more melody than one is used to with Airbourne. Not that Joel doesn't sing melody lines, he does. But probably 90% of Airbourne choruses are shouty anthemic calls to rock. Alive After Death has more peaks and troughs, even hints at harmony. It all sounds a bit 80s-inspired, in a good way. I love it. Next song, Here She Comes, has the same thing. Joel is putting far more thought and effort into melody lines and vocal hooks (over a Thunderstruck-alike riff, obviously). One doesn't want to gesture to Nashville too much, but it definitely has a country feel to the chorus. 

We still have plenty of straight-up rockers, don't worry. Kid in a Candy Store sounds straight off of Black Dog Barking, with some 1.5 entendre lyrics. Who Put The Rhythm in You has it's extra entendre slightly more obscured, but not by very much. Bogota is perhaps the only song here which sounds like a Boneshaker outtake, being dirtier and more distorted than anything else on the album. Thematically, it feels like a reference to Motorhead's Going to Brazil. 

Competing for my favourite song on the album are the closing two tracks. Hell's Got No Vacancy is a fast-paced bluesy rocker with an infectious chorus; you can hear Joel grinning through the lyrics. Then closer Send Me To Rock'N'Roll Heaven is a tribute to all of the dead rockstars of the last few decades. I reckon this is a much better tribute than the Lemmy-specific It's All For Rock'N'Roll from 2 albums back. 

One has to concede it is difficult to make 12 songs of AC/DC-like rock sound entirely different from each other, and one has to congratulate Airbourne for achieving significantly better song-identity than pretty much any of their other albums since their debut. Alas, a small number here fade into background obscurity: Sky High, Last Man Standing, and Rock'N'Roll Ya. All three are great songs, but with the quality of the rest of the album being so high, these 6 and 7/10 songs end up being less interesting. 

But I have missed a song out! Buried right in the middle of the album is Airbourne's first stab at a Christmas song! Christmas Bonus has all of the sleigh bells you could wish for, and the guitar solo has little references to classic carols. Lyrically, we're in quite strong innuendo territory. Basically, think The Darkness' Don't Let The Bells End, but more rockin and less silly. I'm looking forward to this one popping up in my Xmas song playlist. 

So what we have here, essentially, is Airbourne's best album. Objectively, it just is. The songwriting is better, more varied, more interesting. The lyrics are smarter when they need to be, and not when they don't. Sure, there's not a serious 'war' song like on some earlier albums, but there's not a single song here which would fail to cheer you up and get you pumped for life. In time, this might even become my personal favourite album, but it's too soon for that sort of evaluation. In the meantime, I'm cranking it up on repeat. Cheers, lads!

Ian Anderson of Jethro Tull (Solo Albums)

Ian Anderson wrote pretty much everything Jethro Tull ever recorded (certainly after the first album). The other members obviously pitched in, and Martin Barre helped a lot I'm sure. But Ian was the primary driver, and very few Tull songs are credited to anyone other than him alone. 
Despite Jethro Tull basically being the Ian Anderson Show, he has at times felt constrained by the band dynamic and structure, and so has gone out on his own to do something under his own name. 
Since the effective end of Jethro Tull in the mid-00s, Ian has been touring and releasing music under the moniker "Jethro Tull's Ian Anderson", to signify that it's Tull but with him being the only member. Like Jeff Lynn now with "Jeff Lynn's ELO". I sometimes feel sorry for Martin Barre though... 

Well I'm seeing Ian in April 2018 for Jethro Tull's 50th Anniversary, and I thought I might talk about his solo studio efforts. 
His first attempt, A (1980), ended up being released as a Tull album (and it's discussed in that post), but it's notable for its hard electronic left-turn from the previous folk sound of Tull. And it's with that in mind that we start...

Walk Into Light (1983)

So Ian Anderson solo album take 2. Sandwiched between the Tull albums Broadsword and Under Wraps, Walk Into Light is a full, headlong dive in to electronica. Only two people play on it: Ian and Peter-John Vettese. Peter had been the keyboardist for Tull since the recording of Broadsword, and is surprisingly heavily involved in the writing on this album - being credited as co-writer on 5/10 tracks, which is the most Ian has basically ever shared writing on an album. 

There are no drums on this album, and guitars are few and far between. It's basically flute, vocals and SYNTHESISERS. Synths layered on synths layered on synths, layered on synth-affected vocals. This is basically pure electronica. 

So what are the songs like? The opener is the best by a long way - Fly By Night. The riff and beat are catchy, the vocals are simple but also catchy. It's hard to dislike, even with the 80s screaming at you with every second that passes.

The rest of the album is mixed. A lot of it is fine, and some songs hint at proggyness with some changing tempos and sections (the title track, Toad In The Hole, Different Germany). But a lot is forgettable, and kind of blends together. I've had this album for 2.5 years now, and I couldn't remember what the songs sounded like by name. Which for me is very poor.

An album for completionists, sure. And it would have been improved with some more guitars, and real drums. But it's no better or worse than A or Under Wraps. 

