ACM Nominations – the watering down of country music continues

January 26, 2012

Another day, another country music award show where all the great music from the eligibility period is ignored in favor of pandering to mainstream tastes. Now, I wasn’t expecting the likes of The Dreaming Fields or even Lady & Gentleman to score any nominations but the academy made two glaring omissions.

Maybe Miranda Lambert doesn’t have as much clout as we thought. Sure her excellent Four The Record got it’s share of the love but nothing for The Pistol Annies?! It was arguably the better album all around. Plus, it sold. Without radio support. And a physical release in stores (until later). If O, Brother Where Art Thou could sneak in, why couldn’t the Pistol Annies?

Also, to ignore Vince Gill and Guitar Slinger is abominable. Sure, he got a song of the year nomination. But that’s more a slap in the face than anything else. He deserves better. Even if they don’t plan on giving him a win, they could at least make him a star player at the party.

Here are the nominees:

Entertainer of the Year
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

First off, let the Carrie Underwood backlash begin. And end. I agree with the fans who love her, but she didn’t make enough of a splash in 2011 to be considered here. At least you need to release a solo single.

I agree with this list as it features most of the big players in country music right now. I would’ve included Zac Brown Band here as musicianship should win out over star power. But I can’t say any of these artists don’t deserve it from a numbers perspective.

Will Win: Taylor Swift – it’s still a fan voted award and she has the largest fan base for these kinds of contests.

Should Win: Blake Shelton - not because of his radio hits but because he’s the only one here to ascend to the next level in 2011. He makes country music look cool on The Voice, too. He may not have a strong catalog of singles but we could do far worse in Hollywood’s ideal of country music.

Male Vocalist of the Year
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Chris Young

Wait a minute, no Keith Urban? I just noticed he’s out of the Entertainer race, too. Wow. Well, I can’t say it’s surprising seeing that he’s been coasting for a while now by singing the same song with every single. But it’s still worth noting.

Good for the ACM to acknowledge Chris Young. While he most likely won’t win, he’s still one of the strongest male vocalists in all of country music right now. And he’s Country. I’m glad someone has elevated him to this level.

Will Win: Blake Shelton – he has two Male Vocalist trophies from the CMA but he’s yet to win here despite five straight #1 singles. It’s his year.

Should Win: Chris Young – a part from Kenny Chesney, he has the best catalog song for song than any of the other acts combined. And he has that voice to go along with it.

Female Vocalist of the Year
Sara Evans
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood

A retread of the CMA list from last November. And it’s a boring list at that. Sara Evans has already won here so I’m not as crazy about seeing her win a second trophy although it would be nice. “I’m Gonna Love You Through It” has put Martina McBride ahead of Lee Ann Womack this year and while the radio airplay justifies her nomination, the song doesn’t.

Will Win: Miranda Lambert – it’s her category to loose

Should Win: Miranda Lambert – on the strength of Pistol Annies alone. BUT Taylor Swift has yet to win here. She’s the worst vocalist of this group by a wide margin, BUT she has one Female Vocalist trophy from the CMA. That could give her an edge.

Vocal Duo of the Year
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland
Thompson Square

A joke. Love and Theft haven’t had a hit in years and “Runaway” wasn’t even a huge hit when peaked a few years ago. Steel Magnolia just broke up and left their label, so they’re out. Sugarland may have the touring stats but their last album was terrible and “Tonight” tanked. The only legitimate contender here is Thompson Square.

Will Win: Sugarland – by default. They’re the only superstars in this category

Should Win: Thompson Square – They have the hits to justify a win and after they sang “Christmas In Dixie” on the GAC special last month, they have the goods, too.

Vocal Group of the Year
The Band Perry
Eli Young Band
Lady Antebellum
Rascal Flatts
Zac Brown Band

Five legitimate superstars. Each had huge hits within the last year. This is a tough race for who should win. But it’s safe to say Rascal Flatts are out. They haven’t won in years and “Easy” should do very little to change that.

But of course, this isn’t even the race it should be. Lady Antebellum will win. I’d bet my life savings on it. End of story.

Will Win: Lady Antebellum – like they’d give it to anyone else, anyway?

Should Win: Zac Brown Band – They’ve gone 0 for 12 at award shows despite churning out #1 hit after #1 hit. It’s time to wake up and let them have their day.

Album of the Year
Eric Church, ‘Chief’
Miranda Lambert, ‘Four the Record’
Kenny Chesney, ‘Hemmingway’s Whiskey’
Jason Aldean, ‘My Kinda Party’
Lady Antebellum, ‘Own the Night’

This list should be much more interesting. Lady Antebellum shouldn’t even be here for sake of quality. I’d put Guitar Slinger in that slot. In place of Jason Aldean, I’d put Hell on Heels. That would at least make this category exciting.

In terms of how the academy is going to vote, I’m not quite sure who is going to win. Lambert has won for her last two projects and has a real shot. Aldean won the CMA and is riding that momentum here. But of course, Lady Antebellum are still the second coming. I would love to see Eric Church take it home but I don’t know if he’ll pull in enough votes to take it home. He’s in the spot Lambert was in a few years ago when she was just exploding. But it could happen.

Will Win: My Kind of Party - the force of “Dirt Road Anthem” is likely to be stopped

Should Win: Chief - Lambert won for Crazy Ex-Girlfriend when no one thought she had a prayer. There’s a strong likelihood they’ve give it to the underdog

Vocal Event of the Year
Aaron Lewis feat. George Jones and Charlie Daniels, ‘Country Boy’
Jason Aldean and Kelly Clarkson, ‘Don’t You Wanna Stay’
Brad Paisley feat. Alabama, ‘Old Alabama’
Brad Paisley feat. Carrie Underwood, ‘Remind Me’
Kenny Chesney feat. Grace Potter, ‘You and Tequila’

Take out Aaron Lewis and you have four real contenders. In terms of quality, Chesney and Potter have the best song. It isn’t a traditional “duet” but it is an exquisite pairing. Paisley and Underwood are great together but this song lacks excitement. Plus, I have a strong feeling Paisley will cancel himself out. I’m rooting for Jason and Kelly all the way.

Will Win: “Don’t You Wanna Stay”

Should Win: “You and Tequila”

Video of the Year
Jason Aldean, ‘Tattoos on This Town’
Eric Church, ‘Homeboy’
Toby Keith, ‘Red Solo Cup’
Lady Antebellum, ‘Just a Kiss’
Taylor Swfit, ‘Mean’

The only great clip here is “Mean.” The CMA Video win, “You and Tequila” wasn’t even nominated. I liked the romantic aspects of “Just A Kiss” enough to root for it, but all and all this is an awful list. I have a feeling Toby’s atrocious “Red Solo Cup” will win out, though, as it has the most attention of any of these videos.

Will Win: “Red Solo Cup” – but that doesn’t mean I want it to

Should Win: “Mean” – the best of this god awful bunch

Single Record of the Year
Eli Young Band, ‘Crazy Girl’
Jason Aldean with Kelly Clarkson, ‘Don’t You Wanna Stay’
Toby Keith, ‘Red Solo Cup’
Chris Young, ‘Tomorrow’
Kenny Chesney feat. Grace Potter, ‘You and Tequila’

You have the party anthem against the song derogatory to women. Thank goodness for Chesney and Potter who show what a good drinking song is made of. It’s the best of this bunch along with Young’s “Tomorrow.”

But really, how can a category featuring “Red Solo Cup” even be taken seriously?

Will Win: “Red Solo Cup” – if it wins, I don’t think I could handle it, but really, does any other song have even a remote shot?

Should Win: “Tomorrow” – It’s his best single to date and a phenomenal vocal performance

Song of the Year
Eli Young Band, ‘Crazy Girl’
Dierks Bentley, ‘Home’
Lady Antebellum, ‘Just a Kiss’
Vince Gill, ‘Threaten Me With Heaven’
Kenny Chesney feat. Grace Potter, ‘You and Tequila’

Finally, an excellent category. Well, only if you take out Eil Young Band and Lady Antebellum. It’s nice to finally see Bentley score something and I hope he becomes the next big thing this year.

Will Win: “Just A Kiss” – It’s Lady Antebellum. Why would you vote against them? They win everything.

Should Win: “Home” – Sure I love Gill’s “Threaten Me With Heaven.” But it doesn’t excite me like other songs on Guitar Slinger enough to warrant this award. I wouldn’t be upset in the least if it wins. But I’d be ecstatic if Bentley takes it home.

Songwriter of the Year
Rhett Akins
Dallas Davidson
Ben Hayslip
Luke Laird
David Lee Murphy

Dallas Davidson is going to win. He has the monopoly on country music right now. End of story.

Isn’t it too bad Matraca Berg couldn’t be included here? If only “You and Tequila” wasn’t written more than ten years ago.

Will Win: Dallas Davidson – try and name one major hit within the last year he didn’t write. There are a handful but only a handful

Should Win: Luke Laird – he gets what county music is all about. Proof is in the pudding if you listen to “You,” his co-write with Chris Young.

So there you have it. The dismal ACM nominations for 2012. Without the likes of Pistol Annies and Vince Gill, this is hardly worth getting excited about. That’s what happens when the worst music of the year is being rewarded.

But if there’s any silver lining, it’s this – no mention of either “Honey Bee” or “Dirt Road Anthem.” Of course, “Red Solo Cup” is big enough for the both of them.

My extreme dislike of what’s popular in country music continues

 

 

 

 

Album Review – The Little Willies – “For The Good Times”

January 15, 2012

The Little Willies

For The Good Times

**** 1/2

Isn’t it refreshing? The first new country album of 2012 also marks the year’s first great one. A sequel of sorts to the one-off side project from Jazz/pop vocalist Norah Jones and vocalist Richard Julian (among others), For The Good Times features a smart mix of tunes originally written and sung by the likes of Dolly Parton, Ralf Stanley, Loretta Lynn, Johnny Cash, Kris Kristofferson, Lefty Frizzell, and band namesake Willie Nelson.

Like their 2006 debut, For The Good Times consists mainly of cover songs but this is hardly another in the “covers album” sub-genre. Instead they leave their own mark on each recording, making it sound like their own. I’ve been really digging the retro sound the band has cultivated making For The Good Times feel like a long lost album from the 1960s and not a new project from 2012.

