![\"Billboard](\"https:\/\/i.imgur.com\/2HpFicp.png\")
<\/p>\n\u201cUgly & All\u201d<\/h2>\n\n\n\tThe brief, full-bodied strings on this instrumental bridge \u201cDrunk\u201d and \u201cBullets & Blades,\u201d bringing a somber pause between the two tracks that offers the listener time to reflect on the first half of the album, while gearing up for the storylines more dramatic scenes to come.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cHell Is Hot\u201d (feat. Jamie Foxx)<\/h2>\n\n\n\t\u201cRemember, hell is hot and you\u2019re going by yourself,\u201d Foxx admonishes on this quick spoken interlude as the action heats up. But he\u2019s looking on the bright side: \u201cAt least when you die, you won\u2019t ever die again.\u201d \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCoyotes Point\u201d<\/h2>\n\n\n\tShaboozey\u2019s tightly-woven concept project continues its well-crafted narrative here, conveying a kindred spirit of sorts between a brave, focused, independent outlaw and fierce coyote taking ownership of its territory. This understated track nicely sets up the traditional-leaning cowboy song that closes the album.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cWorst of Them All (Interlude)\u201d<\/h2>\n\n\n\tA lilting guitar melody layered with mournful fiddle and harmonica introduces \u201cCoyotes Point,\u201d ending with a snippet of lonesome coyote whimpers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Outlaw Cherie Lee\u201d (with Jamie Foxx)<\/h2>\n\n\n\tComplete with the sounds of horse hooves and lonesome harmonica, Foxx opens the album with this spoken-word short track that lays out the plot: \u201cThis is a tale of revenge, and what lengths a woman will go to get hers,\u201d he says. In the 44-second intro, he also warns us \u201cthere\u2019s a hefty price to pay for revenge,\u201d as we ride off into this cautionary tale.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath of Jeremiah Walker\u201d (feat. Teyana Taylor)<\/h2>\n\n\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThe brief, full-bodied strings on this instrumental bridge \u201cDrunk\u201d and \u201cBullets & Blades,\u201d bringing a somber pause between the two tracks that offers the listener time to reflect on the first half of the album, while gearing up for the storylines more dramatic scenes to come.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cHell Is Hot\u201d (feat. Jamie Foxx)<\/h2>\n\n\n\t\u201cRemember, hell is hot and you\u2019re going by yourself,\u201d Foxx admonishes on this quick spoken interlude as the action heats up. But he\u2019s looking on the bright side: \u201cAt least when you die, you won\u2019t ever die again.\u201d \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCoyotes Point\u201d<\/h2>\n\n\n\tShaboozey\u2019s tightly-woven concept project continues its well-crafted narrative here, conveying a kindred spirit of sorts between a brave, focused, independent outlaw and fierce coyote taking ownership of its territory. This understated track nicely sets up the traditional-leaning cowboy song that closes the album.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cWorst of Them All (Interlude)\u201d<\/h2>\n\n\n\tA lilting guitar melody layered with mournful fiddle and harmonica introduces \u201cCoyotes Point,\u201d ending with a snippet of lonesome coyote whimpers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Outlaw Cherie Lee\u201d (with Jamie Foxx)<\/h2>\n\n\n\tComplete with the sounds of horse hooves and lonesome harmonica, Foxx opens the album with this spoken-word short track that lays out the plot: \u201cThis is a tale of revenge, and what lengths a woman will go to get hers,\u201d he says. In the 44-second intro, he also warns us \u201cthere\u2019s a hefty price to pay for revenge,\u201d as we ride off into this cautionary tale.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath of Jeremiah Walker\u201d (feat. Teyana Taylor)<\/h2>\n\n\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\t\u201cRemember, hell is hot and you\u2019re going by yourself,\u201d Foxx admonishes on this quick spoken interlude as the action heats up. But he\u2019s looking on the bright side: \u201cAt least when you die, you won\u2019t ever die again.\u201d \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cCoyotes Point\u201d<\/h2>\n\n\n\tShaboozey\u2019s tightly-woven concept project continues its well-crafted narrative here, conveying a kindred spirit of sorts between a brave, focused, independent outlaw and fierce coyote taking ownership of its territory. This understated track nicely sets up the traditional-leaning cowboy song that closes the album.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cWorst of Them All (Interlude)\u201d<\/h2>\n\n\n\tA lilting guitar melody layered with mournful fiddle and harmonica introduces \u201cCoyotes Point,\u201d ending with a snippet of lonesome coyote whimpers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Outlaw Cherie Lee\u201d (with Jamie Foxx)<\/h2>\n\n\n\tComplete with the sounds of horse hooves and lonesome harmonica, Foxx opens the album with this spoken-word short track that lays out the plot: \u201cThis is a tale of revenge, and what lengths a woman will go to get hers,\u201d he says. In the 44-second intro, he also warns us \u201cthere\u2019s a hefty price to pay for revenge,\u201d as we ride off into this cautionary tale.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath of Jeremiah Walker\u201d (feat. Teyana Taylor)<\/h2>\n\n\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tShaboozey\u2019s tightly-woven concept project continues its well-crafted narrative here, conveying a kindred spirit of sorts between a brave, focused, independent outlaw and fierce coyote taking ownership of its territory. This understated track nicely sets up the traditional-leaning cowboy song that closes the album.