#hillbilly was an expert in yearning

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he wanted that cookie so effing bad

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Morgan Wade, Reckless

My initial introduction to the self-effacing force of nature known as Morgan Wade was through a gritty, raw and emotional home-recorded video of a song called “The Night” that was shared across my social media feed a few years ago. On a whim without prior presumptions, I decided to give it a listen, and what I heard changed my life forever. Morgan bared her soul and laid it all out upon the table, creating what has become a mental health anthem for myself and many others, giving people in tango with their demons a bit of hope that brighter days are to be found—if only they can make it through the night. With this one song and her spellbinding vibe, I was hooked and began to seek out all of her music, both solo and with her former ensemble Morgan Wade & the Stepbrothers. Fast forward to 2021, and we find Morgan on the brink of well-deserved stardom with a magnificent piece of work that reveals her heart once again, weaving a creative musical map of who she is as an artist and taking us on a journey of battling love and overcoming addictions, while integrating a plethora of new sounds. Before I dive into the review, I must note that music is not meant to be stagnant, but rather an ever-changing figurative river, changing direction and sound as it goes. To me, a musician is purposefully serving their artistic integrity if they are making the music that speaks to their soul, rather than to the masses, and that is exactly what Morgan Wade has accomplished with her sonically diverse debut release of Reckless via Thirty Tigers/LADYLIKE RECORDS.

Throughout the ten tracks on Reckless, we hear Morgan reinvent not only the sonic wheel, but herself as artist, settling into who she is—and it’s fantastic. The record begins with “Wilder Days,” a rockin’ country tune focusing on the dynamic of an almost-forbidden love between a woman and an older man. She longs to know the man he was in his wilder days, back before he would have considered her too young for him. “What were you like when you were a little wilder, why don’t you show me, why don’t you show me” she begs, eager to get him to let loose and go back to a different time, if “just for tonight.” On the same wavelength as that forlorn kind of longing, “Matches and Metaphors” slows it down a bit back to remnants of the softer, singer-songwriter style that longtime Morgan fans are used to. The title alone was enough to catch my attention, and the lyrics laid claim to my emotions from the beginning—I’ve been in a similar, toxic relationship full of false, metaphorical love that was so difficult to break free from. The ability to grip listeners’ heartstrings with her words is one quality I admire the most about Morgan; she’s an insanely talented writer. Switching melodic gears, “Other Side” cements her bourgeoning status as a “country” artist in today’s market, with it’s up-tempo melody paired perfectly alongside lyrics detailing a secure romance that has seen its bad days whilst living for the good ones to make it to the other side of life. My favorite part? The chorus where she sings “we ain’t nothing but rolling stones, being a gypsy ain’t so bad when you’re with me, ‘cause I never have to be alone;” those lines make me want to grab my man on a summer day, hit the road, roll down the windows, and cathartically sing this tune at the top of our lungs while we make our getaway.

As the record progresses, Morgan yet again incorporates a myriad of influences and styles in her music, effortlessly blurring genre lines. “Don’t Cry” is a grungy, introspective song that is overtly reminiscent of the melodramatic soundwaves of Seattle in the 90s. “I’ll always be my own worst critic, the world exists and I’m just in it,” she bemoans to an audience that can surely relate, urging them to “let it go, face the truth and bare your soul” while surmising how “it’s a beautiful thing to fall apart.” “Don’t Cry” is one of my favorite songs off the record, due to its simple honesty about the power of working through traumas and the importance of taking time “to not be alright.” Speaking of favorite songs, “Mend” is an absolute masterpiece, from the lyrics to Morgan’s voice seeping in desolate, desperate emotion towards a lover, and I’m positively in love with the re-envisioned version on Reckless. The song is truly a masterpiece, speaking for itself—so I will not even attempt to describe it. Take a few moments and listen, letting it rip your heart open before you move on to your “Last Cigarette.” In this song, Morgan touches once more on the topics of love and addiction, intertwining the two as one notion backed by a wickedly fun pop rhythm that I could easily hear on Top 40 radio. Following the pleas of “Last Cigarette,” we hear her transition to her passionate, sensual side with “Take Me Away.” Smoldering embers turn into full on flames as she begs her lover to make her feel something by laying her down to rest her angry bones. Talk about being set ablaze! If this song doesn’t stir up emotions deep inside you, perhaps you need to check to see if your heart is beating—it’s simply that emotive.