The record opens with their take on Stanley’s “I Worship You,” an acquired taste for country fans, like myself, who haven’t grown up listening to songs with distinct changes in tempo. The slow burning chorus, complete with the crescendoing drums and guitars, is the perfect compliment to the heavy twang from Jones and Julian, but the song truly shines when it picks up steam and becomes a rockabilly stomp. I only wish “I Worship You” didn’t keep the back-and-fourth in tempo, it feels quite awkward to me when it changes from fast to slow and the heavy twang on the chorus becomes grating as the song progresses.

While “I Worship You” may not have been a slam dunk, the other places The Little Willies experimented with sound and texture come off much better. I’m in love with Cal Martin’s “Diesel Smoke, Dangerous Curves” which features a gorgeous almost snake-like guitar riff and the magical combination of Jones and Julian, who work extremely well together when they use the contrast of their voices on different parts of a song.

Throughout the album he sounds a lot like Lyle Lovett while she comes like a gypsy woman plucked from another era. The conviction in their vocals helps to enhance the overall mood of the record and they don’t just play their parts perfectly, they sound like they’ve been making this music all their lives. I’m always amazed when a singer, such as Jones, can exist in multiple musical landscapes seemingly without transition.

I was never one to consider her as serious country vocalist but her take on Lynn’s iconic “Fist City” easily rivals the original. It’s always tricky when a vocalist tries to take on one of Lynn’s classics since you need the right amount of ferocity in your delivery to pull it off without sounding like a cheap imitation, or worse, a singer simply trying to show they have country cred. Jones aces the exam and the arrangement of drums, guitar, and piano give her the perfect backdrop to let loose and tap into the growl in her voice. This is my first favorite song of 2012 because Jones and company pull off what could’ve been an epic mess by lesser musicians.

Another such slam dunk is their smoky and bluesy take on Williams’s “Lovesick Blues.” For a song with such honky-tonk beginnings it’s quite alarming to hear it given a jazzy club treatment but it works. In their attempt to honor opposed to discriminate against, they’ve given the song a new lease on life. Given that this isn’t the first time Jones has covered Williams, “Cold, Cold Heart” appeared on Come Away With Me, she knows how to handle the material quite well.

The same though can’t be said for their take on Parton’s “Jolene.” I was slightly disappointed in how they turned it into a ballad given that it was done before by Mindy Smith on Just Because I’m A Woman – The Songs of Dolly Parton in 2003. But while they failed to bring anything new to the song, there’s nothing wrong with how they interpreted it, just that it had been done before. Given how they took on “Fist City” and “Lovesick Blues” with such attack, I was hoping for more from this one.

But the slight disappointment in “Jolene” is easily forgotten on tracks like Cash’s “Wide Open Road” and Frizzell’s “If You Got The Money (I Got The Time).” Prior to this album I wasn’t familiar with “Road,” but their fast paced take on the song makes me wonder how it slipped under my radar. Julian takes on the bulk of the work here and pulls it off wonderfully. But more than his vocal, I’m really enjoying the arraingment what at first, when the guitars some screeching in on the opening chords, can sound a little loud turns out to be quite delightful. The fast-paced drum throughout may just be one of my favorite production choices on the whole project. Sonically, it doesn’t get much better this for country music in any era let alone in 2012.

“If You Got the Money” benefits from a very similar arrangement and works equally as well. The blending of both Jones and Julian’s voices here works pretty well although she does tend to overpower him. While that could’ve been purposefully done, it would’ve been just as effective to hear both vocalists on a more even playing field. But, no matter what, I’ll prefer this pair to the likes of Hillary Scott and Charles Kelley any day.

Given that they’re known as The Little Willies, leaving out a homage to their namesake would make an album of theirs seem incomplete. Here they cover his “Permanently Lonely,” Scotty Wiseman’s “Remember Me” which he covered last November on his Remember Me, Vol. 1, and of course, “If You Got the Money.” The aforementioned “Money” is the lone uptempo number of the group. Both “Lonely” and “Remember Me” are gorgeous ballads showcasing the best of what Jones and Julian have to offer.

“Remember Me” is given a straightforward piano-driven arrangement not unlike Jones’s solo work and the best indicator for her jazz/pop fans that she isn’t turning completely away from the singer they love (which is a farce in and of itself – a new solo album from her is expected this summer). But no matter what the style, she pulls it off with the brilliance she’s mastered during her years in the big leagues. Plus, it isn’t jazzy at all bur rather the best in 1970s honky-tonk ballad tradition.

Along the same lines, Julian takes “Permanently Lonely” to much the same places. It’s another I hadn’t known previously and he digs deep into the lyric and pulls out a stunning emotional conviction that’s only heightened by the slow and brooding piano-led arraignment.

Another of my favorite tracks, “For The Good Times” has an arrangement that would make Charlie Rich smile. When Jones comes in on the opening line, “Don’t look so sad/I know it’s over” I instantly have a smile on my face. No matter the subject matter, there is something inherently comfortable in everything Kris Kristofferson writes and I feel like I’m being visited by a friend. I have to give Jones credit here for handling the song with tender care and pulling off another stunning achievement.

For The Good Times is the year’s first great country album because it displays a level of appreciation for the material being covered lacking in almost any covers project coming out of Nashville today. Instead of trying to make these songs fit within today’s market, the band uses a retro sound to transport the listener back to when these songs were commonplace on the radio. In addition, the combination of Julian and Jones on vocals only heightens that feel as Jones is able to tap into not only her gravel but her twang. She isn’t a jazz/pop singer doing country songs but rather a full-fledged country singer. In the era of imitation, that is nearly impossible to achieve.

Keep On Keeping On: 2011 in review

January 9, 2012

My yearly chance to brag or thank everyone who has found my little blog and helped make it a success. Here’s the report on how my blog weathered 2011:

Here’s an excerpt:

A New York City subway train holds 1,200 people. This blog was viewed about 8,000 times in 2011. If it were a NYC subway train, it would take about 7 trips to carry that many people.

Click here to see the complete report.

The brilliance of “Celebrity”

January 5, 2012

I was listening to the radio the other day when Brad Paisley’s 2003 #3 hit “Celebrity” came on. Listening to the lyrics discussing month long marriages, crying on Barbara Walter’s couch, and unlimited stents in rehab got me thinking.

In the 9 years since this song charted, not only hasn’t it aged, but it’s become even more culturally prominant than it was back then. And that has little to do with the mere fact The Bachelor just began cycle 16.

It boils down to the fact we’re even more celebrity obsessed than we were in 2003 and reality television has grown even more outragrous than Paisley could’ve ever imagined. He actually created a document ahead of it’s time written for a Kardashian obsessed world that didn’t yet exist. His forward thinking served him exceptionally well and this tome celebrating our desire to “hitch up the wagons and head out west, to a land of fun in the sun” has far surpassed the novelty Paisley was after and become a scarily honest look at our culture.

So, for everyone who shutters when “Camouflage” comes on the radio and changes the station at the opening licks of “Old Alabama,” let’s take a moment and celebrate when all was good with Paisley’s artistic credibility:

My “Chaos Theory” playlist

December 26, 2011

Last week C.M. Wilcox of Country California posted his “chaos theory” playlist for 2011. In essence, he mixed all the music he purchased in 2011 into one playlist on iTunes and hit shuffle. The first 20 entries comprised the list.

A couple of commenters did the same, adding their lists to the conversation. I thought it might be fun to see what 20 songs iTunes would pick if I used the same method. My list is below:

1. Alone – Kelly Clarkson

2. Mr. Know It All – Kelly Clarkson

3. NASCAR Party – Julie Roberts

4. The Dreaming Fields – Matraca Berg

5. My Opening Farewell – Alison Krauss and Union Station

6. Honestly – Kelly Clarkson

7. Baggage Claim – Miranda Lambert

8. Away In A Manger – Joey+Rory

9. Love’s Looking Good On You – Randy Travis featuring Kristin Chenoweth

10. Wildwood Flower – Suzy Bogguss

11. Modern Love – Matt Nathanson

12. You Don’t Have To Be A Baby – Del McCory Band and The Prevention Hall Jazz Club

13. Stronger – Julie Roberts

14. Don’t You Wanna Stay – Jason Aldean feat. Kelly Clarkson

15. It Wrecks Me – Sunny Sweeney

16. Blue Velvet – Tony Bennett and k.d. Lang

17. My Name is Emmett Till – Emmylou Harris 

18. Kept – Matt Nathanson

19. Don’t Throw It Away – Foster & Lloyd 

20. Guitar Slinger – Vince Gill

There is some extremely well-crafted music here from some very talented individuals who released new records in 2011. The Emmylou Harris and Suzy Bogguss entires were much better than almost anything getting mainstream exposure and my appreciation for Vince Gill knows no bounds.

While I do wish there was a bit more diversity, whatever popped up is what I went with. In any event it makes for a fun exercise and I enjoyed seeing what iTunes spit back at me on random shuffle.

Favorite Country Albums of 2011

December 21, 2011

Who says real country music is dead? Putting aside the commercial successes that forgot about quality, here is my take for music that mattered in 2011. These albums may not have sold a heck of a lot or even garnered the recognition they warranted, but they achived the mark of great music – the songs came first.

10. Concrete - Sunny Sweeney

Led by the top ten “From A Table Away,” Concrete found Sweeney modifying her sound slightly in order to complete with what’s current on country radio. Of course, her version of slightly is different than most as she’s crafted an outstanding traditional country album worthy of her talents. There are too many highlights here to pick a favorite but the honky-tonkin’ “Drink Myself Single” and the revengeful “Amy” are among the years best songs.

Read the rest of this entry »

Top 45 favorite country singles of 2011

December 21, 2011

Here’s my picks for the best of the best, the cream of the crop for country singles in 2011. See, the year wasn’t all bad, now was it?

45. Steel Magnolia – “Last Night Again”

A flirty romance tale finding a couple eyeing each other from across the room is made even sweeter  knowing Megan Lindsay and Joshua Scott Jones are an item in real life.

44. Terri Clark – “Northern Girl”

How refreshing is it to hear a singer singing about where they’re from and instead of a bunch of cliches, it relays to personal experience? Clark, from Canada, sings lovingly of her homeland here and shows just how great her voice still is after more than fifteen years in the industry. If you haven’t paid Clark much attention in a while, she’s worth checking out.

