Lil Nas X’s Debut EP Is a Fun and Unique Listen

7 is a fun listen which, while it won’t be winning any awards, is certainly a must-listen for fans of the young, genre bending front man.

Lil Nas X is a hip-hop/rap artist from Atlanta, Georgia. He was almost entirely obscure before the release of his debut single, “Old Town Road,” in December of 2018, which catapulted him to the very top of the music world. The track topped the Billboard Hot 100 and was eying the top of the country charts before Billboard chose, in a relatively controversial decision, that the track would no longer be listed as country because of its “musical composition.” Regardless, the single has topped the charts in at least seven countries including the US and is certified as triple platinum at the time of this review. Now, with the world watching, the 20 year old artist is attempting to bring his genre bending style to a longer form with his first studio EP, 7.

The project opens and closes with Lil Nas X’s titular smash hit, “Old Town Road.” The recent remix featuring Billy Ray Cyrus opens the album and it’s far better than the original, aided  by its placement on this album. There isn’t much left to be said about this track that hasn’t been said already, but it is worth pointing out that this is one of the most genuinely fun tracks I’ve heard in years. Every element is relatively simple, and combining trap and country is far from a brand new idea, but every attempt thus far has felt like a cynical cash grab. Lil Nas X is the first artist who’s attempt at this sound feels genuine, and I do believe that to be the key factor in this song’s success.

“Panini,” follows and as this EP’s second official single, it’s quite a track in its own right. Once again, Lil Nas X isn’t reinventing the wheel, but he does have a handful of interestingly diverse inspirations which find their way into the finish product. Probably the most obvious example is the chorus hook on this track which is a direct allusion to Nirvana’s “In Bloom.” All told, the track isn’t nearly as groundbreaking as that which proceeds it, but its another feel good cut that will have listeners dancing even after repeated listens.

The next track is “F9mily,” and it’s here where we start to see some of the cracks in Lil Nas X’s abilities. He’s aiming to put his own spin on the kind of bright, garage rock that has been popular for the past several years, but he falls short in almost every way. The instrumental is rather bland and aside from some nice choral background vocals, offers very little of substance. Even worse, though, is Lil Nas X’s vocals which are just sleepy and boring, completely failing to live up to the energy brought by the instrumentation. Ultimately, it’s just a misstep and it’s easily the worst track on the EP.

“Kick It,” is up next, and he starts to bring the project back on the rails fairly quickly. The instrumental is still a bit weak and none of the bars are particularly impressive, but the horns are a nice addition to the instrumental pallet and and it does feature a handful of fairly funny lyrical moments.

“Rodeo,” sees a return to the country rap stylings which brought him to prominence and it’s probably one of the best tracks on the project. It’s lyrically hilarious, the guitar riff at the center of the instrumental is fantastic, and the Cardi B feature near the end works far better than it has any right to. The song is certainly no “Old Town Road,” and I respect X’s decision not to fill the EP with country/rap mashes like this, but I must say that I enjoyed this cut quite a bit.

Unfortunately, “Bring U Down,” derails the record a bit once again. The guitar solo is enjoyable and quite unexpected, and the bass guitar riff that guides the track is fairly catchy. I don’t even mind the simplistic lyrics, but again, X just doesn’t have the energy in his voice that’s needed to carry an upbeat rock tune like this. His lethargic lead holds this album back in a quite a few places.

“C7osure,” is the final track on the EP, ignoring the gratuitous reappearance of “Old Town Road,” and it’s relatively inoffensive. This is definitely the most forgettable track on the project and could have been left off without complaint, but there are a few bright moments, most notably the layered vocals on the chorus and the intriguing piano sample.

All together, I must say the Lil Nas X has been fairly successful in staving off accusations of being a “one hit wonder,” with this EP. There aren’t all that many complex elements to the EP, but he is breaking new ground in the sense that he combines the auto-crooning, trap style with country, rock, and a few other smaller inspirations in a way that feels far more genuine and listenable than other acts who have the same aim.

7 is a fun listen which, while it won’t be winning any awards, is certainly a must-listen for fans of the young, genre bending front man.

4/5

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Luke Combs’ Fourth EP Is Fun but Underwhelming

The Prequel is a fun listen that, while it doesn’t quite live up to its potential, does leave me excited to see where Combs will go next.