Towards the end of the album, the title track will stop you in your tracks; it’s expertly written, produced, and the delivery of the lines in “Reckless” is perfect from start to finish. The verses are strong, but the highly repetitive chorus is the highlight here, as slight differences in Morgan’s vocal inflection expertly frame the feeling of the song, ultimately bridging the proverbial gaps between rock, pop, and country in a song about starting afresh and recklessly moving on. On the opposite spectrum of sound, “Northern Air” possesses a bit of a dark, folky aura, while reflecting on heartache and yearning for a lost lover. “Didn’t know the difference between what I needed and what I was wanting, and the way you looked at me was a little haunting” she sings, reminiscing on the tragic moment of someone she loved fading out of reach. From the first note, I was gutted. By the time the song ended and “Met You” began, I barely had an iota of emotion left. The stark honesty of the sorrowful lyrics and the grief-stricken intonation of Morgan’s vocals had me in tears—I literally could not breathe the first time I listened, especially when she bellowed “you lied and you left, and I’m wonderin’ what the hell I should do, I’d seen it all, or so I thought, until I met you.” It was as if she snapped her fingers and sent me into a disconsolate trance, right back to those moments of lovelorn desperation in my past. Despite the heartache the tune stirred in my chest, my favorite line off the whole record is found in “Met You,” and its reflective of the true poet Morgan is, with her expert use of metaphor and history in framing the song: “But like Hemingway and Hadley, it’s not the end of our story.” Never before has a line in a song made me ache and swoon simultaneously. Though it may not have been the end of their story, “Met You” was unfortunately the end of what has become one of my favorite albums of all time, and the sudden way it ended as she sang the words “I lost you” left me desperately thirsting for more.

Readers, if I’ve said it once before, I’ll say it a million times more: Morgan Wade is the real deal and is on the verge of taking the world by storm. If I could give my audience one piece of advice in relation to Morgan and her debut record, Reckless, it would be to buy the record and go see the show….and NOW. Morgan’s essence and talent will not be accessible on smaller stages for much longer—mark my words, her star will rise quickly. You can find her online at www.morganwade.com, on Facebook at Morgan Wade, and on Instagram at @morganwademusic. Be sure to give her a follow and a thorough listen, and as always, remember the cardinal rules here at HHMR: peace, love, & music.

Stay groovy and I’ll see ya’ll in one of our “Wilder Days,” soon.

Lyssa

Watch Morgan Wade’s music video for “Don’t Cry” below:

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*This is an independent review. The Hillbilly Hippie Music Review was not compensated for this review.

*The opinions expressed are solely that of the author(s).

*These images are not ours, nor do we claim them in any way. They are copyrighted by the artist.

[wendell89y212519-blog]

Articles & Tips On Managing Improvement In Your Business Or Even Institution.

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Learn how to Create Children's Characters That Come To Life As well as Touch The Soul!

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[hillbillyhippiemusicreview]

POST #19 - Tyler Childers - Builds His Country Squire One Song at a Time

How do you follow up the break out record, Purgatory?

You release what visual artist, Jimbo Valentine (more on him in a minute) called “Dark Side of the Holler”.

Tyler Childers released his sophomore album, Country Squire on August 2nd. A collection of 9 songs that seamlessly transition from one to the next with the help of Miles Miller (Sturgill Simpson) on drums, Stuart Duncan (various artists) on banjo, fiddle, and mandolin, and Russ Pahl (various artists) on acoustic guitar, electric guitar, pedal steel, jaw harp, and baritone. With Childers raw writing talent and distinctive voice, the album takes the basis of Purgatory to another level. Childers returns with producers Sturgill Simpson and David Ferguson.

The album opens with the title track, “Country Squire”. Childers has honed this tune over the past few tours and it is pure country gold. The verses go back and forth between Childers’ plans for his wife and their future home and the road dog life he knows so well. The chorus hits hard, “Spendin’ my nights in a bar room Lord, turnin’ them songs into two by fours”. The song harkens back to Merle Haggard’s, “Working Mans Blues” and the nights drowning beers in a tavern and working to buy his kids shoes. Where Haggard sings the blues, Childers’ song envisions his future kids playing around the family cabin. Coming full circle, the song starts with a road-dogging lifestyle to buy things for his wife and by the end he’s road dogging in the Country Squire he built for his wife

The second track is another story of a long gone time, this one about riding a school bus up and down a holler. Gone are the days of a bus driver being able to “blister punk kids alive” with a ��paddle that he carved from pine”. Many readers may never have had that experience, but I can guarantee you this was everyday life in the not so distant past. Listeners will notice a slower paced version than has been featured on YouTube. The slower tempo and yearning fiddle highlight Childers pining for the “prettiest little girl the same age as me”. The jaw harp is also a nice addition to the track. One thing is for sure, Ray Dixon is not a man to be messed with.

“Bus Route” flows seamlessly into “Creeker”. Last school year my wife decorated her classroom door with words her Senior Home Room students use to describe themselves. Among the normal adjectives sits the word, creekers. While my wife was raised on Turkey Creek, these guys were actually referring to the next creek over, Stinking Creek. They lovingly describe themselves as “Creekers”. I can’t help but think there are a handful of former students out there who are proud as peacocks of having a song about them. “Creeker” features some of my favorite lyrics on Country Squire. I also feel that Creeker is the best representation of Childers’ voice on the record. The live version absolutely slays.