43. Miranda Lambert – “Baggage Claim”

A Beyonce inspired ditty that says everything Reba McEntire wished she could’ve said in “Who’s Ever In New England.” This guy ain’t got a place to come back to.

42. Jacob Lyda – “I’m Doing Alright”

This light and breezy tale is an exercise in being comfortable in your everyday life, something we could use more of in our world. Lyda co-wrote it with legendary songwriter Paul Overstreet (whose son Chord is Sam Evans on Glee) and it has that old-time feel of a great country song. Lyda didn’t make waves in 2011, but he sure deserved to.

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Top 40 Worst Country Singles of 2011

December 21, 2011

Here you go. My least favorite country singles of 2011. You’ll see some huge hits here. But remember it isn’t about chart performance, but rather about quality:

40. Ronnie Dunn – “Bleed Red”

On his solo debut Dunn could’ve worn any hat. But he choose to go down the route of being over-produced and turned into a pop balladeer. And “We all bleed red” is such a statement of the obvious, it hardly bares drugging up in a song.

39. Jason Michael Carroll – “Numbers”

This is exactly why people hate country music. A laundry list of numerical symbols? Seriously, just how lazy can songwriting get?

38. Keith Urban – “You Gonna Fly”

On its own this isn’t a bad song. But I’m including it here for the simple fact it showcases an artist continuing to coast on their merits with yet another sound alike rocker that has become the norm. Urban will always be hailed for his guitar playing and entertaining abilities but not for his diversity in song selection. He just isn’t exciting anymore.

37. Luke Bryan – “I Don’t Want This Night To End”

A guy and a girl are rockin’ in a truck as if no other modes of transportation exist. Of course, she’s “so damn hot” he can’t stand it. He may not want this night to end, but this song surely can.

36. Jake Owen – “Barefoot Blue Jean Night”

A marriage of 80s rock with banjos coupled with a disposable tale of having fun with not only your buddies but the requisite hot babe, too. I Don’t Wanna Grow Up may be the smartest line in a country song all year.

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EP Review – Julie Roberts – “Who Needs Mistletoe”

December 14, 2011

Julie Roberts

Who Needs Mistletoe

* * * * *

Every year with anticipation, I look forward to adding new Christmas recordings to my personal collection, which I’ve been steadily adding to for more then fifteen years. When I heard Julie Roberts had a holiday record available for download, I jumped at the opportunity to add it amongst my favorites from years past.

Roberts brings to life songs we’ve all know and love such as “Blue Christmas,” “I’ll Be Home for Christmas,” “Away In A Manger,” and “Have Yourself A Merry Little Christmas” and adds newer fare like “Pretty Paper” and the title track. She adds warmth to these tunes that allows them to feel fresh, as though we’re just hearing them for the first time.

“Blue Christmas” showcases the bluesy qualities to her voice and allows Roberts to truly shine. It was a smart choice to open the album as the drum crescendo welcomes you in before being hit by the power of Roberts’ voice. When she sings the opening line, “I’ll have a blue Christmas without you” you know she was born to sing this tune.

But it’s the addition of the mandolin on both “Away in a Manger” and “Pretty Paper” that makes Who Needs Mistletoe the best country Christmas album of 2011. I find it refreshing Roberts didn’t go the full big band route that many a country singer has traveled down with their own Christmas recordings. She’s managed to strike the perfect balance, appealing to both country and non-country fans alike while still sounding like a country singer singing Christmas songs. It’s as elegant as any country album you’ll hear all year.

But in terms of vocal prowess, “O Holy Night” is the biggest surprise. Roberts brings so much power to this song I was blown away. I wasn’t expecting the range in her vocal performance and the simple Dobro and guitar-laced production suits her perfectly. I always new she could sing, but this adds another dimension to her vocal ability that she’s yet to fully cultivate on one of her previous albums.

And like her previous albums, Roberts adds her signature flirty playfulness here, this time by way of the title track. In its own right, “Who Needs Mistletoe” is a well-executed song, but I found the hook, “who needs mistletoe/I’d rather be under you” weirdly placed among tunes celebrating the religious aspects of the Christmas holiday. But it works simply because its so memorable and doesn’t overdue the frank sexual undertones

Who Needs Mistletoe is a first-rate collection of songs all brought to life by Roberts’ stellar voice. Whenever I hear her sing I always wonder why she never broke through and garnered the attention she’s so richly deserved by country radio and the fans. When music is this sophisticated and classy it deserves just such recognition.

I only wish this EP had included more than just seven songs, as by the end I was hungry for so much more. I feel like Roberts has only scratched the surface in what a holiday album from her can sound like and I hope there is much more coming down the line in the years to come.

You Don’t Know A Thing About Me

November 21, 2011

Since I began my journey into the broader world of country music blogging last June, I can’t believe all the different posts I’ve accumulated. Writing for My Kind of Country is very rewarding and adding my voice to the larger country music conversation drives me to continue to write and write. I’ve never written so many album reviews before but reflecting on music both past and present has given me a deeper appreciation for the genre.

Here’s the link to the archive of what I’ve written at MKoC thus far…

Author Archive – Jonathan Pappalardo

Enjoy and happy reading…

Album Review – Miranda Lambert “Four The Record”

November 10, 2011

Miranda Lambert

Four The Record

* * * * 1/2

Miranda Lambert is by and large my favorite contemporary female artist because of her intrinsic ability to blend both the artistic and commercial sensibilities of country music on her records. She appeals to country radio with singles ready for heavy rotation yet restrains from populating her albums with gutless filler like her fellow artists.

Four The Record was recorded in six days, the week following her wedding to Blake Shelton.  Sessions began at 10am and lasted until midnight each day. Lambert has said she likes getting into a vibe and hunkering down to complete a record. This technique works in her favor, making the album every bit as cohesive as diverse. Plus, she’s using it to further her individuality. It sounds like nothing else coming out of Nashville right now and the uniqueness sets her apart from her peers.

Lambert is also a prime example of the quintessential songwriter. She knows how to write a killer song yet has a knack for selecting outside material from some of the most unique and interesting songwriters. Its one reason why listening to a Lambert album is such a joy. Four The Record features many such moments from Gillian Welch and Dave Rawlings gorgeous “Look at Miss Ohio” to Brandi Carlile’s folksy “Same Out You.”

I love the Welch/Rawlings ballad for it’s captivating story. Lambert has a way of making everything she sings sound interesting and she succeeds here. The air of mystery holds together the brilliant lyric – she’s running around with her ragtop down to escape the pressures of getting married. She’s fleeing her obligations to do the right thing, yet we never really know why she’s bolting to Atlanta. She’s reclaiming her independence but not without the guilt of what she’s leaving behind. It’s a story song for the ages, made even more appealing by the understated production and backing vocals by Karen Fairchild and Kimberly Schlapman of Little Big Town.

“Same Old You,” another understated winner, fell into Lambert’s lap after Carlile felt she couldn’t sell it like Lambert. I love the folksy vibe of the production here – the gentle strum of the lead guitar sets it apart from the rest of the album. But what brings the song to new heights is the Loretta Lynn-like quality of Carlile’s lyric. (Lynn is the common dominator the bonds Lambert’s friendship with Carlile). It’s refreshing when the narrator finally sees what’s in front of her – that no matter what day of the week, he’s just the same old person and he’s never going to change. When Lambert sings about how hurt his mama’s going to be when she finds out there won’t be any wedding to cap off this relationship, it shows her maturity. I like how she’s drawn to songs that bring new depths to her feistiness. She’s every bit the same woman, but doesn’t have to resort to killing off her man to prove it.

Another track to display this growth is Don Henry and Phillip Coleman’s “All Kinds of Kinds.” A sweeping ballad about diversity, it not only defines the link binding all the songs together, but spins a unique angle on acceptance. The beautiful flourishes of Dobro give the song a soft quality I find appealing and the metaphor of circus acts as a means of driving home the main point showcases the songwriters’ cleverness in crafting their story.

Her overall growth continues in Kacey Musgraves, Shane McAnally, and Brandy Clark’s gritty “Mama’s Broken Heart” as well as in the six songs she wrote or co-wrote herself for the project. I love the driving production on this song, especially on the chorus. The loud thumping drums and guitars help it become a standout moment on the album. I also adore how the songwriters spun the old adage of it’s not you’re parents (fill in the blank) into the hook line, “it’s not your mama’s broken heart.” I’ve heard rumblings this might be in contention for release to country radio and I’m all for it. What a joy it would be to hear this song coming through my radio speakers.

As for the six she wrote or co-wrote herself, Lambert never fails to disappoint. My favorite of these is “Easy Living,” which Lambert co-wrote with Scotty Wray. She was going for the vibe of sitting on the back porch, strumming a guitar, while listening to an AM radio. I love “am radio” effect cut underneath the song which is actually Randy Scruggs reading the Oklahoma Farm Report. I wish I could hear what he’s saying but for this distinctive effect to work, it couldn’t be too distracting from the overall song. I also admire the acoustic production, which brings to mind Shania Twain’s “No One Needs To Know.”

Another Lambert co-write is the emotional “Over You” written with Shelton about the death of his brother Richie when he was 24 and Shelton only 14 (he died in a car accident). They wrote the track in his honor as to say you may be in heaven but you’re still a part of our lives. They took the approach of crafting the song more as a break-up ballad than a song of death, which aids in its universal appeal but makes it easy to forget the overall message they are trying to convey. I also would’ve liked a more traditional production but the emotion in Lambert’s vocal saves the song from being slightly below what it could’ve been. Not surprisingly, it’s being downloaded like crazy on iTunes and is likely the second single from the project.

Her other moment of collaboration with Shelton is their duet “Better In The Long Run.” Pinned by Ashley Monroe, Lady Antebellum’s Charles Kelley, and Gordie Sampson, it features Shelton’s most committed vocal in years. While not up to the iconic nature of country’s legendary duet-pairings, it’s still above average, and works as their first serious duet together.

Lambert takes the liberty of pinning two of the album’s ballads solo, her way of making sure she can still write a great song on her own. I love the sweeping nature of “Safe,” a song she wrote about her feelings towards Shelton, but was taken aback by “Dear Diamond.” It’s a great lyric and all, and I love Patty Loveless’s harmony vocal, but I wasn’t expecting the song to be a ballad. With its biting lyrics, I thought it would have a bit more drive.

