NEWS
Dolly Parton tends to release records for a reason. Unlike her Seventies contemporary Willie Nelson, who, at a dozen years her senior, records albums for no other purpose than to suit his own whims, Parton’s release schedule over the past half-dozen years has largely served as an extension of her unceasing global brand: 2016’s Pure & Simple, her last album of adult originals not directly tied to a larger piece of Dolly multimedia, launched a worldwide tour and kickstarted the ongoing Parton revival. In the years since, there have been a series of kids records (2017’s I Believe in You), soundtrack albums (Dumplin’), and holiday collections (2020’s A Holly Dolly Christmas).
The latest Parton project is Run, Rose, Run, a bluegrass-tinged set of originals that serves, naturally, as a companion to the forthcoming mystery novel Parton co-authored with best-seller James Patterson. As a bonus add-on to the book, Run, Rose, Run works far better than anyone could hope for: the songs themselves, all written by Parton, are sturdy studies in traditional country, with several unexpected stunners. But Run, Rose, Run, which feels mired by its tossed-off production, falls short of thriving on its own terms as a studio album.
First, the highlights: This album shows off Parton’s dexterity — as vocalist and writer — in a wide range of country and roots styles, from the traditional Eighties-style duet “Demons” with Ben Haggard (Merle’s son), to the chilling Appalachian balladry of “Blue Bonnet Breeze,” to the fast-paced Stanley Brothers-indebted mountain music of “Dark Knight, Bright Future.” It’s a thrill to hear Parton, at 76, so firmly in command of her own artistry.
The main fault of Parton’s latest, then, apart from the sense that the album needs a companion novel to make sense of its own narrative, is its lackluster production. The record’s high Nashville gloss feels dated and applied indiscriminately, tending to flatten out the breakneck bluegrass originals (“Run”) while depriving the record’s most introspective moments of their drama. Parton sings about the devastating effects of holding secrets too long on “Secrets,” but the song’s arrangement (cheesy background vocals, sleek electric guitar, and tinkling keys) feel like their own protective layering preventing Parton’s song from expressing itself.
Run, Rose, Run is an impressive display of Parton’s songwriting and vocal mastery that nevertheless leaves one hoping she one day releases the classic late-era record she’s so clearly primed to make, should she choose.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