I like to think Gemini is a companion piece to the title track. While “Country Squire” describes life on the road as a means to an end, Gemini describes the author’s love of the road as what his significant other loved about him in the first place. I had to look up the traits of a Gemini as I am not what you call an expert in astrology. I would try to quote some definitions and articles but there is definitely not enough space in this review to include the intricacies. It’s safe to say that the actions written about in this song are a pretty accurate view. When I woke up early on Friday, August 2nd to begin listening to the album I remember posting the lyrics, “Now I’m lit up like a Christmas tree, Check one-two can ya’ll hear me”. As they accurately describe the jubilation I felt when I heard this song for the first time.

I’m glad I decided to review this album after hearing “House Fire” in the early stages of its inception, then polished on Jimmy Fallon, and ultimately a jam session at “Kickin’ It On The Creek”. Childers has his whole Bob Dylan going electric at Newport Folk Festival moment when he broke out a shiny new Telecaster for the tune on The Tonight Show. You can definitely tell the band has been tinkering with the jam since the album was released as there is now an extended jam highlighting Childers electric guitar playing before launching into “House Fire”. What the song lacks in storytelling, it makes up for in musicianship. It seems that every instrument is highlighted, but most notably is the addition of the Hammond B3 organ.

“House Fire” bleeds into the most honky tonk song about masturbation you will ever hear. “Ever Lovin’ Hand” is another song that has been tested out on the road the past few months. Although it seems out of place on a record filled with love letters to Appalachian life. “Ever Lovin’ Hand” is a love letter to Childers’ wife and reaffirms his dedication to her while on the road. One day, not so long ago, my wife was listening to the album on the way home from work when my 11 year old son (both of our youngest love Tyler) asked what the song was about. Most parents would move on to the next tune as quick as possible, not in our house. She asked him to listen again and really pay attention to the lyrics. Needless to say, he figured it out.

“Peace of Mind” is the one song that has drawn the most ire of listeners. A short dive in the YouTube universe will dig up a solo version that is really the inception the song. The solo version is uptempo and seemingly more happy. As I write and listen to the song right now, I can’t help but think that it was slowed down on the album for a purpose. A song about the laments of “what could have been” cannot be an uptempo, happy song. The tempo is perfect for the subject matter. “The days are dark, down in the holler, waiting for the sun to shine” hang up there as another set of lyrical favorites.

“All Your’n” started as another song featuring Childers playing solo acoustic. The album version is another rollicking love letter to his wife. In the vein of “Lady May” that closed the 2017 album “Purgatory”, Childers playful songwriting describes his courtship of his significant other and their love of fried morels. For those that don’t know, a morel is a mushroom (better known as a hickory chicken or dry land fish) that takes a keen eye and perfect conditions to find during a small window in the spring months. The video for “All Your’n is a perfect match to the song featuring Buffalo Wabs and the Price Hill Hustle drummer, singer, and Childers buddy, Casey Campbell stumbling through and Alice in Wonderland style landscape. It is also the introduction to Childers cheetah print wearing alter ego, “Tammy Chiggers”. All Your’n will definitely make its way to weddings and wedding receptions everywhere.

The album closes with a rendition of “Matthew” that introduces Childers brother-in law and father in law. “Matthew” describes a veteran who spends his time “guarding missiles and counting white tail” at the Bluegrass Army Depot between Irvine in Estill County and Richmond, Kentucky. The song is an observation of the lives of two men in Eastern Kentucky. “And he worked them hands to splinters, and he raised them young’uns right, on a little bit of scripture, and an acreage of paradise” is one of the most vivid descriptions of fatherhood I’ve seen put on record. Childers has a way of bringing real life to a song like no one else in music today.

I would be remiss if I didn’t mention the album artwork done by Kentucky native, Colonel Tony Moore of Walking Dead fame and frequent Childers collaborator, West Virginia artist Jimbo Valentine. The cover art for Country Squire is departure from the hillbilly psychedelic artwork of records past. It is there, though, inside the gatefold with Valentine’s depiction of the original Country Squire. The yin yang-esque artwork would make an amazing framed poster (wink-wink). The album cover designed by Moore is a comic book rendition of a zen hillbilly Childers. It is the most unique album art I’ve seen in quite some time. I am a huge fan of album artwork and this is one of the best. No wording on the cover, simple, powerful.

Give Country Squire a listen. It isn’t Purgatory. It isn’t Bottles and Bibles. It’s the story of a Lawrence County native going to the big city, moving to the country, courting and marrying the love of his life, and a look to a future life pulling behind that 53 year old camper.

You can find Country Squire on all major streaming services or do what I did and order the LP from www.tylerchildersmusic.com

The artwork of Tony Moore can be found at www.coloneltonymoore.com

The artwork of Jimbo Valentine can be found at www.amalgamunlimited.com

-Josh Trosper, Hillbilly Hippie Music Review Contributing Writer

*This is an independent review. The Hillbilly Hippie Music Review was not compensated for this review.

*The opinions expressed are solely that of the author(s).

* This artwork and the quoted lyrics are not ours, nor do we claim the min any way. They are under copyright by Hickman Holler Records, under exclusive license to RCA Records, a division of Sony Music Entertainment.