One song with plenty of drive is “Fine Tune,” a prime example of a song that probably won’t be a single but adds to the depth of the record. I thought my CD was broken when I first heard it, as I wasn’t expecting the vocal treatment. Writers Luke Laird and Natalie Hemby recorded the demo with a filter on the microphone, inspiring Lambert’s treatment of the song. I love the overall vibe here, especially after understanding Lambert’s reasons for the offbeat recording method. And while it works for this one song, I wouldn’t want to hear a whole album recorded like this.

In the end, Four The Record is essentially an album of all kinds of songs linked together by their overall diversity. I love that Lambert is taking more risks here by delivering an album that isn’t coasting on her success but using it as a springboard to bring outstanding material to the masses. She’s using her newfound clout to hopefully introduce some very talented singers and songwriters to people who would otherwise not have heard of them. In a world of singles, Lambert is the rare albums artist with the richest discography of any country singer since the turn of the millennium. Four The Record not only adds to her growing legacy, but also pushes her career forward in a big way.

Life is a pretty fantastic journey

October 31, 2011

Between the many events going on in my life right now, I neglected an important milestone – the two-year anniversary of my blog! I can’t believe how much my writing has grown since I began this blog in October 2009.

As I sit here on Halloween night 2011, I think about the rewards I’ve reaped from a little writing experiment I began as an excuse to better my proofreading skills. I put myself out there but I want to thank the My Kind of Country team for liking my writing enough to allow me a chance to blog on their site as a main writer. I’ve learned so much already and can’t wait to see where that goes from here.

I also can’t believe I received a comment from one of country music’s greatest living songwritiers, Bobby Braddock. I’ve heard this before and know fully understand the magnitude of the Internet and how far my writing really goes. If I’ve learned any lesson it’s you never know whom you’re reaching with your writing.

Thank you to all my loyal subscribers and readers. It’ll be a sad day in heck before I give up my passion for writing. Now, please join with me as we try and take the blog to new and even bigger heights…if that’s even possible!

I can’t wait to continue growing, writing, and continuing down this journey to reaching my true potential through my writings here and on My Kind of Country. I have many loves in my life, but this ranks near the top.

I have many ideas for new posts and I’m excited to write them and have you read them. So lets continue down this journey together towards anniversary number three…

Album Review – George Strait “Here For A Good Time”

September 7, 2011

George Strait

Here For A Good Time

* * * *

On the title track to his new album, George Strait sings “I’m not here for a long time/but I’m here for a good time,” suggesting an attitude shift towards lightening up the mood and enjoying whatever remains of his time on earth. The contradiction is, he didn’t tell that to the rest of the album. He might not want to sit around and sing some old sad song, but that’s just what he’s doing, and doing it better than almost anyone half his age.

Here For A Good Time isn’t quite the feel-good party album the title suggests but rather an album born from reflection. More than 30 years into his career, Strait has assumed the role of the elder statesman looking back as much as looking forward. It’s easy to understand why, no less than seven tracks were co-written by Strait, his son Bubba, and Dean Dillon. Many were skeptical of Strait’s need to write his own material, a practice he put into full force on 2009’s Twang, complaining that he’d never be introspective.

With “I’ll Always Remember You” he proves all the naysayers wrong. The album’s closing number, it’s less a song than a recitation spoken directly to his fans on the subject of his looming retirement. While he says he still has much left to say and do, the day is growing closer when he’ll walk out of the spotlight. It’s kind of strange to hear an artist address his listeners on an album so clearly, but Strait pulls it off with ease.

And even though it closes the album, it’s “Remember” which sets the tone of reflection permeating the rest of the album. On “A Showman’s Life,” Jesse Winchester’s ballad featuring backing vocals from Faith Hill, he brings the pitfalls of life as a musician into full focus while he takes a cold hard look at his life choices on “Drinkin’ Man.”

He may not of closely lived either track, but he infuses his vocal performances with just enough conviction to pull them off and the easygoing production of fiddles and steel guitars only adds to the mix here. It’s nice to hear her again even if on someone else’s album, but Hill’s contributions to “Life” are pretty slight. And “Drinkin’ Man” succeeds on two distinct fronts – Strait’s storytelling abilities and the killer hook, “It’s a hell of a lot to ask of a drinkin’ man.” Quitting the bottle is nearly impossible to do, and Strait pulls off the regret perfectly. It’s also my favorite song on the album because it’s true – growing up with an alcoholic grandfather, I know all about the control alcohol can have over a person.

The most daring moment on the album comes from Chuck Cannon and Allen Shamblin’s “Poison.”  The finished track is unlike anything Strait has ever recorded – bleak in nature, it employs an echo in the final chorus that only adds to the spookiness. The idea that you have to pick your poison because “you can learn to love anything” no matter if it’s good for you or not, is chill-inducing. It’s also It’s hard to imagine a better use of steel guitar on a song in 2011. It always amazes me that one instrument can bring fourth joy and pain so convincingly that its mere placement can alter the mood of a song. Only in country music is that possible.

And only in country music can artists have such a breadth of work that newer songs recall classic hits. “House Across The Bay” recalls “Marina Del Ray” while “Shame On Me” is so timeless Strait, it could’ve worked on any of his past projects including his debut. Of the two, “Bay” is the better song, using the barrier of a body of water to display heartache. “Me” isn’t bad, though, just unremarkable compared to Strait’s past work since you feel like he’s done it before. But to hear him do it again is to hear a master at work. No one, except maybe Alan Jackson, can pull off the neo-traditionalist sound like Strait.

Also, no one sticks to his roots like him, either. Even on a somber collection like Time, there’s room to add a little Texas flare. While “Lone Star Blues” may appeal to some, it’s among my least favorite tracks on the album along with “Blue Marlin Blues.” It might be the upbeat honky-tonk nature of the tracks, but I’ve never really cared for Strait in this mode. I did enjoy the ever-present steel guitar on “Lone Star Blues,” but couldn’t get into the lyrics.

And like the honky-tonk romps. The other two tracks are a mixed bag as well. While both “Love’s Gonna Make It” and “Three Nails on a Cross” are solid, only “Cross” the album’s gospel number is a keeper. While not one I’ve gotten into much yet, I really like the message of forgiveness conveyed in “Cross.” “Love” on the other hand isn’t very memorable apart from the chorus, which blends voices together so well you almost forget Strait is the one singing.

In the end Here For A Good Time is one of the strongest mainstream country albums of 2011. He proves once again why he’s assumed his legendary status, and this is one of the most interesting recordings you’ll hear all year. I honestly wasn’t going to buy the album, and having listened to it through an advanced copy, I’m very glad I did. Time outshines every album he’s made for quite some time.

Album Review – Pistol Annies – ‘Hell On Heels’

August 31, 2011

Pistol Annies

Hell On Heels

* * * * *

Much has been made lately about the lack of solo female artists charting top 30 singles. An alarm was sounded bringing attention to just how few genuine female superstars are working in the genre today. But instead of focusing on the lack of female artists charting big singles, we should be talking about and putting the spotlight on those female artists (solo or not) who are making music that matters whether they receive airplay or are left in the dust.

One of those artists commanding attention is Miranda Lambert’s new trio The Pistol Annies. Their debut album Hell on Heels is without a doubt one of the best country albums of 2011 because the attention to detail in the lyrical content rivals anything being released on a major label in Nashville today. Throughout the ten-song project, intricate phrases abound elevating simple stories into pieces of art. Hell On Heels is a listening experience like none other you’ll have all year.

They debuted with the title track earlier this year, an introduction as good as any. I have a little trouble with its three artist structure, but the verse sung solo by Ashley Monroe always brings fourth a smile. She’s just delightful and one of the best-kept secrets in Nashville today. But the rest of the album is as good but much better than that song.

Not since Mary Chapin Carpenter released “House of Cards” as the third single from Stones in the Road in 1995, has anyone spoken so honestly and introspectively about life behind closed doors. They’ve stood up and given voice to the women who can’t take it anymore from the men who haven’t got a clue.

No song exemplifies this better than “Housewives Prayer,” which employs a simple yet dark lyric to convey the pain of quiet desperation. One of the best songs of the year, it’s a cautionary tale from a woman fed up with the status of her life – she’s been thinking about going off the deep end because she’s “burning up with all the words she ain’t been saying,” and at her boiling point, she washes pills down with beer and contemplates setting her house on fire.

Inspired by “Holler Annie” Angaleena Presley’s divorce, “Prayer” proves the point that you don’t need much to pack a wallop. Presley’s lead vocal acts as a portal for the audience to feel her pain and the moody musical accompaniment, complete with haunting steel guitar front and center, adds another dimension to her sadness.

“Lemon Drop,” another down on your life song, uses a clever metaphor to sell its central message – you have to endure the bad to get to the good. Using examples of curtains purchased on credit and owning a TV that will take ten years to pay off, it serves as a reminder to anyone going through tough times to remember “they’ll be better days ahead.”

The light mix of acoustic guitars and gentle procession coupled with the blending of their voices, gives the song a rather sweet quality, which contrasts with the placement of a lemon in the title, but suggests the optimism the protagonist is holding onto. You come away feeling her situation isn’t a reflection on her because no matter how dire the circumstances may be, she isn’t letting them define her.

When listening to the song, I had to actually stop and think what “life is like a lemon drop” meant. When was the last time that happened? It’s so rewarding not to be able to take lyrics at face value, where you already know what the song’s about because the lyrics are so predictable. This is one of those times I actually like having to work at fully understanding my country music.

“Beige,” another track that made me think, is by and large my favorite song on the whole album. The movie-like nature of the story won me over first, but it was the presentation of that story that blew me away. The song finds a woman on her wedding day, with child, “marrying some boy” in a wrinkled shirt. She’s praying no one will notice her weight gain since a “bride shouldn’t be
4 months and 3 weeks.” She’s wearing beige because “everyone in this place knows I didn’t wait.” The situation is unfortunate and the song contains some of my favorite lines on the whole album, from her being daddy’s pride and joy to no one “having a ball at the reception hall.”