Divinities: Twelve Dances With God (1995)

It took over 20 more years for Ian's second solo effort. And it has absolutely nothing in common with the previous. Again, to set the context this lives between the Tull albums Catfish Rising and Roots To Branches. In fact, Roots was released the same year, 4 months after Divinities. 

Divinities is an instrumental and worldly exploration of religion and faith. No room for lyrics here. In fact, no room for any rock instruments at all - this is basically New-Age Classical music. And no single faith or religion particularly - as the cover tries to represent that this is a holistic view of them all. 

Musically, we explore a lot of areas here. In The Grip Of Stronger Stuff has a folky feel - almost a jig. In The Moneylender's Temple has a more straight-up prog flute riff (and so feels like one of the more 'Tull'-ish songs). Some of the others have more obvious influences. En Afrique, In The Pay Of Spain, and In The Times Of India all sound, you guessed it, African, Spanish and Indian. 

If you've read my Tull post, you may put 2 and 2 together and note that Roots To Branches is when Tull started sounding more 'World Music'-ey. Well it seems to have started here folks. I would argue over half of this album, given some electric guitars and vocals, could have slid without any difficulty on to Roots, or even J-Tull Dot Com. 

I do like parts of this album, but it's very light, very airy. There isn't a lot of meat to chew on. It's good as background music, but it doesn't demand to be listened to. 

The Secret Language Of Birds (2000)

Coming between the Tull albums J-Tull Dot Com and The Jethro Tull Christmas Album is this naturalistic sounding album. The title track was a secret bonus track on J-Tull Dot Com too, as a tease/trailer of sorts.

This album basically carryies on the world and ethnic sound of the previous solo effort, and the recent Tull albums (Roots and J-Tull), but with vocals. We get a mix of Indian, African, Russian and Celtic influences smattered across the album. It's unclear with this was a purposeful move to differentiate this solo album from the band, but there aren't many electrical instruments in sight. This is flute heavy, and almost entirely acoustic throughout. As such it has quite a light and airy feel, and if not for the lyrics would basically be the New-Age Classical music of the previous album. Although this album is a bit more jolly sounding...

The liner notes of the album have little introductions penned by Anderson to give a little explanation for each song. I can leave you look those up on Wikipedia. But examples of the weird array of topics covered are: birds (the title track, obviously), bottled water (The Water Carrier), chilli peppers (The Habanero Reel), and Boris Yeltsin (Boris Dancing - apparently Ian saw a video of Boris dancing and decided to try and put music to it...). 

I'll be honest. Much like half of Fly By Night, I can barely remember these songs by title alone. This just isn't an album I put on very often. Because of the light, acoustic sound (and perhaps when I bought it), I associate it with summer. And as I live in England, it very rarely feels like summer so that it's a good time to put the album on.

However, flicking through the songs now, all of it is pretty good. Though I can't particularly highlight anything as standing out. I think I prefer the next solo album overall, but there's nothing bad to say about this one.

Rupi's Dance (2003)

According to my iTunes, I've listened to Rupi's Dance about the same amount as Secret Language, but somehow I remember this album a lot more. I think each song has a more distinctive sound, and the lyrical topics are more accessible than on the previous album.

This album came out a few months before Tull's last album: The Jethro Tull Christmas Album. And it's with this album that we kind of mark the beginning of the Anderson solo albums that could quite have easily been labelled as 'Jethro Tull' and no one would have noticed. The only obvious omission is Martin Barre, which means that the electrics are few and far between, and not a single guitar solo - they're all replaced by flute solos. Although unlike Secret Language, there is more electric guitar sprinkled throughout (most noticeably on Lost In Crowds). 

My favourite track is probably the aforementioned Lost in Crowds. It switches between light acoustic verses, and heavy choruses. And the lyrics are easily empathised with - they concern the experience of feeling lost and alone in crowds of other people. But also, more personally for Anderson, they describe being famous enough to get invited to celebrity parties, but not famous enough for anyone to recognise him. 

Calliandra Shade is also worth mentioning as a song about drinking cappuccinos in a café while watching the world go by. Two Short Planks seems to be about feeling really stupid when it comes to doing DIY. We also get a number of songs about Anderson's cat (Rupi's Dance, Old Black Cat), who it seems the album was dedicated to.

I guess what makes this album stand out more so than Jethro Tull/Anderson songs more generally is that the lyrics are all about every day life. There are no ridiculous fantasies (see below...), no pretentious musings on the big questions. It's an everyday album for everyday life.

In terms of music, we seem to depart slightly from the 'world music' influences a bit. Anderson primarily sticks in a folky, but still slightly proggy, rock lane. Sure, we get some tambourine drums, and a string quartet in places, but it's quite Too Old To Rock 'N' Roll. And, as I say above, all it needs is the odd guitar solo and no one would bat an eye if it was labelled a Jethro Tull album.