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cWorst of Them All (Interlude)\u201d<\/h2>\n\n\n\tA lilting guitar melody layered with mournful fiddle and harmonica introduces \u201cCoyotes Point,\u201d ending with a snippet of lonesome coyote whimpers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Outlaw Cherie Lee\u201d (with Jamie Foxx)<\/h2>\n\n\n\tComplete with the sounds of horse hooves and lonesome harmonica, Foxx opens the album with this spoken-word short track that lays out the plot: \u201cThis is a tale of revenge, and what lengths a woman will go to get hers,\u201d he says. In the 44-second intro, he also warns us \u201cthere\u2019s a hefty price to pay for revenge,\u201d as we ride off into this cautionary tale.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath of Jeremiah Walker\u201d (feat. Teyana Taylor)<\/h2>\n\n\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tA lilting guitar melody layered with mournful fiddle and harmonica introduces \u201cCoyotes Point,\u201d ending with a snippet of lonesome coyote whimpers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cThe Outlaw Cherie Lee\u201d (with Jamie Foxx)<\/h2>\n\n\n\tComplete with the sounds of horse hooves and lonesome harmonica, Foxx opens the album with this spoken-word short track that lays out the plot: \u201cThis is a tale of revenge, and what lengths a woman will go to get hers,\u201d he says. In the 44-second intro, he also warns us \u201cthere\u2019s a hefty price to pay for revenge,\u201d as we ride off into this cautionary tale.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath of Jeremiah Walker\u201d (feat. Teyana Taylor)<\/h2>\n\n\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tComplete with the sounds of horse hooves and lonesome harmonica, Foxx opens the album with this spoken-word short track that lays out the plot: \u201cThis is a tale of revenge, and what lengths a woman will go to get hers,\u201d he says. In the 44-second intro, he also warns us \u201cthere\u2019s a hefty price to pay for revenge,\u201d as we ride off into this cautionary tale.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cDeath of Jeremiah Walker\u201d (feat. Teyana Taylor)<\/h2>\n\n\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tA spooky spoken-word track from Taylor, backed by a piquant Spanish guitar. It\u2019s unclear if she is supposed to be Cherie \u2014 but whoever she is, she has dreamt of the death of Jeremiah Walker and is hoping she\u2019s not going out the same way. And if she is, she\u2019s taking everyone with her.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cDrunk\u201d<\/h2>\n\n\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tShaboozey deliberately delivers the lyrics here in a slurry, slowed-down cadence in this fiddle-led ballad as he contemplates the end of life. \u201cIf I\u2019m dying, I want to die drunk,\u201d he reasons. Though at this point, the outcome is still unknown.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cLone Survivor\u201d<\/h2>\n\n\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tWhistling and a rumbling rhythm intro this track, interwoven with Shaboozey\u2019s burnished vocal and a dramatic chorus of backing vocals lending to its cinematic textures. \u201cNow I got the whole town coming after me,\u201d he sings. \u201cIt\u2019s only you and me, so what\u2019s it gonna be?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cBounty on My Head\u201d<\/h2>\n\n\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tContinuing his enticing mix of acoustic instrumentation and cinematic Western themes, Shaboozey offers up this mid-tempo track that furthers the concept album\u2019s storyline. \u201cHammered and hell-bound, send me a prayer tonight\/ Because God forgives but they don\u2019t,\u201d he sings, etching a scene of a man on the run, with plenty of enemies on his trail.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cTil Sunday\u201d<\/h2>\n\n\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tStomp-clap tune with a slightly menacing delivery from Shaboozey, as he warns, \u201cIf you ever make a deal with the devil, you\u2019re going to have to settle up one day\/ You can only ever run til Sunday.\u201d \u00a0Who knows if that\u2019s true, but it sounds good and ominous, especially in his hands.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cIf I Was an Outlaw\u201d<\/h2>\n\n\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThis genial track will inevitably draw comparisons to Ella Langley and Riley Green\u2019s \u201cYou Look Like You Love Me\u201d with its spoken-word patter and light-hearted instrumentation (and the Western-themed \u201cLove Me\u201d video). Shaboozey contemplates \u201cMaybe I should go grab my 45 and go down to the bank and say, \u2018Put your hands up where I can see \u2018em.\u2019\u201d But it becomes clear that he\u2019s likely just going to stay at the saloon and drink. Charming and lighthearted singalongs about robberies are pretty rare, but add this to the canon.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cCowgirl\u201d<\/h2>\n\n\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n\n\n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n\n\n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cKissed By an Angel\u201d<\/h2>\n\n\n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSweet Revenge\u201d<\/h2>\n\n\n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n\n\n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n\n\n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBorn to Die\u201d<\/h2>\n\n\n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n\n\n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThis advance single references \u201cA Bar Song\u201d and has the same good-timey vibe at Shaboozey\u2019s signature tune complete with handclaps. It\u2019s reached No. 20 on Billboard<\/em>\u2019s Country Songs chart so far, and served as a strong transition between his two most recent sets. The song doesn\u2019t advance the story about Cherie Lee (unless the line \u201cshe\u2019s on the run\u201d serves that purpose) and doesn\u2019t match much of the album\u2019s ominous tone, but is still a toe-tapping good time, and likely translates much better live than a number of the other songs.