Luke Combs is a country singer/songwriter from Charlotte, North Carolina. He debuted in 2014 with a pair of self-released EPs which found some underground success and landed him a signing with Columbia Records in Nashville. His powerhouse voice and outlaw sensibilities made him a perfect fit for the rising tide of alt-country which has overtaken much of the industry and he road that wave to a very well received third EP, This One’s for You which was later expanded to become his first full length album. The expanded version went double platinum, topped the US Country chart, and Combs was named one of Sounds Like Nashville’s “Artists to Watch,” and won the CMA award for “New Artist of the Year.” To date, he’s one of the biggest artists in country music and he’s once again returning to the EP format for The Prequel.

The project opens with the raucous, twangy lead single, “Beer Never Broke My Heart.” The track is simply drenched in country twang but Combs’ strong vocal sells it with every word and the explosive instrumental helps quite a bit as well. There are a few production decisions which hold the song back from being truly fantastic, but it’s still an impressive, unapologetic opener that sets the tone extremely well.

This is followed by “Refrigerator Door,” which is a bit of a mixed back. Yet again, the twanging vocal and crashing instrumentals are pure country and the guitar solo is far more impressive than that of the opener. Additionally, the concept of using the refrigerator door as a window to larger reflection on life is quite an interesting idea, but unfortunately, most of the writing and rhyme scheme feels lazy. What’s worse, the photos that are described are fairly run of the mill and universal. It’s still a strong track, but it would’ve been much stronger if filled with well written lines and more personal details.

“Even Though I’m Leaving,” falls in the middle of the EP and once again, Luke brings a very classic country sound. Unlike the last cut, however, this track tells an interesting and heartfelt story of a father and son which feels much more personal. The more organic instruments are a welcome touch, especially with the inclusion of brighter tones like mandolins and acoustic guitars which offset the blues heavy sound thus far. All in all, it’s still a bit cheesy, but Luke sells it with a lead vocal that runs the gamut of emotions and has a genuinely vulnerable moment on the third verse.

“Lovin’ On You,” comes next and this track crosses the line just a bit for me. Combs’ accent is exaggerated to the point of being difficult to understand and the lyrics are entirely thoughtless. It’s not without its bright points as the saloon piano is a great touch and a handful of rhymes are somewhat impressive, but it just tries way too hard to lean into the country sound while lacking the storytelling and melodic writing that any great country song should have. 

“Moon Over Mexico,” closes out the project quite well. It’s a bit nondescript and doesn’t stand out amid the tracklist in any noticeable way, but it is quite well written and tells something of an interesting story. Once again, the song is plagued by a handful of strange and unnecessary production choices, mostly in terms of vocal effects, but a strong performance shines through those issues and makes for a much appreciated final track.

All in all, the EP certainly isn’t bad. For most listeners, I’d imagine the enjoyment of this project will come down to how much they enjoy country music on the whole. This is fairly well written and performed country music of the very twangy variety, but it fails to be anything more than that. Combs has the potential to be a crossover success on the level of Stapleton or Isbell later in his career, but to do that, his storytelling and lyrical chops will need to improve.

The Prequel is a fun listen that, while it doesn’t quite live up to its potential, does leave me excited to see where Combs will go next.

3/5

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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

Joy Williams Gets Back to Basics with Intimate New Release

Front Porch is an intimate collection of simple, well-written folk songs which is elevated by fantastic performances and excellent writing.

Joy Williams is a folk singer/songwriter from Nashville, Tennessee. She’s best known as the feminine half of the fantastic country duo, The Civil Wars, but she’s made quite the name for herself as a solo act as well, working mostly in the contemporary Christian world. She debuted with a self-titled LP in 2001 and went on to be fairly prolific through 201 before she and her then writing partner, John Paul White, found breakout success with The Civil Wars. After the group announced an indefinite hiatus in 2012 and fully dissolved in 2014, Williams quickly returned to her solo career, reasing Venus to mixed reviews in 2015. After a longer period of silence than usual, she’s back with Front Porch, which sees Joy return to her folk roots in new and exciting ways.

