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Artist: Kip Moore Album: Wild Ones Bitrate: 248kbps avg Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz Label: MCA Genre: Country Size: 89.15 megs PlayTime: 0h 47min 26sec total Rip Date: 2015-09-04 Store Date: 2015-08-21 Track List: -------- 01. Wild Ones 3:23 02. Come And Get It 4:57 03. Girl Of The Summer 3:58 04. Magic 3:37 05. That Was Us 4:01 06. Lipstick 4:19 07. What Ya Got On Tonight 3:01 08. Heart's Desire 4:22 09. Complicated 3:04 10. I'm To Blame 2:18 11. That's Alright With Me 3:38 12. Running For You 3:34 13. Comeback Kid 3:14 Release Notes: -------- For better or for worse, ever since his 2012 debut, Georgian singer-songwriter Kip Moore has most often been referred to as an innovator of the ôbroö subgenre that has been taking country airwaves by storm for some time now. For better or for worse, 2015Æs Wild Ones mostly feels like a continuation of MooreÆs work from that perception, with anthems and ballads alike expanding upon themes centered around partying, girls, pistols, sex, beer, and trucks. Where Moore breaks from his the traditional mold that he had enveloped himself around during the elongated Up All Night era (Moore had trashed an entire albumÆs worth of material and redone it to get where he is now with his sophomore effort) all lies within the composition. Largely moving away from the slow-burning, sometimes brooding arrangements of his debut, Moore grips a significantly more upbeat instrumentation by the horns in this latest release. Moore purposefully set out to create a soundscape that he had by and large left previously uninhabited in his past work, and it does wonders in terms of creating a fresher sounding experience within a subset that remains so overwrought with occupants within the modern country scene. All of the conventional instruments are there, tinged with light inclinations towards U2-ish synth that remain a standard in todayÆs bro country market with figureheads such as Blake Shelton really driving it home (see: ôBoys æRound Hereö). In terms of arrangement, however, is where Moore brings most of the more interesting sonic aspects to Wild Ones. On the titular ôWild Ones,ö some of that aforementioned synth is put to good use as a bassline to a more sinewy drum-based percussion, with light brushes of banjo and hand claps keeping it from falling totally into generics as Moore declares: ôWe donÆt need no sleep tonight / EverybodyÆs bumping to the beat just right / WeÆll worry about tomorrow when tomorrow comes / Tonight weÆll just worry about having fun!ö Elsewhere, on ôLipstick,ö he carries a strong Springsteen-esque riff while invoking some pseudo-prototypical Mumfordian ôHeys!ö into the mix for good, party-hard measure as he grittily croons over, well, girls and trucks. Moore shows off his inner roots rocker on ôCome and Get It,ö though in doing so, applies himself to the fact that, lyrically, his music isnÆt all too varied. Although itÆs a catchy number that would likely light up the country charts, heÆs once again affixing himself upon his lady of fancyÆs lipstick whilst roaring out his best come-hither chorus. It ends with one heck of a guitar solo to exemplify itself from its fellow album tracks, though once one hits the aforementioned ôLipstickö about midway through Wild Ones, it becomes a little obvious that the so-called best songwriting names in Nashville music today all have a similarly singularly-tracked mind. The album is infinitely catchy, and a sonic declaration against conformity as far as being a direct sequel to Up All Night is concerned; its singles will likely all be major country radio hits, and deservedly so in the current market. The little touches made by Moore and producer Brett James are just enough to exemplify itself from other bro country aficionados on the market today, infinitely more interesting and listenable than any recent Florida Georgia Line or Luke Bryan effort might. They even go drastically in a certain direction (see: the production on ôMagicö, and the more understated love story of ôHeartÆs Desireö) when need-be to break from their own self-made monotony just enough to still be called cohesive. In its innermost DNA, Wild Ones does little to actually break from the bro label that critics had stuck him with during his debut with Up All Night, but what he does do to exemplify himself as a standout amongst the throngs of others inhabiting the scene is just enough to make him a real star. Whether the album goes beyond merely being another good effort under his belt, though, is all dependent upon a country listenerÆs personal tastes. If youÆre looking for something to break totally out of the rock-ready bro country mold, Wild Ones most certainly isnÆt your bag. If youÆre looking for something catchy, and somewhat more relatable than other offerings within the same expanse, than youÆve found just what youÆve needed This NFO File was rendered by NFOmation.net