Thick As A Brick 2 (2012)

I discussed TaaB2 and the next album briefly in an old post on a different blog about my favourite 'Modern' albums. So apologies if you have read that, there may be some repetition.

Jethro Tull sort of came to end as a distinct entity in the mid 2000s. Soon after, Anderson assembled a band and styled it as 'Jethro Tull's Ian Anderson'. As such, this is technically an Anderson solo album, although it was clearly marketed in a way that highlighted the Jethro Tull name. This isn't surprising at all, given that it's a sequel to the 1972 Thick As A Brick. 

Bear with me. Thick As A Brick was a joke concept album, which involved an 8 year old boy named Gerald Bostock. Bostock allegedly wrote a lengthy poem about growing up, which Tull then put music to and released as an album. Of course, the whole think was a joke as Anderson had written all the lyrics himself, taking the perspective of the fictional Bostock (although many believed the story to be true at the time).

In many ways, it's odd calling TaaB2 a 'sequel'. Because this isn't a second poem written by Bostock. Instead, Anderson is explicitly writing as himself, but the album lyrics describe 5 alternate histories which Bostock's life may have taken. 

The album is sort of split in to 3 phases or Acts. The first 3 songs introduce the concept, and concern 'What ifs, Maybes and Might-Have-Beens'. In other words: throughout our lives, we make decisions and take paths... but what if we'd made a different decision, or taken a different path?

The middle 10 or so songs are split in to groups of 2, each describing a different life. In order, Bostock either: became a rich 'high flown banker', a homosexual homeless man (some of the lyrics for this bit are a tad cringey), a soldier, a preacher, or an ordinary corner shop owner. Quite the range. And the musical styles try and reflect the tones. 

For the banker, we have heavy electric guitar riffs which create an upbeat and flush feel. The preacher has some organ, the soldier has strings, and the corner shop owner has horns. 

We then get the 8-minute long song Change of Horses. Which has a bit of a military feel about it, while the lyrics describe coming home, and living a life free of regrets. It feels like a transition in to the final part of the album.

The last 3 songs return to the topic of the first 3. They bring together the 5 different lives and compare how they would feel in old age. Kismet In Suburbia is my favourite song on the album, in fact. 

This album takes a lot of describing, but I really love it. There are musical throwbacks to TaaB1 as well. The album opens very similarly to the second side of TaaB1, which creates a feeling of continuity and ease as you slip into this second album. Old School Song's primary riff is taken straight from (approximately) minute 35 of TaaB1 - old school indeed. And the final seconds of the album replicate the final seconds of TaaB1 too. I only wish Martin Barre was playing the guitars.

And for those who thought that this concept was hard to follow, I wish you luck for the next one...

Homo Erraticus (2014)

You might need a drink for this one. Remember, this is all a fictional set-up made up by Anderson:
Gerald Bostock, now in his 50s (unclear which one of the 5 potential futures from TaaB2 came true...), discovers a book in a local shop, 'Homo Britanicus Erraticus'. This book was written by the (also fictional) historian Ernest T Paritt who died in 1928. The book was written by Paritt after a particularly bad case of malaria which induced extremely vivid hallucinations. In those hallucinations, Paritt thought that he was remembering his own past lives as different people throughout the history of Great Britain. Not only that, but he had visions of his future lives as well. It is within Homo Britanicus Erraticus that Paritt detailed these visions. Bostock finds the book intriguing, and decides to once again turn his pen to poetry as he did so many years ago for TaaB1. Bostock hands the poems to Anderson, who decides to put music to them for this album.
If that isn't the most ridiculous, prog, concept for an album ever then please tell me what is!

The result, is a collection of songs which each tell a little story about an individual (only one of whom is famous: Prince Albert) in British history. Of course, as the fictional Paritt died in 1928, the songs about the period afterwards are a bit sketchy in their historical accuracy, and get pretty wild once we get past the period we're currently in. But I'll come back to that. 

So what periods are covered? Well we start with the first settlers who came to Britain over the Doggerland (the piece of land which used to connect Britain to mainland Europe). Then we move through the Iron Age, the introduction of Christianity, the beginnings of pub culture, grammar schools, the building of the railways and industrial revolution, and the aforementioned Prince Albert.
Following this, we get the first round of 'prophecies', the first of which covers World War II. The second covers the normalisation of international travel, and the package holiday. 
The second round of 'prophecies' firstly concern our present. About out of control capitalism and austerity for the poor, destroying the countryside, and overpopulation. Then we enter the future, with a spoken word piece about space travel, and how alien civilisations don't want us to spread our problems across the galaxies - but it's ok because we'll probably end up destroying our own planet before we get the ability to spread. The final song is basically a lament on the self-destructive nature of man. 

