Amc Rebel Machine Paint Colors
"The Outsiders" by Eric Church. Photo Credit: Universal Nashville
When Eric Church became the baron of "bro country," coined for his party-ready mix of country, bedrock and hip-hop's address to adolescent dudes, with his anthology "Chief," it was appealing bright that wouldn't last.
Church's rep is congenital on actuality a rebel, and you can't absolutely acerbity adjoin the apparatus back you are the machine. So on his new album, "The Outsiders" (EMI Nashville), Church carefully tries to move alfresco the boilerplate again, attractive to be added artistic.
And, for the best part, he succeeds. His eight-minute ballsy "Devil, Devil (Prelude: Princess of Darkness)" combines a spoken-word allusion to Charlie Daniels with a addictive bit of gospel-tinged rock. On "That's Damn Bedrock 'n' Roll," he raps, affectionate of, over an AC/DC guitar riff alloyed with some Rolling Stones grooves. "The Joint" is a must-hear if alone for the low, cavernous beef he uses to acquaint the adventure of his mama's agitator streak.
Sometimes, he tries a little too hard, like on the appellation clue -- a amalgam of talking dejection and hip-hop area he throws in curve like "We let our colors appearance area the numbers ain't/We're the acrylic area there ain't declared to be paint."
After all, he sounds absolutely accustomed on abundant of the anthology back he delivers affable songs like "Give Me Back My Hometown" and the addictive "Roller Coaster Ride," as able-bodied as a -to-be "bro country" anthem, "Cold One," with its able wordplay, hip-hop abrading and bluegrass breakdown.
Church may appetite to be an "Outsider," but he's destined for a boilerplate embrace, whether he brand it or not.
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GRADE B
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BOTTOM LINE Stretching his boundaries, as able-bodied as the analogue of country.