The album opens with two of the best country songs I’ve heard all year in the opener, “Canary,” and the title track. Both tracks live and die by the fantastic vocal performances by Williams which decorate the entirety of this record. She finds a perfect mix of powerful, emotive singing and technically proficient executions of well written vocal melodies. Additionally, Kenneth Pattengale’s production does her a big favor by avoiding the trap of over correction and instead leaving every imperfection in place for a full picture of just how good she is.

Joy isn’t the only vocalists doing excellent work on this record, however, as Anthony DaCosta’s harmonies are fantastic. Tracks like “The Trouble with Wanting,” and the closer, “Look How Far We’ve Come,” are driven by airtight harmony lines in which DaCosta serves as a perfect counterpoint to Williams’ lead. Their voices blend remarkably well and he knows when to take a backseat and when to join her in the spotlight. No folk or bluegrass album can succeed without strong harmonies and Front Porch is no exception.

Instrumentally, the record is quite impressive as well. DaCosta and Pattengale share acoustic guitar duties and nearly every cut is the better for it. From the rhythmic backing on “When Does a Heart Move On,” to the sparse but complex lines on “Hotel St. Cecilia,” the guitar is consistently a driving force at the very front of every mix. Thanks to more great production, it’s able to set the tone of the record quite well.

The rest of the band is excellent as well. A hand full of strong mandolin and violin tracks decorate most of the album, most notably the fantastic “All I Need,” but none of them are as prominent as Russ Pahl’s pedal steel guitar. On the most country-esque cuts like “Be With You,” the steel guitar fits perfectly in the arrangement, never overpowering but consistently adding a howling melody to the already strong collection.

Perhaps the record’s best quality comes in Joy Williams’ lyricism. This is particularly true in the middle of the album with cuts like “When Creation Was Young,” and “Preacher’s Daughter.” The former is packed with powerful imagery which mirrors the powerful nature of the love it centers on. The latter is a wonderfully grounded tale of Williams’ childhood, with a heartbreaking final verse. Each and every song on this album showcases Joy’s incredible songwriting prowess and it’s a treat to hear.

Some of the arrangements are a bit of a mixed bag, specifically in terms of chord progression. While a track like the relatively simple “No Place Like You,” has such a fantastic, jazz-gospel inspired progression that it elevates the song far above what it would generally be, others like “One and Only,” make a few questionable choices which the track itself struggles to overcome in the execution. It’s the record’s only misstep, but it’s fairly noticeable when it’s at it’s worst.

Overall, I enjoyed Front Porch quite a bit. Venus was criticized for embracing modernity a bit too much and shedding much of Joy’s folk sensibilities, and while I’m a bit more partial to that record than most, it’s nice to hear her come back to her roots once again. She has a unique ability to make more traditional folk and bluegrass styles accessible to fans and non-fans alike, and it would be a shame to waste that.

Front Porch is an intimate collection of simple, well-written folk songs which is elevated by fantastic performances and excellent writing.

8/10

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

Florida Georgia Line Hits Rock Bottom and Just Keeps Digging

May God have mercy on our souls.

Florida Georgia Line is a Pop/Country duo from Nashville, Tennessee. They debuted on Republic Records in 2012 with Here’s to the Good Times. The double platinum LP attempted to meld elements of radio and stadium country with a few very basic qualities of rap and hip-hop. This came to head on the album’s diamond single, “Cruise,” which officially became the most most successful country single in music history. From here, they would release two more studio records-Anything Goes in 2014 and Dig Your Roots in 2016-each going platinum.

Despite what their success may imply, FGL is a bit of a polarizing act in the country music scene. The success which artists like Chris Stapleton and Jason Isbell have found by calling back to a simpler, more raw form of country music has created something of a backlash against the bulk of modern country. A growing movement of purists and critics criticize the duo, and many others like them, for their abandonment of more traditionally country qualities. Instead, the modern country movement, often referred to as “stadium country,” focuses on more relatable topics of drinking and women, while incorporating elements of other popular genres in an attempt to gain crossover popularity. With their self-titled EP in 2018, I thought they’d hit rock bottom, but after hearing Can’t Say I Ain’t Country, it appears they brought a shovel.