Artist: Kip Moore Album: Wild Ones Bitrate: 248kbps avg Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz Label: MCA Genre: Country Size: 89.15 megs PlayTime: 0h 47min 26sec total Rip Date: 2015-09-04 Store Date: 2015-08-21 Track List: -------- 01. Wild Ones 3:23 02. Come And Get It 4:57 03. Girl Of The Summer 3:58 04. Magic 3:37 05. That Was Us 4:01 06. Lipstick 4:19 07. What Ya Got On Tonight 3:01 08. Heart's Desire 4:22 09. Complicated 3:04 10. I'm To Blame 2:18 11. That's Alright With Me 3:38 12. Running For You 3:34 13. Comeback Kid 3:14 Release Notes: -------- For better or for worse, ever since his 2012 debut, Georgian singer-songwriter Kip Moore has most often been referred to as an innovator of the bro subgenre that has been taking country airwaves by storm for some time now. For better or for worse, 2015s Wild Ones mostly feels like a continuation of Moores work from that perception, with anthems and ballads alike expanding upon themes centered around partying, girls, pistols, sex, beer, and trucks. Where Moore breaks from his the traditional mold that he had enveloped himself around during the elongated Up All Night era (Moore had trashed an entire albums worth of material and redone it to get where he is now with his sophomore effort) all lies within the composition. Largely moving away from the slow-burning, sometimes brooding arrangements of his debut, Moore grips a significantly more upbeat instrumentation by the horns in this latest release. Moore purposefully set out to create a soundscape that he had by and large left previously uninhabited in his past work, and it does wonders in terms of creating a fresher sounding experience within a subset that remains so overwrought with occupants within the modern country scene. All of the conventional instruments are there, tinged with light inclinations towards U2-ish synth that remain a standard in todays bro country market with figureheads such as Blake Shelton really driving it home (see: Boys Round Here). In terms of arrangement, however, is where Moore brings most of the more interesting sonic aspects to Wild Ones. On the titular Wild Ones, some of that aforementioned synth is put to good use as a bassline to a more sinewy drum-based percussion, with light brushes of banjo and hand claps keeping it from falling totally into generics as Moore declares: We dont need no sleep tonight / Everybodys bumping to the beat just right / Well worry about tomorrow when tomorrow comes / Tonight well just worry about having fun! Elsewhere, on Lipstick, he carries a strong Springsteen-esque riff while invoking some pseudo-prototypical Mumfordian Heys! into the mix for good, party-hard measure as he grittily croons over, well, girls and trucks. Moore shows off his inner roots rocker on Come and Get It, though in doing so, applies himself to the fact that, lyrically, his music isnt all too varied. Although its a catchy number that would likely light up the country charts, hes once again affixing himself upon his lady of fancys lipstick whilst roaring out his best come-hither chorus. It ends with one heck of a guitar solo to exemplify itself from its fellow album tracks, though once one hits the aforementioned Lipstick about midway through Wild Ones, it becomes a little obvious that the so-called best songwriting names in Nashville music today all have a similarly singularly-tracked mind. The album is infinitely catchy, and a sonic declaration against conformity as far as being a direct sequel to Up All Night is concerned; its singles will likely all be major country radio hits, and deservedly so in the current market. The little touches made by Moore and producer Brett James are just enough to exemplify itself from other bro country aficionados on the market today, infinitely more interesting and listenable than any recent Florida Georgia Line or Luke Bryan effort might. They even go drastically in a certain direction (see: the production on Magic, and the more understated love story of Hearts Desire) when need-be to break from their own self-made monotony just enough to still be called cohesive. In its innermost DNA, Wild Ones does little to actually break from the bro label that critics had stuck him with during his debut with Up All Night, but what he does do to exemplify himself as a standout amongst the throngs of others inhabiting the scene is just enough to make him a real star. Whether the album goes beyond merely being another good effort under his belt, though, is all dependent upon a country listeners personal tastes. If youre looking for something to break totally out of the rock-ready bro country mold, Wild Ones most certainly isnt your bag. If youre looking for something catchy, and somewhat more relatable than other offerings within the same expanse, than youve found just what youve needed This NFO File was rendered by NFOmation.net
