Jason Aldean: My Kinda Party
On the eve of his album release, Tragic Kingdom introduces a new breed to our growing list of featured artists. He’s already sold 3.5 million records worldwide and has spent more time in the last 14 weeks at number one than any other country artist, but it wasn’t until I arrived in Nashville a couple months ago that I took notice of Jason Aldean. I was sitting at a friend’s house listening to one of the tracks from his latest effort, My Kinda Party, and it was clear that this country boy was more than another Nashville wannabe. In fact, this guy rocks.
I got an advanced copy of the album a couple weeks ago and since haven’t stopped taking in this masterfully crafted 15 track LP. On My Kinda Party, Aldean takes on music row with fierce originalism breaking the good ole boy mold that so many have done before. “The album is named My Kinda Party because it’s totally representative of what I like and what my fans have come to expect on my records and at the ‘party’ we throw at our shows,” says Aldean. “I think the key is knowing who you are as an artist and taking it to an extreme without ripping anybody else off…it’s all about knowing what it is that sets you apart.” And this party is one you ain’t gonna want to leave, especially when you crank the album’s title track. But the album explores more than just the jacked-up party anthems, the compilation offers quite a few tender moments, like “The Heartache That Don’t Stop Hurting” and the disc’s second single, “Don’t You Wanna Stay”, a duet with Kelly Clarkson. I know what you’re thinking: “He records a duet with Kelly Clarkson and he’s suddenly worthy of Tragic Kingdom”. But that’s not the case. While “Don’t You Wanna Stay” is a stand out track on the album, and will ultimately work as a perfect promotional tool for both artists crossing genres, it’s not what turned me on to this smooth voiced hillbilly. It’s his instantaneously identifiable sound that sets him apart from those who have come before him and are currently battling him on the charts. “I don’t want my records to sound like everybody else’s,” he insists. “The only way to do that is to cut it like we do…with my touring band and with an engineer that nobody else uses in Nashville, and I’m really proud of that.”
Something that country and hip-hop fans alike can be proud of is “Dirt Road Anthem”, when Aldean channels his inner emcee and single handedly makes country “hood” (something Tim McGraw needed help from rapper Nelly to accomplish). “Church Pew Or Bar Stool” is another highlight, but its “Country Boy’s World” that belongs on repeat. I may be biased seeing that it is penned by John Edwards, one of music city’s most talented songwriters (more on Edwards later). The track has a radio-friendly feel and has me searching for Paris, Tennessee on my atlas, so I too can navigate Nashville’s finest around a country boy’s world, now that I am one. From start to finish, this album shines and belongs high on the charts. It will likely launch Aldean to new heights and let’s hope it does because I’m already waiting for my invite to his next party.
Now do yourself a favor and go buy, or download, this album today and crank it up for some hillbilly goodness.