Now, this is probably the most political album Anderson has ever written. And here are some things I take away from it (I may be wrong). Anderson doesn't understand the anti-immigration, nationalistic feelings that many have, as we all came from somewhere else, and to travel is to be human (Homo Erraticus is Latin for Wandering Man). The theme of preserving the countryside and environment arises several times. In The Browning Of The Green, we get the (some might say controversial) sentiment that part of the overpopulation problem can be sourced to families who have too many children that they (and society) can afford to keep (there is also a negative reference to 'child benefits coming for free'...), and possibly religious doctrines which teach against contraception. And the end note of the album certainly leads one to suspect Anderson has become more cynical about the direction humanity is going in, in his old age. 

Oh right, the music! Yes there is music too. But before that, a note on Anderson's voice. Clearly, he's getting older. And he was never a fantastic vocalist. And the throat surgery in 1987 didn't help. On TaaB2 you could detect some cracks, some stretches. And on Homo Erraticus it's even more prominent. To help out, there is a back up singer (Ryan O'Donnell) who pops up here and there. It isn't a huge deal, but it's a sad reminder that Anderson just can't quite hit the high notes any more. 

So the music: it's fantastic. The roots are plainly in folk and prog rock, although there is a slight metal feel to some of the guitar work (see Turnpike Inn). The flute work is still top notch, and the keys are quite prominent which is a slight change. As other reviewers have claimed, this is as close to classic prog rock as you're going to find in 2014.
Of all of Jethro Tull and Ian Anderson albums, this is the album with the highest average listen count according to my iTunes (Although I put this partly down to it being a new-ish album when I got my current iPod, so the numbers don't include pre-2014ish listens, which would of course be a lot). 

Before moving on, a quick note on track 3, Enter The Uninvited. This track is meant to cover the Roman invasion of Great Britain. And it does, for the first half. But, probably in an attempt to purposely confuse the narrative, the latter half describes C21st pop culture. We get references to Mad Men, The West Wing, and The Walking Dead. And even a line about Officer Rick killing zombies. I can't help but point this out, because Anderson's daughter is married to the actor who plays Rick - Andrew Lincoln. It's weird detail that always pulls me out of the experience. 

Jethro Tull - The String Quartets (2017)

Why have I included this, but not Ian Anderson Plays the Orchestral Jethro Tull? Because I consider the latter a 'live album', and I don't include those. Yes it's arbitrary. If you'd like a quick word on it: I don't like it very much, the song choice is odd, and Anderson's voice isn't great. 

So is Jethro Tull - The String Quartets a Jethro Tull album, or an Ian Anderson album? Who knows? I'd say it's the latter because Anderson is the only person in it other than the string quartet (and his usual keyboardist, but shh). 

This album is a kind of 'best of' Jethro Tull, but with almost all of the vocals stripped out, and the main instruments being strings and flute. Anderson seems to have quite the appreciation of classical instruments, so doing this is unsurprising. 

My favourite thing about this album are the names of the tracks. Each is slightly altered in some way to distinguish it from the original song it's based on (e.g. Aquafuge for Aqualung). There are also some fun mash ups (Songs and Horses is a mashup of Songs From The Wood and Heavy Horses). 

The music is clearly very impressive. And there are some variations and additions to the arrangements which are interesting to hear. As I said, the vocals are mostly removed, with Anderson's flute providing the melody lines. 

I think this album is nicely summed up by how I think when I hear one of the songs come on: 'huh, that's nice for a change'. But that's just it, they're not what I reach for regularly. There isn't quite enough 'meat' to latch on to. 

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So that's Anderson done. I imagine this will be updated soon-ish though as he is set to release a new album early 2019. Although he has been vague about whether it will be released as a solo album, or as a full blown Jethro Tull album (which would be the first in 16 years!). We will see... It doesn't really matter though either way, especially if it is as good as TaaB2 and Homo Erraticus.

Update - Never mind! After Homo Erraticus, Anderson revived the Jethro Tull brand name. So new albums are dealt with under that title...

Blake Shelton

On to Blake Shelton. The only non-band that I'll be covering in these posts unless I fancy going through some solo projects, or somehow get brave enough to write anything about Tom Waits...

Blake Shelton is a Nashville based country artist. I was first put on to him by Biggins, who sent me his single The More I Drink. I'm not normally a big country person, but that song's pretty great so I bought his greatest hits (this was before I banned myself from buying any compilations). I then slowly accumulated the rest of his catalogue up to Red River Blue, and have bought each subsequent album as it's been released.

Unlike most artists I like (perhaps BÖC are a slight, but not total, exception), Blake doesn't really write his own songs. He has a credit here and there but for the most part he is the voice and sometime guitar to a few dozen songwriters' compositions. But damn, what a voice. He's even a judge on America's The Voice.

As a solo artist, I don't even need to do a line-up list. So let's crack on.

Blake Shelton (2001)

In many ways, I think that Taylor Swift followed Blake Shelton's template. Well, it's almost definitely not solely his template but let's go with it. Both started out as 'serious' straight up-country musicians, who got popular and slowly but surely became pop-acts with a country flavour.

Blake Shelton's self-titled debut is pretty country, but it's Nashville country - which is kind of like country but is listened to by people not just from the South.

