The Singles Jukebox

Invested in Lambert stock…

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[6.00]

Alfred Soto: Miranda Lambert’s early records didn’t sell much beyond country audiences, but as records like Tara Thompson’s “Someone to Take Your Place” and “Daddy’s Money” show, “Gunpowder and Lead” has proven an immense influence on women looking for role models. Efficient and rather bloodless, “Daddy’s Money” relies on the electro-honkytonk and Brooke Eden’s way with a hard r to slide past an okay chorus.
[6]

Anthony Easton: This year has had a chunk of working class songs about genuine resentment, a country aesthetic that has been missing of late. This might the angriest, from guitars that Eric Church should learn fro, to a snarl spit that is almost cowpunk. I want more like this from Eden. 
[8]

Cassy Gress: I’m glad this isn’t about her spending all her daddy’s money, or some other girl she hates who lives off her daddy’s money, either of which would have been entirely insufferable. Her drawl and vocal scratchiness make this song — the concept of coming from somewhere poor and working up to the top isn’t anything new, but she sounds like she’s steeped in the rockin’-est, most fiery country women and it makes it more believable. I especially like how “honey” turns into “hon-aayyy.”
[7]

Will Adams: Guhhh, a “money/honey” rhyme. Two of them, at that. Both in the chorus.
[5]

Brad Shoup: A song that trades on the chorus of “Gunpowder & Lead” is the definition of diminished returns. The various sound effects recall people listlessly swiping at gas station games of chance, and the organ — at first — seems to be coming from a haunted house. But there’s no mistaking this snap for the original.
[5]

Edward Okulicz: Just call this one “Gunpowder and Tin.”
[5]