“Hippie Annie” Monroe takes the lead and displays how much she’s grown as a vocalist since Satisfied, her solo debut from 2006. But the song suffers only slightly from a lack of polish. There is a few times where Monroe could’ve enunciated more clearly. But other than that, the track dabbles with perfection. The drumbeat and steel guitar add a layer to the song conveying the sadness felt by everyone on what should’ve been a happy occasion.

But with all the heaviness of the ballads, the Annies add a few lighter moments to lesson the load. “Bad Example” is a pure country shuffle that recalls something from the 1920s, “Takin’ Pills” recalls the depression-era production T-Bone Burnett used on his Robert Plant and Alison Krauss collaboration Raising Sand, and “Family Feud” is pure Americana bliss. But being lighter doesn’t cancel out their substantive qualities. “Feud” is takes on a serious topic that often tears families apart, while “Pills” uses drugs, alcohol, and cigarettes as coping mechanisms. But for all their seriousness, they are the best examples of dark humor I’ve heard in country songs since I can remember.

Another light moment, “The Hunter’s Wife,” reminds me a lot of Rodney Crowell’s “She’s Crazy For Leavin’” in terms of production. I love the wordiness of the chorus and the fact that this man doesn’t even realize he’s chosen hunting (and fishing) over his wife. The way she complains about the meals she’s sick of eating in the second verse is so instantly relatable. It’s hard to find a woman who isn’t tired of the redundant behaviors of their husband or boyfriend. If this were a Brad Paisley song, she’d know exactly what to do – give him an ultimatum and if she doesn’t care for his answer, get the heck out. Overall, it’s one of the coolest songs on the whole album and another highlight among highlights.

“Lone Star Annie” Lambert takes the lead on both “Trailer for Rent” and “Boys From The South.” Both represent classic Lambert, on “Rent” she’s selling the trailer she shared with her now ex and it bares the marks of where she grew tired of his abusive behavior. I only wish “Rent” hadn’t gone into expletive territory. It didn’t need a swear word to emphasize anything, but it is indicative of how most people talk and adds an authenticity to the song in that respect. I also like the easygoing nature of the production track.

“Boys From The South” on the other hand, is the lone oddball out on the project. It’s so straightforward and has so much commercial potential; it would’ve been better on Lambert’s upcoming Four The Record or even Revolution. But if any song on this album has the ability to break through at radio and give Hell On Heels an extra push, it’s this one. These are the types of songs Lambert does exceptionally well and she excels on that here.

In the end, Hell on Heels is everything a country album should be: original in its angles on well-worn themes and a challenge to the listener to think and pay attention to what’s being said. This brand of country isn’t going to appeal to everyone, but there’s an audience out there starving for this kind of music. I know because I’m a vocal member of that crowd, retaliating against the usual fare coming out of mainstream Nashville. Thank goodness for artists like Pistol Annies who transcend trend and make music that will matter as much thirty years from now as it does today.

Concert Review – Sara Evans at the Cape Cod Melody Tent

August 27, 2011

Not since Jennifer Nettles brought her lead-with-passion approach to modern country has a singer enthralled me like Sara Evans did last night at the Cape Cod Melody Tent in Hyannis, MA. She left her blood and guts on the stage as she powered through massive hit single after massive hit single. Sounding even better live than she could ever come across on record, Evans had me in a trance and didn’t let go until the show ended.

Her ability to gracefully overcome her inability to arrive at the venue on time (her private plane was grounded for two hours in Birmingham, Ala, where she lives) had an impatient audience ready and willing to forgive her and just get on with the show. With her raven locks in a tight pony-tail (the result of not having enough time for hair and makeup), she playfully engaged the crowd and exuded likeability rare among entertainers of her stature.

When the band launched into her opening number, a peculiar thing happened to me. I didn’t recognize the song or even the opening verse as she started singing, yet I knew every word, and obviously knew the song. For some unknown reason, I just couldn’t place it. The song was in fact “As If” the only hit single to stem from her 2007 Greatest Hits package. She followed it up with her top 5 hit “Perfect” and then launched into her signature song “Born to Fly,” which I fully expected her to leave until the encore.

On “Cheatin’” Evans brought the already biting lyrics to new heights. When singing the opening, “you say you’re everyday/is a bad dream that keeps repeating,” she slowed it down even further than on the album track and dug twice as deep with her twang, revealing nuances in her vocal ability I hadn’t heard before. Her band smartly gave her room to breathe during the opening and hinder the audience’s enjoyment of her vocal.

Evans than span her entire career with renditions of “I Keep Looking,” which she dedicated to all the women in the audience, and “Coalmine” which she dedicated to all the men. The country/bluegrass shuffle of “Coalmine” was a welcomed surprise although a tad puzzling. Only a minor hit when released as a single in 2006, it’s easily one of her lesser known songs to anyone who isn’t a diehard fan so I was left wondering about its inclusion in her set, although it made for a very entertaining moment and allowed Evans room to act playful with her band.

Midway though she explained her reasons for retreating from recording over the last few years, her now three-year marriage to football player Jay Barker, and the blending of their families, which together, makes up seven children. She joked that once the reality set in, she booked five years of non-stop touring. This led to the only talk of her new album Stronger and an explanation of her new single, a cover of Rod Stewart’s “My Heart Can’t Tell You No,” a song she always loved, and wanted to turn into a country hit. Singing the fire out of it, it was difficult to see where the negative single reviews stemmed from. I happen to love this cover of the song, and really dig the vibe she was going for. Hearing the song live was the difference; the album track pails greatly in comparison.

Evans followed-up “My Heart Can’t Tell You No” with her most-recent #1 “A Little Bit Stronger,” a song she found at the end of the recording sessions for Stronger and new she just had to record. It easily got the biggest rise out of the audience and it was clear to me, judging from crowd reaction, why the song became such an anthem.

Following the only talk of her most recent album, Evans told a story about growing up on a working farm in Missouri. She talked about the culture of where she came from, where you’d date boys in pick-up trucks and if the parents disapproved, it only made you love them more. I knew instantly where she was going with this, and I was right. It all led to “Suds In The Bucket,” her 2004 #1 smash.

Songs like “Bucket” and “Coalmine” were moments where Evans and her band could interact playfully. With “Bucket,” each member of her band raised a foot in the air, to signal the whole barefoot aspect of the song. Being at a venue that intimate and sitting so close to the stage, you’re able to enjoy little moments that get lost when an artist is playing for huge crowds.

Just when I thought there wasn’t anything else left to sing, they launched into another #1, “Real Fine Place To Start.” At the beginning of that song, it hit me just how many hit singles she’s had. She’d been on hiatus so long, I’d forgotten about all the great music she’s released over the years.

After “Start” Evans proved a slight benefit to having private plane issues. Instead of leaving the stage and coming back for an encore, she had the audience ask her for one without loosing anymore time. The funny thing is, it was during the “encore” where the night got most interesting.

Evans talked about how she’s always loved Tammy Wynette and when thinking about what classic song to put into her show only one came to mind. I fully expected her to sing “I Don’t Wanna Play House,” a track she contributed to the tribute album to Wynette in 1998. Instead she launched into a perfect cover of “Stand By Your Man.” I loved the classic country vibe and as usual, she sang the fire out of it. Only problem is, I couldn’t get Hillary Clinton’s comment from 60 Minutes out of my head. But of course, that didn’t dampen my enjoyment of the song.

Her second “encore” song was a bluegrass-y cover of Cheap Trick’s “I Want You To Want Me.” I love how she made such an recognizable song country. In thinking back, it reminds of something Evans said when Bill Anderson interviewed her on the TNN show Opry Backstage in 1998 – no matter what, everything she sings is going to come out country. In the case, that proved very true.

As a diehard country fan, and a lover of Evans’s music, I had a hard time believing “I Want You To Want Me” was the end of the show. She left the stage, and I fully expected her to come back for one final encore. I didn’t believe the show was over until the lights came on and everyone filed out of the venue. I wanted her to come back because of one thing – Evans didn’t sing her breakthrough hit “No Place That Far!” I couldn’t understand why of all the songs in her catalog she would exclude her first #1, yet she sang a Cheap Trick cover and “Coalmine,” which bombed when it was released to radio.

But that oversight didn’t dampen my experience in the least. I came away from the show in love with Evans all over again. I still can’t believe she hasn’t won a CMA Female Vocalist of the Year award yet. The ACM were smart enough to recognize her in 2004, but it’s about time the CMA follow suit. And she’s so much better live than she’ll ever be able to come off on record. If you haven’t seen her, and get a chance to, go. You will not be disappointed.

Her humor, which became overkill at times, was the biggest surprise for me. I’ve said it before in this review, but she really is playful and flirty on stage. I loved how loose she was. The great benefit of a concert at The Melody Tent was how the stage, like sister venue The South Shore Music Circus, spins. Evans made a joke that she had to stay inside the stage in order to keep spinning. Since if you don’t, you end up playing to one section of the audience too much.

Which wasn’t an issue for opening act Jake Hill, a local musician who’s recently gotten exposure from Almost Famous, a new local music show on 95.9 WATD, the radio station I intern at. He was able to play the stage and the crowd. This was my second time to see him perform in this setting, he opened for Huey Lewis and The News last summer.

While he performed a solid set, I wasn’t blown over by his music because it isn’t my style. He isn’t a country singer, but that doesn’t matter. He just isn’t the type of singer I like for long periods of time. But that’s me and no reflection on his set, which was very good.

In a lot of ways he reminded me of both a singer-songwriter  from Texas and Delbert McClinton. That’s the best way I can describe him. Hill’s best song came at the end ofhis set when he covered Kris Kristofferson’s “Me and Bobbi McGee.” He did such a great job and even had Kistofferson’s almost-drunken wayward singing abilities down. It was the highlight of his set and a great kickoff to a memorable evening.

Concert Review – Martina McBride at the South Shore Music Circus

August 25, 2011

For the first time in eleven years, Martina McBride held residence at the South Shore Music Circus, an in-the-round concert tent complete with a rotating stage, for two shows Aug 6-7. Judging by the sold out crowd, the fans were as happy to see McBride as she was to be back in Cohasset, Ma. This show marked my annual trip back to the venue (a mere fifteen minutes from my house), and my first time seeing her from front-row seats.