Opening us up is the fun and fast paced Every Time I Look At You, probably my personal favourite of the album with a great riff, some background banjo and a chorus to sing along to. She Doesn't Know She's Got It is similarly upbeat, kind of like a country version of 1 Direction's You Don't Know You're Beautiful (and yes I made that comparison). The final upbeat song is If I Was Your Man, it's slightly weaker than the others but has fiddle parts so that gives it extra points.

The rest of the album is... actually pretty depressing in that way that country often is. All Over Me has some fantastic vocals from Blake, but is too piano and strings heavy, lacking that country edge. I Thought There Was Time is also a vocally impressive song, and actually feels like a country song, but doesn't stand out. Problems At Home is an oddly preachy and protesty song in a similar way that Livin On The Edge by Aerosmith is - in that it just doesn't sound right coming from this artist.

The absolute stand out depressing song is Austin. A beautiful vocal/guitar combo that tells the story of two ex-lovers who try and get back in to contact with each other, but keep missing the other's calls. Well worth a listen.

Blake considered the slow and sleazy Ol' Red his trademark song for quite a while (I doubt he still does given his change in sound, but who knows). Originally recorded by George Johns, and later covered by Kenny Rodgers, Blake took a go. Blake's is much closer to George's original, as Kenny's was a bit rocked up. It tells the story of a prisoner, condemned for a crime of passion, who becomes friends with the warden's tracker dog which facilitates his later escape. It's a fun story-driven song.

Though relatively unremarkable, Same Old Song is worth mentioning due to what some might see as an irony. The song describes the author's disdain that country music these days all sounds 'vanilla' and samey, with artists only singing about love when there are so many other topics. I think the irony has some purchase, as Blake's latest two (three?) albums in particular fall in to this trap in my opinion.

So Blake's first album is a mixed bag. A handful of fun-loving songs about women, a handful of depressing songs about women, and a handful of wildcard songs on other topics. This is generally the Blake Shelton album format, though some go more one way than others...

The Dreamer (2003)

And until some of his most recent releases, this was the softest leaning Blake Shelton album. It may not shock you to learn that it's also my least favourite album. I'd almost go as far as to say that, on the whole, it's bad.

There is one absolute star of a song on here: Playboys Of The Southwester World. A raucous tune about two close, college-age friends who go and have a wild time in Mexico. It's fast, fun, and genuinely funny. It deserves so much more than the rest of this album.

Heavy Liftin' is one of a handful of Shelton songs that are just cringeworthy. It's a relatively (compared to the rest of the soft stuff on the album) rocky country song about doing manual labour, like the good ol' rednecks used to do. Georgia In A Jug is a forgettable stripped back fiddle and guitar-led cover song about drinking after a breakup. My Neck Of The Woods just about passes as a decent song, it's country rock and it describes a classic southern family.

So the remaining... 6(?) songs. Ugh. I guess The Baby is a good showpiece for Blake's voice. Asphalt Cowboy sounds like it was sent to the wrong artist - not a Shelton song at all. In My Heaven makes some peculiar melody choices which just sound wrong. The Dreamer is... fine. Underneath The Same Moon sounds like it was meant to be the backing for a particularly sad moment in the rain in a romantic drama. Someday just goes nowhere.

The Dreamer, on the whole, is a step backwards for Blake Shelton. The material is uninspired and easy. Not even the best voice in the world could have rescued this album. But Playboys, what a tune.

Blake Shelton's Barn & Grill (2004)

Now this is more like it. Blake's humour had come through on a few previous songs like Playboys and Ol' Red, but it really shines on B&G.

We open with Some Beach, a summer-drenched laid-back tune with a double entendre that only works in the south of the US of A. Each verse details a menial frustration in the narrator's life before saying he'd rather be on 'some beach... somewhere'. But with a southern drawl, some beach sounds an awful lot like sum' bitch.

Cotton Pickin' Time is equally tongue-in-cheek, though more upbeat, detailing the story of a young cotton picker that falls in love with the neighbour's daughter who he finds skinny dipping down by the lake.

After many years I'm still not sure whether What's On My Mind is meant to be amusing, but it's about a man who doesn't think his woman can handle what's on his mind... Makes me laugh.

A little less happy, but still done with a bit of a wink, is On A Good Day. A classic 'guy got dumped and is drinking his sorrows away' song that lists the things that he can handle on a good day, but today is not one of those days. On A Good Day is third from last on the album, and is actually followed by two further songs about drinking: The Bartender and I Drink. The former is a slow, sombre reflection on the life of a bartender and his relationship with his patrons. The latter is also slow, but in a way that kind of makes it sound like the guitarist was drunk when playing - it's about a guy who doesn't do much but drink.

So that's about half of the album, and sticking to the template the rest are mostly love songs. Nobody But Me is pretty short, coming in at 2.39, but is probably the best. A great vocal performance over pianos, though it isn't very country. Love Gets In The Way is much more guitar-driven, though feels a bit confused as to whether it's up or downbeat.

