Steve Earle, “So You Wannabe an Outlaw”: Steve Earle is such a skilled craftsman, such a savvy veteran songmaker, that even lesser efforts, like his 2015 all-blues excursion “Terraplane” and last year’s collaboration with Shawn Colvin (“Colvin &Earle”) are worth hearing.
The Texas tunesmith hasn’t really hit one in his sweet spot for quite some time, however, so “So You Wannabe an Outlaw” is most welcome.
Despite the presence of Willie Nelson on the bona-fides-brandishing title cut, Johnny Bush on the swinging “Walking in L.A.,” and a divorce duet with Miranda Lambert called “This Is How It Ends,” “Outlaw” essentially works the same winning folk-to-rock-to-honky-tonk mishmash of American vernacular styles that has always animated Earle’s work. That’s true whether he’s demonically rocking out on “Fixin’ to Die” or paying tribute to his late mentor Guy Clark on “Goodbye Michelangelo” in this return to top form.
— Dan DeLuca, Philadelphia Inquirer
The Farm Hands, “Colors”: The Farm Hands have been traveling the bluegrass circuit for seven years now. And they’re starting to get the kind of attention they deserve. Tim Graves, Daryl Mosley, Keith Tew and Don Hill have all had success on their own and it’s translating into success for the group.
“Colors,” the new album on the Pinecastle label, features a good collection of traditional bluegrass and bluegrass gospel songs from a band with three lead singers. The title track is a patriotic song. “Rural Route” and “His Old Fiddle” are filled with nostalgia for the country life.
There’s a good bluegrass version of Chris Hillman’s and Gram Parsons’ “Sin City,” originally recorded 41 years ago by the Flying Burrito Brothers. And they turn “They Don’t Make ‘Em Like My Daddy Anymore,” the old Loretta Lynn country classic, into a good bluegrass song. There’s a bluegrass version of Bob Dylan’s “Nashville Skyline Rag.”
The album also features a collection of good bluegrass gospel.
— Keith Lawrence, Owensboro Messenger-Inquirer
DJ Khaled, “Grateful”: Nobody has a talent for persuasion like DJ Khaled. With each summer album and anthemic single, the Miami-based, Palestinian American producer/DJ/host throws a party, invites big-name guests, and gets them to sing and rap over his light-as-Fluffernutter melodies.
Sometimes, it’s a groovy, intimate affair, like Drake on the murky “To the Max.” Sometimes, Khaled packs a clown car (the flighty “Down for Life”) with as many as five pals (Future, Travis Scott, Kodak Black, PARTYNEXTDOOR, Rick Ross). The sultry, boastful “Shining” features Beyoncé and Jay Z. “I’m the One” has Justin Bieber at his muskiest, with Quavo, Chance the Rapper, and Lil Wayne along for the rough ride.
— A.D. Amorosi, Philadelphia Inquirer
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