During the set she ran through most of her beloved hits. Sitting so close to the stage, I was privy to her set list, so I knew what she was going to sing before she walked on stage. Neither good nor bad, it took away that element of surprise I often look forward to at a concert. It kind of ruins it for me to know what’s going to be sung in advance, but it didn’t dampen my appreciation for the night.

She opened with a brand-new song, “One Night” which will appear on her upcoming album Eleven. An up-tempo tune, it continued down the path set by “Teenage Daughters” of showing off a fun more relaxed side of the singer. Without skipping a beat she ran through other up-tempo hits including “My Baby Loves Me,” “Wild Angles,” and “When God-Fearin’ Women Get the Blues.” It was nice to see her spanning her whole career and not just her hits post-millennium.

The night’s first ballad was the recently-debated “I’m Gonna Love You Through It,” a story about a woman battling cancer. I was most anticipating this song because I wanted to hear for myself if it really was as prodding and lifetime movie-esque as people have made it out to be. Hearing her talk about she knew she had to record the song the moment she heard it, put it in a new light for me. It’ll never be among my favorite of her singles, but it isn’t as god-awful as everyone makes it out to be. As always, she gave it a very passionate performance.

For the remainder of the evening she mixed her biggest hits with well-chosen covers. What struck me about the set was the balance of up-tempos and power ballads. I really enjoyed how she didn’t lean too heavy on one area of her catalog but covered all her bases. Of course, though, it was the ballads that got the strongest reaction from the crowd. She received long standing ovations after performing “Anyway,” “Where Would You Be,” and “A Broken Wing,” which she sang with all the gusto in her body. I enjoyed how she would give the crowd time to applaud before signaling to her band to launch into the next song. Being so close to the stage, you’re able to see, and appreciate, all the little nuances of the performance.

But the highlight of her set was her cover of Kris Kirstofferson’s “Help Me Make It Through The Night.” She quieted down the arrangement and let the steel guitar player do his magic. As with her studio recording from Timeless, she uses this song as an exercise in restraint, rarely singing above a whisper. I loved hearing how simple the song came off. In giving the song room to breathe, she let the quiet moments shine through.

The other cover, Bill Wither’s 70s classic “Lean On Me” was well-sung and had the crowd singing along, but seemed an odd choice. I loved her take on the song and enjoyed the opening bluesy steel riff. Her steel guitar player seemed to play on and on for well over a minute and a half, whipping the audience into a tizzy.

I love how McBride relinquished the opening verse of the song to her younger brother who’s the lead guitar player in her band. It added another dimension to the night. Of all the songs, “Lean On Me” was easily the one sung along to the most. Everyone knows it from either hearing it on the radio or from their childhoods. I loved she chose to cover the tune, but wondered, if she hadn’t, which of her own hits she would’ve sung instead.

The biggest surprise of the night was the medley of “Love’s The Only House” and “Blessed.” In a reflective sense, those two songs go together really well. You have the social commentary of “House” mixed with the I’m doing alright nature of “Blessed.” Almost like, there’s a lot of downtrodden people in the world but my life is pretty well on track. McBride nicely opened the medley by playing the harmonica bit herself.

Following “House/Blessed” she went on to close the show with “This One’s For The Girls” and “Independence Day.” She sang ”Over The Rainbow” as the encore, a cover I’d first heard her sing at the same venue eleven years earlier. It really is true, you can never grow tired of hearing that one.

In the end, it was an excellent show that brought up my appreciation of McBride and her music. I’ve been thinking a lot about her since and am really looking forward to the new album in October. I only wish the acoustics weren’t so loud, but it didn’t dampen my experience in the least.

Following the show, McBride sent out this Tweet: “Tonite’s show in Cohasset was amazing!U guys rocked! Loved it! Now on the bus.Have John and all 3 girls w/me. #3dayvacationofficiallystarted.” I LOVE modern technology!

The biggest surprise of the night was the opening act, Blaine Larsen.

Discovered by Joey + Rory’s Rory Lee Feek when he was just a young teenager, he’s 25 now, Larsen used just a guitar and a stool to  come off extremely likable, and inject more personality into his performance than any other opening act I’ve seen in recent memory.

And while his style is very similar to that of Chris Young, Scotty McCreery, and any other deep voiced male country singer, he was able to distinguish himself from that pack with his mix of both serious and playful songs.

He ran through a few of his singles including “I Don’t Know What She Said” and “Chillin.”  He left not a dry eye in the room with his only top 20 hit “How Do You Get That Lonely,” and played the “songwriter’s version” of George Strait’s “I Gotta Get To You” which he co-wrote with Jim Lauderdale and Jimmy Richie. But it was his excellent cover of Merle Haggard’s “That’s The Way Love Goes” that proved his talent. Anyone who can come up to snuff with a Haggard cover, is worth a lot in my book.

And even though I’m not to familiar with it, I would’ve liked him to sing his debut single, “Back In My High School,” only because it was the song that first got the attention of the industry and allowed “Lonely” to go top 20. But nonetheless, he should be a big star, but given that there’s much competition from others who sing just like him, and the fact he didn’t have American Idol or Nashville Star to gain exposure, that seems unlikely. But that doesn’t diminish his talent.

Hits not withstanding, and if his songwriting career keeps picking up, Larsen proved in one 30 minute set, that he really is going places.

Favorite Songs By Favorite Artists – Martina McBride

August 23, 2011

Started by country blogger Leeann Ward from Country Universe, Favorite Songs by Favorite Artists (FSBFA) is a rundown of a writer’s 25 favorite songs by an artist. I felt compelled to compile a list of my own after going to see Martina in concert earlier this month.

Martina McBride is a singer easy to take for granted. She’s been a consistent hit maker for the last 18 years wrapping her booming voice around everything she touches.

Her career began selling t-shirts for Garth Brooks before she got sly and sent a purple envelope to the offices of RCA records containing her demo tape. Since they only heard submissions they approved, she wrote “requested material” across the bottom. Needless to say it all worked and she was quickly singed to the label, her home until late last year.

Her first album The Time Has Come didn’t spawn any major hits and was largely ignored by country radio. The follow-up, The Way That I Am put her on the national map. Lead single “My Baby Loves Me” quickly shot to #2 and “Life #9″ followed suit. But it was the release of “Independence Day,” a tune about domestic violence told from the point of view of an eight-year-old, that really grabbed attention. The controversial subject matter kept the song from reaching the top ten, but it still became her career record.

Her next album Wild Angles would contain her first #1 hit in the title track and she hasn’t looked back since. A 4 time CMA Female Vocalist of the Year winner, McBride is one of the most beloved vocalists of her generation.

And McBride has used that voice to tell many a tale mostly about various stages of relationships. In looking back over her career, I was pleasantly surprised to discover most of her best tunes cast her in various relationship roles whether it be a woman whose dreams are shattered by her man or a woman begging for what she wants to hear from a man who’s checked out of the relationship. She’s played the strong woman, a woman blinded by love, and even turned introspective in wondering if she’s the reason the love isn’t working out. While most of her songs tell a similar story, all add another layer to the various roles women play in their love lives.

While she hasn’t seen the top 10 since 2007, McBride keeps plugging away at her brand of country music. A new album Eleven (her 11th album consisting of 11 tracks) is due in stores October 11. Here’s my list:

25. “Everybody Does”

2007 – Waking Up Laughing

An above-avarage album track from Waking Up Laughing, “Does” is an instant mood enhancer with an feel good melody and production choices. What I love is that McBride isn’t striving for anything here but rather letting lose and having a good time. Some of her best songs are when she relaxes and moves with the groove, and “Does” is a perfectly executed example.

24. “Learning to Fall”

2003 – Martina

Sure it’s one of her pop-leaning songs, but it’s actually more country than most of what passes for country music these days. If you listen carefully, you’ll hear the steel guitar shining through.

What won me over with “Fall” was the chorus – like all great choruses, it’s fully-developed and instantly memorable due to its sing-songy nature. I love the guitar solo-bridge as well, it calls attention to the less is more approach to the production of this song.

23. “If I Had Your Name”

2007 – Waking Up Laughing

An example of where a killer hook is worth the weight of a song – “If I Had Your Name/I’d Be Changing It By Now.” It’s a fresh spin on a tale of seeing the writing on the wall before you jump in too far. This “prevention” approach is a change of pace from McBride who usually has to be hit upside the head before seeing the error of her ways.

22. “The Time Has Come”

1992 – The Time Has Come

The title track to her largely ignored debut album, “Come” opens with a nice mid-90s groove and steel guitar riff. This was one of the first instances of McBride’s infatuation with relationship songs and while the production is sunny and bright, the lyrics tell the story of a woman declaring that the time has come to end her current relationship. And unlike forthcoming hits like “Whatever You Say,” she’s able to see the writing on the wall – they’ve had their moment in the sun but that moment has now passed and it’s time to move on. And like the end of the relationship, the song passes like a feather in the wind, long enough to convey the message yet short enough to convey the fact she’s moving on without looking back.

21. “Wrong Baby Wrong Baby Wrong”

2009 – Shine

It took me a bit before I warmed up to this song. But the groove and less is more approach to the vocal and production is a huge selling point. She might have gone through a period of inconsistency with her overall albums, but there were real gems if you dug deep enough. “Wrong Baby Wrong” is one of those songs. The more I listen to it, the more I dig everything it has to offer. Too bad it stalled out at #11 last year.

20. “It’s My Time”

1999 – Emotion

Another instance of McBride playing a strong woman, “Time” finds her on the road, 100 miles out of her hometown, on the phone with the man she’s leaving in the dust. He asks where his dinner is, she’s replays she’s too far gone care because there’s a time to stand, fly, let go forever, grow, and discover that every second of life is precious. And for this woman, that time is now.

A blink and you missed it single from 1999, “Time” isn’t as polished as some of her other hits but the hurried nature of the track perfectly compliments her rush to be out with the old and in with the new. She isn’t getting any younger and she knows she better start living before any more of her life passes her by.

19. “Teenage Daughters”

2011 – Eleven 

Here’s a little twist – a relationship song from McBride that doesn’t cast the light on the couple but rather the kids. “Teenage Daughters” is the next evolution in her story – now in her 40s she’s singing about the challenges of raising teenage girls. Instead of running from or playing down her age she embraces it and succeeds in creating an anthem for anyone who is going through or has been through raising 13-18 year olds.