Goodbye Time and When Somebody Knows You That Well are the full on depressing songs. As usual, can't fault the vocals, but neither grip me.

Final mention has to go to Good Old Boy, Bad Old Boyfriend: a slow sleazy song about a guy who's good to his friends, but not to his girlfriend. It borrows heavily from The Beatles' You're Gonna Lose That Girl by ending with the narrator suggesting the woman should end up with him instead.

Overall, a huge improvement on The Dreamer with some of my favourite Shelton songs.

Pure BS (2007)

Pure BS is such a good title, thought I should start by pointing that out. This album is extremely ballad heavy, with only three rockier country songs out of 11 (3 more on the deluxe edition, one of which is kinda rocky).

Because of that I always feel that this album is a bit misleading, because the two rockiest songs open the album. This Can't Be Good is a heavy and sleazy tune about a guy drinking with a sheriff's daughter girl by a river, who then both have to escape when the sheriff chases after them.

Now. The More I Drink. This is the song that got me in to Blake Shelton in the first place (thanks Biggins). My favourite drinking song of all time. Period. It's a bit honky-tonk, and all the better for it. 'If I have one I have thirteen, there ain't no in between'. And I can even kind of play it on guitar. Even better!

The last non-ballad is the standard album's closer: The Last Country Song. An upbeat song about an old country bar that is having a final blow-out before the big city buys up the land and puts some apartments on it or something.

The rest of the album consists of 8 thoroughly depressing songs. Some of them have the classic Shelton humour cutting through though. It Ain't Easy Being Me is a cover of a Chris Knight song, but Shelton's version is a notch less sad than the original.

Other standouts in this category are I Have Been Lonely (for the melody and tempo being much more upbeat than the lyrics), She Don't Love Me (for it's melancholy ending) and I Don't Care (but he does).

There is a 'deluxe' version of Pure BS which I have. Two original Shelton penned (solo, with no outside help, which is extremely rare) songs and a cover.

Chances is the better of the two originals, even if it does begin with a very dodgy rhyme (closing and chosen). Not that I Can't Walk Away is poor, but perhaps my British upbringing doesn't let me empathise with a song about being sore after bull-riding.

But we can't finish this without talking about the Michael Buble cover: Home. A classic Buble song, Blake pulls it off fantastically. Blake's voice is a match for Buble's on a good day, and this was a good day. The country twang gives it enough to feel unique.

Buble seemed to be pretty happy with Blake's version, and they did a duet live here:https://www.youtube.com/watch?v=Q33YUxnGvwE

And they reunited for a Christmas version... see below...

Startin' Fires (2008)

Not many rocky songs on this album either, but there are some fantastic ballads. 

Opening with the rocky Green; this is an odd song about how hillbillies who live off the fatta tha lan' were living the environmentally friendly lifestyle before it became popular/necessary: 'I was green, before green was a thing'. 

I may as well finish up the heavier song roundup before moving on, so the other one is Country Strong. Some great fiddle playing, and the lyrics just describe how great it is to be a cowboy. 

Then there are 10(!) ballads... She Wouldn't Be Gone is clearly the best one of the lot, and was the lead single. It's just really powerful, and an anthem for anyone who realises and regrets how much they messed up a relationship. This Is Gonna Take All Night is also quite good, but mostly for the jokey/innuendo-driven chorus: 'Girl tonight I'm making up for lost time, I hope you got a good night sleep...'

The rest of the ballads kind of mix together and fade in to obscurity. The title track (Good At Startin' Fires) is good. Never Lovin' You is a very country, twangy guitar ballad. Bare Skin Rug is co-sung by Shelton and his future wife, Miranda Lambert - it's fine, and I think the title is a pun?

To be honest, this is a pretty forgettable album. 

Hillbilly Bone (2010)

All About Tonight (2010)

So along with his record company (Reprise), Blake decided that one way to respond to the increasing influence of streaming and downloading on the internet would be to not make albums anymore. I mean, who buys a whole album anymore, right?
So, 2010 saw Blake release two 'Six-Packs'. Basically, two 6 song-length EPs. 

The first of these is Hillbilly Bone. There's some good stuff on this. I'd classify 4/6 as upbeat. The opening title track is a fun duet with Trace Adkins about how everybody is a bit of a hillbilly deep down. This is followed by Kiss My Country Ass, a bit of a southern pride song but not in a confederate way. 
Can't Afford To Love You is a fun love song about a poor guy trying to woo a rich southern belle. Almost Alright is about trying to put on a good face after a bad breakup, and has a great line: 'I'm getting back to hatin' me some soft rock', which I always find ironic as after these two EPs Blake goes back to full ballad. 

