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being a soft acoustic ballad and the latter having a swing and more upbeat tone, they really work together and capture what this group (at this point in the career

really about finding music that is tasteful, has melody, is rich in tone and music that demands an adept musician to play it. My critique of music today is that

band's constants, Patterson Hood and Mike Cooley. Shit Shots Count sets the tone: a typical Cooley raggedy Rolling Stones twang, complete with brass, the big drum crash throughout further

Carthasy mean business… metal business. Then it's the same vocal progression - screaming, melodious tones and angst - then a mid-song breather before the closing money shot. There's nothing

song is a loose rock'n'roll number that will do nothing to tone down comparisons to the great Lucinda Williams, but we're hoping the long-serving blues/rock

smashes various elements together into a charismatic dance track impeccably well: wind chimes, whimsical tones, piano chords, tinkling and shifting percussion elements, various Auto-Tuned vocal samples and tribal beats