But most important of all she’s realized a simple truth – she’s been there before, herself. “At seventeen she’s just like me when I was seventeen so I don’t blame her” sings McBride will all the wisdom that comes with a full circle moment. The children might not be able to see it at the time, but their mom fully understands what they’re going through even if it might not seem that way at the time.

18. “Still Holding On (Duet with Clint Black)”

1997 – Evolution Nothing But The Taillights

A coming together of two talents at their commercial peak didn’t exactly burn up country radio, it peaked at #11, but always made an impression on me. I love how well both singers work together and the easiness in which they convey the story of still holding on to a love that’s slowly dying. McBride sings rings around Black on this one, but how could she not? When she lets loose on the bridge, there isn’t many who could match her.

17. “Over The Rainbow”

2003 – Martina

A closing concert staple and live bonus track from Martina, “Rainbow” is a moment easy to mess up – you’ve heard this song so many times before that to hear it again is almost overkill. But to hear McBride sing it, is to hear the song in a new light, like you’ve never heard it before. The way she comes in A Cappella and builds to the final boom is outstanding. I’ll never grow tired of hearing this one.

16. “Concrete Angel”

2001 – Greatest Hits

A tale of ignoring the signs right in front of you left “A little girl caught in the hands of fate.” She was dead by morning, all at the hands of her parents. How could it not have fully registered – this little girl walked to school with a lunch she packed herself in the same dress she wore the day before with linen and lace to hide her bruises.

Unless you’re without a soul, you can’t help but feel for the little girl, a nameless victim who, through no fault of her own, was raised by people unfit to parent and protect her. Of all her moments of social commentary this was easily her best and the strongest song on country radio at time of its release. It’s an unassuming masterpiece and the best modern example of the three part story arc done correctly. Plus, it’s one of my favorite videos she’s ever made.

15. “A Broken Wing”

1997 – Evolution

She has dreams, he just shoots them down. She wants to fly, and he tells her she’ll never leave the ground. But she loves him like he’s the last man on earth because she needs his protection. Imagine his shock when she doesn’t leave for church that Sunday morning. He finds a note and a blowing curtain, and she reveals her true strength.

The best of McBride’s ballads are tinged in sadness and touch upon a truth buried deep in America. She may be nameless in song but she’s out there in our suburbs and in our cities being told she isn’t good enough. But when she finally grasps the reality that real love doesn’t hurt, there’s no stopping her from soaring into the heavens.

14. “When God-Fearin’ Women Get The Blues”

2001 – Greatest Hits

The lead-off single to McBride’s Greatest Hits disc was a great departure upon its release in 2001. Coming off of the sappy “There You Are,” she needed something to either elevate her career to the next level or make an artistic statement. In the end she chose the latter, releasing a rocking warning to “lock up your husbands/lock up your sons/lock up the whiskey cabinets/girls lock up your guns” because a god-fearing woman has the blues.

Drenched in dorbro and steel guitar it’s hard to believe just ten years ago a song this country could get airplay on country radio let alone climb to #8. Even more amazingly, Dan Tyminski sings harmony on this track – which had McBride proclaiming in the liner notes of the album how excited she was to have a Soggy Bottom Boy on her record.

13. “I Just Call You Mine”

2009 – Shine

My favorite single from Shine, “Mine” might not be among McBride’s best loved hit singles even though it’s the best thing she’s released to country radio in years. I love everything – her vocal and the steel guitar laced production – about this song. It’s rare to hear a love song from her, but she can be convincingly romantic just like the best of them.

12. “Help Me Make It Through The Night”

2005 – Timeless

An exercise in restraint, this cover of the Kris Kristofferson classic is a modern gem. McBride uses a quiet whisper to bring the story of desperation to life that ranks among her best vocals ever on record.

11. “My Baby Loves Me”

1993 – The Way That I Am  

Arguably the most important single of her career, it turned the tide in her relationship with country radio and proved her staying power as a country singer in the 90s.

What’s remarkable is, “Love Me” still sounds fresh eighteen years later and sounds like it could’ve been on McBride’s last album. It’s a testament to her ability to choose great songs and Paul Worley’s timeless production values. And who wouldn’t their baby to love them just they way they were?

10. “I Love You”

1999 – Emotion

A perfectly timed summer smash, “I Love You” took McBride to the next level – it was the first song to sway the Country Music Association to award her Female Vocalist of the Year, an honor she would have four times throughout her career. With Trisha Yearwood out of the way, and Faith Hill still receiving a cold shoulder, there was no other clear winner that year.

With all the attention usually placed on her power ballads, it’s easy to forget that McBride can be sunny, cute, and approachable just like all her pop-country contemporaries. And when she does go up-tempo the results, as proven here, can be very good indeed.

9. “Blessed”

2001 – Greatest Hits

My favorite moment of optimism on record, “Blessed” is self-congradulatory without being self-indulgent. McBride sings about finding her way, thanking God for what she’s been given and being blessed with more than she deserves. After a career filled with relationship songs, it’s a nice change of pace to hear McBride take a moment to reflect on her own journey and put her sense of contentment into words. She might not have written this, her last #1 hit to date, but she could’ve very easily. That’s the mark of a well-chosen song.

8. “Anyway”

2007 - Walking Up Laughing

The first single of her career McBride had a hand in writing, “Anyway” is about doing it no matter what, even if it seems like it won’t matter in the end. A cooky concept that’s been done before, McBride seems to keep it fresh in her phrasing and delivery. Sure it’s another ballad to showcase the big voice, but it manages to pack a great deal of substance into the lyrics and a whole lot of passion into the vocal performance.

7. “Independence Day”

1993 – The Way That I Am

The career record that stalled at #12 became the video that turned any skeptic into a McBride believer. A rare moment of clever wordplay, “Independence” isn’t about the holiday it’s set during, but the release of an innocent eight-year-old girl, taken to the county home when her father blows up the family house taking him and her mother with him.

McBride would veer into social commentary mode a lot in her career, and even score some big hits in this vein, but little can top the words out of Gretchen Peters’ pen. This is her most played recurrent hit and one I could go without hearing for a while, but it shows where McBride can go when everything falls into place.

6. “Whatever You Say”

1997 – Evolution

Another relationship gone sour song, “Say” is a woman unable to get through to her husband. They both know how to talk, and she knows he can hear her, but nothing seems to be getting through.

She’s fed up and wants to leave, but is waiting for what’ll never come – his plea for her to stay. Unfortunately, her weakness is prevailing here. How long can you harp at someone just to get what you want before your spirit is compromised? If you’re relationship his diminished to the point  where you’re begging your man to say he needs and will never leave you, than you’re about as blind as they come. The writing is on the wall and you just have to walk out the door. But when love is at stake, the right thing isn’t always the easiest thing to do.

Until this write-up, I never really listened to the words of this song. I’ve spent the last twelve years caught up in her vocal – the way it builds from the verses to the choruses. But underneath the sheen is a lot of substance that makes you think about the choices you’ve made in your life for love.

5. “Reluctant Daughter”

2003 – Martina

Arraigned by Ricky Skaggs, this gem from Martina is a pure country delight. A story of a woman confessing to Jesus that she feels like a reluctant daughter to God, has everything – killer harmonies, fantastic mandolin and fiddle work, and spiritual undertones. It took me some getting used to, but unlike most of her album cuts, “Daughter” hasn’t aged a day and will be as timeless twenty years from now as it was in 2003. Couldn’t this “Daughter” have been released to radio instead of the prodding “In My Daughter’s Eyes?”

4. “Where Would You Be”

2001 – Greatest Hits

By the time “Where Would You Be” surfaced in 2001, it came off as another in a long line of love done wrong songs in McBride’s catalog. While the story line follows the familiar path (fighting for a man who isn’t pulling his own weight in the relationship), it strike a different tone with the booming chorus. She wraps her voice around those notes so well, you can’t believe a human being can pull that off.

But like all of her relationship songs, “You Be” adds another layer to the fold. She hasn’t yet taken off and realized it’s her time nor is she begging for her man to say what she wants to hear. Instead she’s wondering if maybe she’s been the problem all along – “Have I become the enemy?” she asks aloud in the bridge. “Is it hard to be yourself in my company?” she wonders always wanting to know the simple truth – where would he be if not with her.

3. “Wild Angles”

1995 – Wild Angles

It’s easy to see why “Wild Angles” a love song trying to explain how two people can stay together even though they still break each other’s hearts and spend nights on the jagged side, was McBride’s first chart-topping single. A mid-90s classic, “Angles” gets it all right – an opening guitar riff and infectious melody to draw the listener in, a perfectly orchestrated vocal that hits all the right notes, and an overall package that’s nothing but delightful. It’s no wonder it’s a fan favorite to this day.

2. “Swinging Doors”

1995 – Wild Angles

A largely forgotten low charting single, “Swinging Doors” is one of my favorite of McBride’s songs both lyrically and melodically, and has been since it’s release to radio in 1996.

This strong woman is done playing games with her ex and forcefully proclaims, “I won’t be leaving my heart open anymore” for a man who comes and goes whenever he pleases. It may be wrapped in an infectious package, but there’s much to uncover underneath the sunny sheen.

1. “Strangers”

1993 – The Way That I Am

The best song of her career never released to country radio, is one I never would have discovered had it not been resurrected on her Greatest Hitsalbum ten years ago, despite the fact I’ve owned the original album since 1995.

The story of the couple coming full circle from strangers on the street to strangers getting a divorce is the essence of a great country song. It’s easy to forget a time when lyrics made you think and singers put just the right emotion into their vocal performance to sell a story (and it also helps that Bobby Braddock, a 2011 Country Music Hall of Fame Inductee wrote this song). She would go on to score big hits in this vein, but her first power ballad is easily the best she has ever reordered.

She went back to black and said no to rehab

July 24, 2011

I may be a country music fan at heart, but I’m still deeply saddened by the death of Amy Winehouse. I recognize quality music when I here it, and Back To Black was as solid any album as any to see release in 2006.

I was first exposed to her music in August of 2007 when my Godmother played me her song “Rehab,” while on a visit to her house. Being naive, I thought the song was a declaration of her not traveling down the path into destruction.  Obviously, I was dead wrong.