The most noticeable new addition to the FGL tool box on this LP is the several skits, including the “Tyler Got Him a Tesla” skit which opens the album. Each of these is not only remarkably unfunny and out of place on this album, but they leave me bewildered as to why they’re even here. As best I can tell, the character of Brother Jervel seems to be an egregiously stereotypical redneck and these extended phone messages are meant to remind us all that the duo hasn’t lost their roots. Instead, they’ve made four painfully uninteresting, 50 second clips that are somehow still the best part of the record.

Another blatant weak spot comes in the melodies of nearly every track. At some points, like the closer, “Blessings,” for example, the melody is so scatterbrained and unorganized that listeners find themselves increasingly lost as it goes along. On the other hand, tracks like “Simple,” or “Colorado,” are somehow simultaneously catchy and unlistenable. In a nearly 50 minute runtime, there is not one single interesting melody to be found.

Of course, we simply have to discuss the features on this album. Jason Derulo is so out of place on “Women,” that I simply can’t believe that he was ever even in the studio with either member of FGL, but instead recorded his part with one take from his home and sent it in. HARDY’s verse on the atrociously titled “Y’all Boys,” is absolutely impossible to differentiate from the vocals we’ve heard from the central duo. Jason Aldean all but takes over “Can’t Hide Red,” and somehow it’s just as bad as the rest of the album.

This horrid set of features still acts as a merciful rest from the all out assault on the eardrums that is FGL’s lead vocals. On songs like “People Are Different,” “Told You,” and “Sittin’ Pretty,” as well as the entirety of their catalog, these two men seem to be locked in a constant battle to make the least pleasing noise that has ever oozed from a human mouth. The mix of country twang, nasal belting, and inability to correctly pronounce words, all drenched in pitch correction creates a Frankenstein’s Monster of sound that can only be called genuinely horrifying.

Shockingly, we’ve barely scratched the surface here. The production on this album just can’t be ignored. This is especially in terms of production as I’ve never, in my life, heard a drum kit that is mixed worse than the one that poisons nearly all of these tracks. The cymbals on a track like “Talk You Out of It,” are nothing but pure static. I’ve never heard this before, especially from a major label, but they just use static as a cymbal. Additionally, a track like “Small Town,” utilizes the trap drumming which I’ve previously complained about on past FGL efforts, but that I admittedly found almost relieving compared to the unlistenable attempt at organic drumming we’re given on Can’t Say I Ain’t Country.

Finally, we have to talk lyrics. The title track, “Speed of Love,” and “Y’all Boys,” should honestly be given sections of the country music hall of fame as, officially, the worst lyrics ever put to paper. The amount of talent it takes to base a song around such horrible central ideas and yet somehow underperform even those ideas is truly awe-inspiring, and to think nearly every track on the album had at least three writers.

There is one more group that I’ll mention before wrapping up. “Like You Never Had It,” and “Swerve,” find themselves here, grouped together by the simple fact that they are so remarkably unlistenable, abhorrently ill-conceived, and just generally awful that my abilities as a music critic just fall short. There is no reason why these songs should exist and they can’t be described, only experienced.

In conclusion, Can’t Say I Ain’t Country has all but broken me as a music listener. It is lyrically, melodically, instrumentally, and technically vapid, leaving no room for enjoyment. All of these complaints are multiplied by the fact that FGL is and will likely remain one of the most successful country acts on the planet.

May God have mercy on our souls.

0/10

Thoughts on the Tragic Tale of Woody Guthrie’s “This Land is Your Land”

“This Land is Your Land,” may have had it’s teeth removed as a criticism of nationalism and a response to Berlin’s classic patriotic piece, but Woody Guthries spirit is that of complete devotion and reckless defense of one’s beliefs, and that spirit is inseparable from the history of music, regardless of political affiliation.

     In 2016, Budweiser announced that they would temporarily rebrand their flagship beer as “America,” with a can featuring the words “from the redwood forests, to the gulf stream waters, this land was made for you and me” on their label. They’re quoting one of the greatest songwriters to ever live, Woody Guthrie. Budweiser knows this, but what they, and most Americans, don’t know is that Guthrie would be rolling in his grave if he’d known about this usage of his writing. Why? To answer that question, we’ll need to get to know Woody Guthrie a bit better.

