And we conclude Jonathan Bogart Gets The Last Word Wednesday (we’ve had catchier themes) with a nice big score for a spot of twanging…

[Video][Website]
[7.14]

Chuck Eddy: Opening talk-rhythm reminds me of something off Screaming Blue Messiahs’ first album, just like the riff in Miranda Lambert’s “Kerosene” a few years ago; doubt either were Messiahs fans, more like all three share some influence I can’t place. And up against Nashville’s usual just-say-no goody-goody, it’s refreshing that one thing Dierks plans to do up there (along with making out I guess) is get high. And this isn’t even the most explicit (or best) marijuana song on his new album (that’d be the closer, “Down In The Mine”). It’s a pretty good album, too, as Nashville bluegrass moves go: i.e., there are actual tunes on it. But there’s still something lackadaisical about it — Dierks is too laid back a guy to exert much effort fighting against the genre’s grain. And this song typifies why I think that, though I’m not sure I can pinpoint exactly why.
[6]

Martin Skidmore: I quite like the playing on this, but he’s going for a smoother style, tripping along without too much of the Merlesque depth he usually seeks. At least it’s low on his usual rock guitar, and there is a nice tune. I’ve still heard nothing by him that goes above the okay or pleasant, and this doesn’t change that.
[5]

Anthony Easton: I love Bentley’s voice. This song combines the mutual traditions of outsider and countrypolitan, and it has the historically minded understanding of Nelson’s Atlantic sessions and Bobbie Gentry’s “Ode to Bobbie Joe”. Plus, it’s a dope song, high upon the ridge, a double entendre, and “lay on me like morning dew” has an explicit sexuality.
[9]

Edward Okulicz: The lyrics are rhyming-dictionary stuff, but this is a definite low-key boneshaker. Bentley’s vocal performance does up the eroticism slightly and the tension more so, though I’m most grateful for the instrumental outro.
[8]

Frank Kogan: Dierks is one of my favorite country singers, for his way of doing light geniality in desperate circumstances. Lightness is underrated. But this song is only half clicking for me, lightness being wrong for it. Needs terror and mystery, not just a barely discernible grin.
[6]

Katherine St Asaph: Someone more familiar with Nashville radio than me will have to comment on how often these hyper-country songs are really played. In the meantime, I’ll be here listening; it’s a wonder what a few bluegrass flourishes can do to liven up your standard fucking-in-the-sticks tune.
[7]

Jonathan Bogart: I really like the wood-dark hustle of this music, the way it surges forward using (almost) only the ancient American (African, Irish) tools of percussive string instruments. Out of such dark, urgent soups was all music that matters born. Also the harmonics are older and richer than I’m used to hearing in any music today, pop-country or no. My impression was that Dierks Bentley was just another pretty-boy twanger, but if he can put out a song that sounds like Otis Taylor, I’m officially interested.
[9]