All About Tonight also has a lot of good stuff. The title track is a fun song about going out and getting drunk, and for some reason was 1st in a list of the most intelligently written songs of the last decade (primarily based on the use of some long words like 'concoctions' if you ask me). The other 5 songs are all about women. That Thing We Do, Draggin' The River and Got A Little Country are the more upbeat ones. I always laugh at the last of those because I imagine that Blake's singing about The Queen (she's got a little country, haha etc.).
Then we have some proper ballads. Who Are You When I'm Not Looking has some awful rhymes (looking, bookends and cookin' are all meant to rhyme...), but a nice message of genuinely wanting to know the person behind the face they put on for you. And then there's Suffocating... Which sounds like a Dreamer or Startin' Fires reject. 

If these two EPs had been put together, we would probably have my favourite Blake Shelton album. There's so much to love. It's mostly upbeat, the ballads are few and the songwriting is strong.

Red River Blue (2011)

Red River Blue is the first BS album I bought in real-time. I got in to him in late 2010 so this was good timing for a new album the next year. I remember listening to it for the first time in my then girlfriend's house and thinking... Hmm, there's a bit too much ballad for me.

But on reflection, it's quite a Pure BS-ey album. The opener, Honey Bee, is a catchy soft-rock-country song. I was playing Pokemon online with Biggins once, and he didn't realise that we had voice chat on, and he was singing this. Good times.

A lot of this album is catchy soft-country. Ready To Roll and Good Ole Boys are all pleasant songs for a day in the sun, sipping on beer. Hey is a very odd song, which is one of those songs you sing along to without quite knowing what you're saying. Once you think about it, you realise the lyrics are just total nonsense. But it's a fun listen anyway.

But God Gave Me You, I'm Sorry, Over and Red River Blue overpower them with their saturated ballad-ness. All 4 are fine, but they don't reach She Wouldn't Be Gone levels. 

A serviceable BS album, it delivers on both ballad and country counts, but it doesn't stand out particularly. 

Oh, and the bonus track on the deluxe version, Chill, is pretty great.

Cheers, it's Christmas (2012)

I really should have written this one in December rather than late January...

So Blake made a Christmas album. Mostly Christmas staples with a few originals for good measure. It's such a warm album, you can almost feel the fire from the cover when you listen to it. 

It's got quite a family feel. There are lots of guest stars and features (Kelly Clarkson, Miranda Lambert, Dolly Parton etc.). 

Michael Buble turns up to duet on a re-written Christmas version of Home. It was a nice idea, but the lyrics feel so forced (the word 'Christmas' is shoehorned in to a few places where the original only had a one syllable word). 

In the end, there's not a lot to say about this album. It's got lots of Christmas songs and they've been 'country'-ed up. I like it, and it works for a seasonal listen.

Based On a True Story (2013)

'Red, Red, Red, Red, Red, Red, Red, Red, Redneck'

Autotune! Alert! Bro-Country! Bigger ALERT!

Based on a True Story begins with Boys 'Round Here, an embarrassing attempt to celebrate good ol' fashioned values and times where men worked the land, then went out for beers with the boys to 'talk about girls, [and] talk about trucks'. And you can be sure 'ain't a damn one know how to do the duggie' like these youn'sters today. 

Fortunately the rest of this album is pretty good. Small Town Big Time is a fun hard(er) country rocker, which works despite the awful autotune in the chorus. I Still Got A Finger is another song with a jokey wry smile you can hear Blake singing through, along the lines of Some Beach. Ten Times Crazier is also pretty upbeat, although an out and out love song about how the singer is ten times crazier about his girl that football and cars (etc.). So romantic. 

Sure Be Cool If You Did was the lead single, and is perfectly fine except for the main chorus line which tries its damned hardest to gloss over the fact it's trying to rhyme 'this' with 'did'. You can pronounce either as Southern as you want, the s sound does not rhyme with the hard d sound. 

Two slower songs which aren't about women (what?!): Country On The Radio and Granddaddy's Gun. The former is an odd riposte to Same Old Song from his first album, where the lyrics describe how it doesn't really matter if all country songs sound the same and cover the same topics. That's all right then...

The latter is a well meaning song about the memories someone has about going out shooting with his grandfather, and now that he's gone the gun is imbued with all this sentimental value. You can't quite get away from the 2nd Amendment connotations though... Couldn't it have been about a car instead?

The rest of the album is the usual country ballad stuff. My Eyes has some good lines ('Tonight, my eyes are the only thing I don't wanna take off of you'), Doin' What She Likes and Mine Would Be You are both also fine. 

It's the same format as all BS albums, but the quality is generally a tad higher than Red River Blue. 

Bringing Back The Sunshine (2014)

This album starts off so promisingly. Bringing Back The Sunshine is such a great opening song, with its electric guitar intro and lyrics which describe coming back after being away for a period. The chorus comes rushing in, and it starts feeling like a proper driving song. You could fool yourself into thinking the song was causing the clouds to part if you looked up.

Unfortunately, it's pretty mediocre from then on out. Neon Light was the lead single, and somehow manages to be both too twangy country and too poppy (in the verses and chorus respectively). 

