Veronica Stanton Debuts With Catchy and Heartfelt EP

827 Miles is an incredibly listenable debut which has me excited to cover many more releases from Veronica Stanton.

Veronica Stanton is a country singer/songwriter from Jenkintown, PA and based in Nashville, TN. She got her start in local shows performing with a family band and learned sing and play music at home. She stepped out into more solo work in high school and began to pursue songwriting in earnest in college. After graduating, she came to Nashville and began playing the circuit of writers rounds before starting to work with producer Dan Knobler. Now, she’s released her debut EP, 827 Miles, named for the distance from her hometown to Nashville.

The project opens with the title track and immediately, much of what makes this EP special is present. Veronica’s sweet, bright vocal is easily the highlight of the cut, made all the better by some clever and well-written lyrics. Her rhyme schemes create instant earworms that demand a second listen and, thanks to nice, clean production, the her personality bubbles through every line. Songs that focus on missing home are also less prominent than they once were and it’s nice to hear the topic addressed so well once again.

“Flying,” follows and quickly, the strong instrumentation begins to shine through. Anthony DaCosta helms the electric guitar, which he did quite well on Joy Williams’ album which I covered earlier this week. His gentle touch and ear for melody are invaluable to this cut and many after. Beyond this, the verse-centric structure with a two bar chorus is unique and Stanton confidently channels shades of Dolly Parton in her soft but solid delivery. It’s yet another track which seems to demand a second listen.

“Wildflower,” falls perfectly in the middle of the five tracks and fills this position incredibly well. It’s far more lighthearted, lyrically, and the vocal melody on the chorus is nothing short of fantastic. Dan Knobler’s production is almost a sugar rush of bright guitars and a well placed organ that creates a beautifully shimmering piece of pop-country. As if this wasn’t enough, Veronica proves the legitimacy of her old school aesthetic with an awesome key change in the final third that perfectly closes out the funnest track on the project.

As “Rome,” rolls around, the organ takes the front seat, as do the drums for the first time. The changes quickly set the song apart from previous entries, but the great vocals, fun lyrics, and melodic lead guitar is no less present. In fact, the chorus may be the best of the EP and Stanton’s falsettos are an interesting touch which I wish had better utilized on each track. Overall, while “Rome,” doesn’t jump out the way earlier cuts do, it’s certainly one of the strongest of the bunch.

“Won’t Be Back Soon,” brings the project to a close and the roaring electric guitar on the intro quickly establishes the track’s irreverence. This is easily the lyrical highlight of the album as she turns the classic trope of promising a quick return to home on its head by pointing out that, for her to come back would mean failure in her dreams. The brilliant touch of storytelling is just icing on the cake of one more fantastic instrumental, complete with a rocking organ solo. “Won’t Be Back Soon,” is a perfect closer and brings the theme of the EP full circle.

Ultimately, I’m left without much to complain about. Each track is perfectly paced, well mixed, and well written. The theme is cohesive but not overbearing and Veronica’s voice is wonderfully at home in this modernized version of golden age, women’s country.

827 Miles is an incredibly listenable debut which has me excited to cover many more releases from Veronica Stanton.

5/5

AMAZON LINK: https://amzn.to/2UbiiiB

George Strait’s 30th Release is a Testament to Golden Age Nashville Music

Honky Tonk Time Machine is a strong release for fans of classic country which will please the audience it’s made for quite well, even if it doesn’t bring new fans in.

George Strait is a country music icon from Pearsall, Texas. He released 18 albums from the start of the 1980’s through the 1990’s, all of which went platinum. In total, Strait has released 23 platinum records, placing him third all time for the most gold and platinum releases, behind only Elvis and The Beatles. He also holds the title for the most number one singles of any artist in any genre. He’s largely seen as one of the most influential country artists of all time having toured consistently for multiple years and being named as “Artist of the Decade,” for his work in the 2000’s.

The album was recorded in Nashville, Tennessee, and Music City’s influence bleeds through every song, particularly in the tightness of the instrumentation. Paul Franklin, an absolute legend in country and outlaw music, helms the steel guitar which shines blindingly on “Some Nights,” but decorates virtually every cut perfectly. Bluegrass icon Stuart Duncan plays violin and mandolin as well, both of which are particularly noticeable on one of the album’s lead singles, “Codigo.” As is often the case with modern records from country icons, the instrumental personnel on Honky Tonk Time Machine is absolutely stacked.

Not to be outdone, however, George Strait gives quite a few impressive vocal performances himself. On “Sometimes Love,” for example, his tight runs and thick baritone timbre are pure country and represent a sound that Strait himself pioneered. He’s even more impressive on “Old Violin,” in which he sings with quite a bit of sincerity and vulnerability about coming to grips with his age and waning status within the industry. Ultimately, George’s voice still holds up to this day thanks to his soft touch and laid back style.

The strongest point to the record is fairly multifaceted, but can be generally summed up as great songwriting. Lyrically, it’s a bit of a mixed bag, but the shortcomings are mostly hidden by the fact that several of these tracks are just a blast to listen to. From the very funny concept of a song like “Two More Wishes,” to the Buffet-esque, island dwelling sound of “Blue Water,” and even the roaring blues riffs on the title track, the majority of this album is simply enjoyable.

On top of this, some of the slower, sappier songs dodge the common pitfalls of being boring or overly idealistic by leaning heavily into the very most classic cliche’s of the genre. “God And Country Music,” is heavily driven by twanging violins and an impassioned vocal performance while “The Weight of the Badge,” benefits quite a bit from a well played acoustic guitar. These tracks will likely turn off many outsiders and casual fans, but if you appreciate the works of country’s golden age, these are quite enjoyable.

Best of all, George and his team of cowriters are fantastically talented when it comes to writing hooks and choruses. The opener, “Every Little Honky Tonk Bar,” for example, will rattle around the minds of listeners for days after the first listen thanks to an extremely catchy chorus. The closer and strongest cut, “Sing One With Willie,” is hilarious and extremely listenable, brought together perfectly by the singable hook which is sung by both Strait and fellow country legend, Willie Nelson.

I do have a few gripes with the album. As I said, the lyricism leaves quite a bit to be desired on most of the tracklist. On top of this, George’s voice doesn’t sit all that well in the more bluegrass inspired tracks like “Codigo.” The worst offense however, comes in the production by longtime Nashville engineer, Chuck Ainlay, who can’t seem to keep his hands out of these tracks. Most of the mixing is relatively inoffensive but the vocal tuning makes the lead feel somewhat lifeless very often and several of the harmonies just don’t quite mesh. This can often be ignored, but tracks like “Take Me Away,” and “What Goes Up,” are nearly ruined by the production.

All told, George Strait’s 30th LP is a fun addition to his legendary catalog. It’s full of enjoyable callbacks to the sound of country’s golden age with a few interesting twists and it’s extremely well performed, despite several hiccups along the way.

Honky Tonk Time Machine is a strong release for fans of classic country which will please the audience it’s made for quite well, even if it doesn’t bring new fans in.

5/10

AMAZON LINK: https://amzn.to/2UbiiiB