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tOpening with a high, lonesome whistle in homage to the quintessential Western of the same name, this shuffling track also works as a tribute to life on the road, as Shaboozey sings, \u201cEverywhere we go, we bring a crowd.\u201d Gunna joins in effortlessly on the second half, singing about the \u201cbad h\u2013s with the pretty pink toes.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tThe sound of footsteps enters the scene on this spoken-word track, followed by famed actor Sam Elliott\u2019s unmistakable voice. \u201cTime\u2019s Up, outlaw!\u201d he says, instantly laying out a scene of a final showdown between two veteran cowboys. \u201cThe way I see it, you\u2019ve got two choices \u2014 stand down now and turn yourself in, or die here\u2026 you\u2019ve got \u2018til the count of five,\u201d Elliott is heard saying, just before the track segues into \u201cLone Survivor.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tCrackling fire, harmonica and whispers of wind introduce gentle guitar, giving the feel of an intimate song that could, indeed, be easily sung around a campfire. \u201cAll the wrong I\u2019ve done has left its mark on me,\u201d he sings, capturing the struggle between virtues and vices, the haunting of past failures and hope for a brighter future. Shaboozey\u2019s blanket-warm voice has a world-weary feel that gives extra nuance to the song\u2019s introspective lyrics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tShaboozey lays down some major exposition about Cherie, who left home at 19 to \u201cfind every man that did her wrong\u201d \u00a0as she seeks \u201cthe bitter taste of sweet revenge.\u201d A lonesome fiddle drives the track, which serves as one of the album\u2019s more melodic and captivating chapters, as it builds from the fiddle into a full instrumentation. As one of the album\u2019s longer tracks at nearly 4:00, the tune allows Shaboozey to stretch out as he advances the story, and leans into Cherie\u2019s narrative. Musically, it is also one of the album\u2019s most compelling, as the melody swells with haunting backing vocals. \u201cAin\u2019t no mercy where you\u2019re going,\u201d Shaboozey warns.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tEasily one of the album\u2019s most interesting and incendiary \u2013 somewhat literally \u2014\u00a0tunes. Shaboozey threatens to \u201ctake a match to this town and burn it all down\u201d to avenge Cherie\u2019s hurts, before Bridges comes in for the second verse, with his smooth voice is the perfect complement to Shaboozy\u2019s sandpapery vocals. More collaborations between the two would be welcome. The strong rhythm and fiddle work make this one of the most solid tracks on the set, along with a melody that is less reliant on Western tropes than some of the other songs. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tThe \u201cepilogue\u201d that closes out this album is a collaborative track featuring Orville Peck on the traditional cowboy song \u201cStreets of Laredo\u201d (also known as \u201cThe Dying Cowboy\u201d), which has previously been recorded by artists including Marty Robbins and Johnny Cash. This nod to a classic makes for a fitting conclusion to this outlaw-themed concept project.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tShimmering guitar and fiddle work that at moments feel reminiscent of his massive \u201cA Bar Song (Tipsy)\u201d lead this celebratory song about soaking in every moment and \u201craising a glass to living like we ain\u2019t born to die.\u201d One of the album\u2019s more commercial-sounding tracks, this feels like a charming, mellow soundtrack for a party.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tThis swaying track\u2019s swell of strings underscores the song\u2019s reckoning with traces of evidence of past trauma and emotional battles. \u201cBlood leaves a stain that reminds us of pain\/ And one day it will all wash away,\u201d Shaboozey sings, while Kehlani brings a soothing counter-vocal, adding to the song\u2019s dramatic but hopeful essence.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.billboard.com\/lists\/shaboozey-new-album-the-outlaw-cherie-lee-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/07\/P106E0AR-e1785368748468.jpg?w=1024″] Following his breakthrough album, Where I\u2019ve Been, Isn\u2019t Where I\u2019m Going and its inescapable cross-format hit, \u201cA Bar Song (Tipsy),\u201d Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire. The story, laid out through […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2070473","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2070473"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2070473\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2070473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2070473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2070473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u201cHigh Noon\u201d (feat. Gunna)<\/h2>\n
\u201cDon\u2019t Count Down\u201d (feat. Sam Elliott)<\/h2>\n
\u201cKissed By an Angel\u201d<\/h2>\n
\u201cSweet Revenge\u201d<\/h2>\n
\u201cBurn It Down\u201d (feat. Leon Bridges)<\/h2>\n
\u201cThe Epilogue\u201d (feat. Orville Peck)<\/h2>\n
\u201cBorn to Die\u201d<\/h2>\n
\u201cBullets & Blades\u201d (feat. Kehlani)<\/h2>\n