Buzzin' attempts to pull off a similar trick to Hey from Red River Blue, where the lyrics are mostly nonsense. But it's just not as catchy. Although, it has one of the best multi-levelled puns I've ever heard in a lyric: 'Hanging with my buds, speaking of buds who's got a light?' (In case you don't get it: the puns are on buds as buddies, buds as budweisers, light as bud light, and light as a cigarette lighter).

Just Gettin' Started rounds off the upbeat songs, and album. It's quite a good drinking/partying song, although some of the lyrics feel like they should have been redrafted. There's a reference to granny's slippers somewhere which just doesn't fit.

Good Old Country Song keeps up the tradition of having a nostalgic meta-song about how great old country songs are. 

The other 7(!) songs are full on ballads. Worth mentioning are: A Girl, which is a cute retelling of teenage love; Sangria, which has a vague Latin feel; and I Need My Girl, which has quite a loud and emotional chorus. 

The other 4 are a bit bland and forgettable. 

There is some good stuff on this album, but on the whole it's in the bottom half of Blake's albums, ranked by quality. Just download the opening song.

If I'm Honest (2016)

So in real life, Blake and his wife of about 4 years, fellow country artist and sometime collaborator Miranda Lambert, had recently divorced. And this is very much a 'break-up' album, mixed with some messages of hope for the future.

Odd, then, that we open with something that feels like it was written for the album before they decided what tone it was going to have. Straight Outta Cold Beer is lyrically very similar to Boys 'Round Here, minus the embarrassing lines. So not a great message, but it's fun enough.

Where to go from here... A lot of this album is very depressing. Bet You Still Think About Me does what it says on the tin. Every Time I Hear That Song is also pretty self explanatory. Came Here To Forget is at least chortle inducing - not sure you did Blake because half this album is about her!

She's Got A Way With Words also deserves a shout out for having some of the worst lyrics Blake has ever had to force his way through. 

The latter half of the album is a bit more positive, and seems to signal Blake's soon-to-be relationship with Gwen Stefani. Go Ahead And Break My Heart is a duet with Gwen, which is an interesting song for how upbeat it is in contrast to its lyrics. 

Doing It To Country Songs also deserves a shout out for being the equivalent of the 'isn't country music great' song. A lot of this song's albums are very self-descriptive aren't they?

Who knows why, but Blake took this album as an opportunity to rerecord 'hillbillies were environmentally friendly before it was cool' Green from Startin' Fires. It's barely different at all, other than some slightly improved production. 

Only slightly less confusing is the song Blake recorded for the Angry Birds movie: Friends. It's... ok... I guess?

I'd say other than Friends, Green, Doing It To Country Songs and Straight Outta Cold Beer, you'd be hard pressed to refer to much of this album as 'country'. It's so poppy all over the place. The production is too good, and there aren't many guitars (I don't think there's a single banjo).

To bring back the comparison with Taylor Swift, this is Blake's Red album. We're dangerously close to falling off the cliff in to full on pop... and we know that pop is a gateway genre that can lead to misguidedly attempting rap and R&B. Or is that just Swift?

Texoma Shore (2017)

So where did Blake go next? Did he follow Taylor's lead and dive head first in to pop?

NO HE DID NOT and I'm so glad. 

He went straight back to what he does best. An album half country rock and half country ballad. Phew. 

I'll Name The Dogs is a great little upbeat love song, if a little 'old fashioned' in its gender stereotypes: 'You name the babies, and I'll name the dogs'. 

At The House is similarly lovey topic-wise, but is also upbeat and feels far from a ballad. I think we're starting to feel Blake's personality here, he's in love with Gwen Stefani and he's SO HAPPY about it, so all these songs which might have been ballads have been given a boost. 

Having said that... Most of the rest of the album is quite ballady, although some of them are the best ballads that Blake has ever recorded so it's hard to complain too much. 

Why Me might be my favourite Blake ballad of all time. Simply put, it's about being shocked that this women is with you. 'Why me, out of everybody, baby, why me?'. 

Hangover Due is a super chilled Sunday anthem for spending a hangover day with your girl. 

When The Wine Wears Off is a heartfelt worry about whether a girl will stay with you the morning after. It's nice to have a gender reversal of that trope. 

The other ballads are good too. But I don't want to go through all of them. 

Songs on other topics include Money, which is the worst song on the album by some margin (another Hey/Buzzin'-like song that just doesn't work). I Lived It fills the space of the 'country music is great' song, though is more nostalgic about a simpler life than simpler music (ooo burn). 

Yes, it would have been nice to have a few rockier songs. I'll Name The Dogs is probably the rockiest, and that's a stretch. But importantly this feels like a country album, and it's got some good songwriting.

I wasn't looking forward to this album, following the musical misstep of If I'm Honest. But after Texoma Shore, I am looking forward to the next one. 

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So that's Blake Shelton. I like a lot of his music. I also don't like a lot of his music. (And with that sort of insight you wonder why I never became a music journalist).

Sometimes it's nice to listen to something very well produced. Sometimes it's also nice to hear about what the American South is up to. 

Plus, Blake still has one of the best voices in all of Country music.