   Guthrie is one of the most infamous writers of all time, and the godfather of folk music. His very long list of famous fans includes Johnny Cash, Pete Seeger, Jerry Garcia, John Mellencamp, Bruce Springsteen, and most notably, Bob Dylan. He was a skinny, scruffy-haired man who rode trains from town to town brandishing a small, black guitar with the words “This Machine Kills Fascists,” emblazoned on the body. This was the early days of folk music, nearly a decade before the formation of classic groups like The Weavers, who were later ostracized after being accused of communist sympathies. For The Weavers, these accusations were false, but had they been made against Guthrie, they would’ve stuck.

   Woody wrote columns for a Communist magazine called The People’s World from the summer of 1939 through 1940 and became close friends with John Steinbeck, author of The Grapes of Wrath. He found a job for KFVD in California playing what was then known as “hillbilly music,” along with Maxine “Lefty Lou” Crissman on the radio. Late in 1939, however, after the outbreak of World War II and the Nonaggression Pact signed between Germany and the Soviet Union, American opinion became to shift heavily toward the patriotic, a trend that still reverberates today. Because of this, Guthrie’s Communist sympathies were seen as a liability by KFVD, who cut him loose soon after.

   Woody left California and landed in New York, sleeping on the couch of American activist and actor, Will Geer. It was here that he recorded his first LP, Dust Bowl Ballads, comprised of the protest songs he had played on the radio in California. While listening to the radio, Guthrie became annoyed by what he perceived to be an overplaying of Irving Berlin’s classic patriotic tune, “God Bless America.”

   The purpose of playing Berlin’s song was obvious. The goal was to inspire patriotism and a dedication to American ideals in response to the outbreak of the World War. This would come to be played even more often as the struggle went on and in the Cold War, the song would be used to encourage the dichotomy of America as a Christian nation as apposed to the “godless Communists” in the Soviet Union. Having been persecuted and driven across the country, away from his family still in California, for his political beliefs, Guthrie chose to double down. He did that through writing his own response to Irving Berlin in the form of his most infamous song, “This Land is Your Land.”

   To be clear, “This Land,” as it was originally titled, was not an anti-American song, far from it. It was, instead, a song meant to praise the beauties of the American land and criticize the  issues which Guthrie believed to be ruining this, namely private property laws and the US government’s disregard for the poor. There are two key verses, rarely, if ever, played today, which demonstrate this.

   “Was a high wall there that tried to stop me. A sign was painted said: Private Property, but on the back side it didn’t say nothing — This land was made for you and me.” This appears near the end of the song, which tells the story of Woody taking a long walk across the country, admiring the beauty of the land, only to have it interrupted by this wall. The final verse goes on to describe the other interruption to his walk.

   “One bright sunny morning in the shadow of the steeple by the Relief Office I saw my people . As they stood hungry, I stood there wondering if this land was made for you and me.” This verse originally ended, as did every other verse, with the line “God blessed America for me,” a more direct call to Berlin’s original track.

   Today, the song’s original protest roots have been all but lost. Guthrie passed away in 1967 at the age of 55 after suffering from Huntington’s Disease for many years, and living out the final years of his life in a psychiatric ward, having divorced his wife and left his family, including a young Arlo Guthrie, a few years prior. In 1961, he met Bob Dylan, who had privately fallen in love with Guthrie’s music and style and chosen to model his own career after Woody.

   Guthrie is one of the most iconic and controversial writers of all time, a devout Communist, and a staunch critic of the nationalism he saw developing in American media and discourse. Yet, he is often known to non-fans as the guy who wrote a patriotic folk tune that landed on the side of a Budweiser can. So, is Guthrie a failure? Absolutely not.

   While his name may not be in the mouths of everyday music fans, and his song may be misrepresented today, his style, his staunch commitment to his beliefs, and his decision to express those beliefs in his music live on today. Bob Dylan carried the torch and became a leading man in the cultural fight for civil rights, the rock and roll movement carried Guthrie’s torch to openly detest US action in Vietnam, and it still lives on in much of the politically charged rap music today.

   “This Land is Your Land,” may have had it’s teeth removed as a criticism of nationalism and a response to Berlin’s classic patriotic piece, but Woody Guthries spirit is that of complete devotion and reckless defense of one’s beliefs, and that spirit is inseparable from the history of music, regardless of political affiliation.

HEAR THIS LAND IS YOUR LANDhttps://open.spotify.com/track/7CNaYAdLyi86kofGafReiT