It would be the following winter before I’d hear Back to Black  in its entirety. I wouldn’t even think about her music again until she swept the Grammy Awards. After purchasing  the album, I was blown away. That voice mixed with those songs came together to create an irresistible combination. She may not be anything close to a country singer, but it didn’t matter. I felt her music.

Much has already, and will be, written about her inclusion into the famed “Forever 27″ club - rock legends (Jim Morrison, Jimi Hendrix, Janis Joplin, and Kurt Cobain) who all died at that young age. Much will also be made about her importance in the music industry. She’ll always be included in that legendary company, but does she deserve to rank among those great artists?

The short answer is really, only time will tell. Her legacy is just being mounted. It’s going to take a long time for the public to look at Winehouse solely for her music and not for the public spectacle she made of herself. Sure, her demons will always cast a shadow, but future generations will likely learn about Winehouse through her music, not her addictions. I know because that’s how I’ve grown to love Joplin, for her music.

I can’t really explain why, but Back To Black is a classic. It’s an album and not just a couple singles surrounded by filler. Back To Black is her Pearl, just released during her lifetime. In way, it’s criminal to think it won every major Grammy Award except Album of the Year. I’m glad for Herbie Handcock’s River – The Join Letters, but Winehouse had the best album that year.

In essence, Winehouse is the first member of this “forever 27″ club I will have known during her life. I remember watching her Grammy Awards performance blown away by what I was seeing. I had to it look up the  to refresh my memory, but it all came flooding back – she was denied a visa to leave the UK and had to perform in a British club. The sultry Winehouse in the smoky club had a real old-fashioned vibe to it. You kind of knew you were witnessing something special.

In the years since that night, she wouldn’t release any more music, but her influence was felt far and wide. Winehouse ushered in a British-soul invasion that has captivated America. In her wake, artists like Duffy, Adele, and Estelle have all made their marks. They all had a similar sound to Winehouse, but also their own individuality.

Arguably, the most successful in this post-Winehouse group is Adele, who’s sophomore album 21 and single “Rolling In The Deep” have been 2011′s biggest mainstream success stories not named Blake Shelton. I have her album as well and its fantastic. Pure talent doesn’t come along very often but Adele has it.

And so did Winehouse, which is why I find it sad that it takes death to bring appreciation to talent. The whole world is saddened, yet hardly surprised, that we’ve lost another raw talent so quickly, but we’re not above revisiting her albums and taking another look at her music.

When I heard about the now famous Belgrade concert last month, I kind of laughed it off as just another episode. I viewed her fumbling around on stage as just another train wreck moment and not another notch in her downfall. I’ll always think she was screwed up that night, but I never thought it was as bad as it was. In reality, I don’t think anyone did.

Thankfully, though, the addictions aren’t the only reason we know Winehouse’s name. The most important part of her legacy is her music and that will always be there to draw the attention of new fans.

I would like to see Winehouse remembered for her most valued asset – her voice. It was so unique and expressive.  The way a white girl could sound black was just incredible. There wasn’t anyone else who sounded like her.
Listening to her music was like going back in time to another era, which is why her Grammy performance worked so well. She found the perfect venue to capture the essence of her voice.

Which is why it’s such a shame she couldn’t have found a way to get herself together. If we learn any lesson in her death, it’s to make sure we tell those around us how much we value them. That little compliment may make all the difference because all we really want to know is that we matter.

In honor of Amy Winehouse, lets go Back To Black. 

 

My Kind of Country

July 2, 2011

My lack in recent updates is partly do to an exciting opportunity I accepted over a month ago. I’m now a staff writer for My Kind of Country, a popular country music blog.

That doesn’t mean this blog is going anywhere, it’s just an extension of my love for country music.

My duties are to write single reviews for new country songs and album reviews for their spotlight artist series. Here’s what I’ve written so far:

I can’t believe how much I’ve already written. Six already?! I have many more in the pipe line, and as I write them, I’ll link them to my blog so they’ll be easy to find in one place.
Thanks again to J.R. Journey for inviting me to blog about my favorite subject to a much wider audience. In the coming months, I’m looking forward to seeing where it takes me.
Now I just have to find the balance to write my own blog along with all the MKoC work I do. That shouldn’t be too hard.

30 Day Song Challenge

June 4, 2011

A recent trend on Facebook is the ever popular “30 Day Song Challenge” a game that has people posting a song a day relating to a theme. When the 30 days are through, all of your friends will know just a little more about you – though the songs that shaped you in some way. I’ve been working on my list since April 26 and have found it both fun and frustrating because I want to think outside the box and pick songs that aren’t predictable for each day.

NOTE: A sincere apology in the tardiness of this post – I was trying to embed a YouTube clip for each song, but was encountering so many technical difficulties, I decided to abandon that idea all together.

To listen to the songs below, please follow this link to the notes section of my Facebook page: http://www.facebook.com/note.php?note_id=10150162533882511

Day 1 – your favorite song – Eagles “Lyin Eyes”

The story of a woman who can open doors with just a smile, “Eyes” is the purest country song in the Eagles catalog. An epic tale of cheating, the protagonist knows exactly where to find what her husband can’t give her.

On the cheating side of town resides the man with fiery eyes and dreams no one can steal, but even as she rushes to his arms, she knows it’s only for a while. She promises to leave her man with hands as cold as ice, but she’s so far deep into emotional betrayals, she doesn’t even know what she wants. Even a sane girl can draw the shades, hang her head to cry, and wonder how it ever got this crazy. In the end she’s the same old girl she used to be – hoping a new life would change what only she can fix from inside herself.

“Eyes” is my favorite song, a distinction that took a long while to figure out, because of the vivid nature of the story and the masterful songwriting of Glen Frey and Don Henley. To think that two living legends were able to craft something so perfect is almost beyond my comprehension. This is a once and a lifetime gem worthy of its place among the greatest pieces of recorded music.

Day 2 – Your Least Favorite Song – Jason Aldean “Crazy Town”

A colossal failure, “Town’s” core message – the fakeness of those trying to make it in the country music industry – is lost in a sea of rockish guitars and shier noise. Much like the message in the lyrics, Aldean comes off as a pseudo-rocker, shouting to be heard.

The juxtaposition of “Town’s” message and the song’s production are most perplexing – if Aldean wanted to get his message across, why do it by adding to the problem? If country music really has become Hollywood with a touch of twang, than you’d think he’d do his part to keep his music on the other end of the spectrum.

Day 3 – A Song That Makes You Happy – Mary Chapin Carpenter “I Take My Chances”

A tough choice, I had it between two Carpenter classics – “Chances” and “The Hard Way,” songs that elicit a feeling of jubilation and never fail to brighten my mood.

The production by John Jennings is everything I love about 90s country – crisp and clean yet modern in its sensibilities. “Chances” is an anthem for anyone assessing risk – a statement on stepping out of a comfort zone  and a timeless message that’s grown with me my whole life.

Day 4 – A Song That Makes You Sad – Pirates of the Mississippi “Feed Jake”

The heartbreaking tale of a man and the dog he wants taken care of if he should ever leave this world, is one of the saddest expressions of love I’ve ever heard. Anytime a dog is involved in anything, I’m a puddle. 

Growing up with dogs, I know the bond first hand – they’re more than pets, but extensions of who we are. They’re members of the family, yet appendages attached to us at the hip. A big shout out to songwriter Danny “Bear” Mayo for writing this masterful song. 

Day 5 – A Song That Reminds You of Someone – Stevie Nicks “Landslide”

Who knew that when we chose this song for my grandfather’s funeral back in January, it would appear around every corner for the rest of the year? Lets see, it was covered by Gwyneth Paltrow, Heather Morris, and Naya Rivera on Glee and by Nicks herself on Oprah (with an assist by Sheryl Crow) and Dancing With The Stars.

The lyrics speak to the essence of my grandfather – the message about climbing mountains and seeing your reflection in snow covered hills – speaks to how his spirit is going to live on in the land around our condo in Bretton Woods, a place he found for us now 17 years ago. 

More than mine, it’s really my mother’s story of her relationship with him. When Fleetwood Mac returned in 1997 for their The Dance reunion concert Nicks prefaced this song with “This is for you Daddy.” It’s the version most heard on radio, and the one cemented in our hearts forever. 

Day 6 – A Song That Reminds You of Somewhere – Lonestar “Everything’s Changed”

The singular power of great works is their ability to transport us back to that special place and time. In every day life, it’s music that accomplishes the time time travel most often, taking us back to memories long over but hardly forgotten. 

My memory of this song began bright an early on the last day of a vacation in Cleveland, Ohio, the last week of August 1998. Instead of the generic alarm, the clock was tuned to the local country station where this song woke me from a slumber. I was overwhelmingly distraught that day, not wanting to leave. 

Whenever I want to go back to that week, I can turn on this song, a number #2 hit that year, and relieve a great moment in my life. 

Day 7 – A Song That Reminds You of a Certain Event – Garth Brooks “Much Too Young (To Feel This Damn Old)”

In 1997, when my grandfather was turning 75, we thought it would be fun if I would play this song at the celebration we were throwing for friends and family. I’m not a singer or guitar player but got by on the fact it was entertaining.

Looking back, I had much fun doing it – I had the cowboy hat and everything – and regard it as one of the more memorable events of my life.

Day 8 – A Song You Know All The Words To – Faith Hill “Breathe”

I know all the words to many a country song, but none stick out in my mind as Faith Hill’s turn of the century smash. 

When this song first came out I was enthralled by her breathy vocal. I loved the sexiness of the verses coupled with the booming power of the choruses. I’d never heard a country song command so much attention and much such a statement as “Breathe” did. It took me a few listens to remind myself that Faith Hill was singing. I was so obsessed with the song, it never left my head.

This, of course, led to the explosion of Faith Hill in 2000. She was everywhere – on our television screens, the covers of our magazines, selling out our concert venues, and representing country music on a mass scale. Hill dealt with her share of criticism for leaning too far into the mainstream, but she couldn’t do wrong in my eyes. “Breathe” is the symbol of a moment in time when the stars aligned for a girl next door turned pop diva. Hill may never be this iconic again, or release a more perfect music video, but with one song she made her mark on music history.

Day 9 – A Song You Can Dance To – John Travolta and Olivia Newton-John “You’re The One That I Want”

A hard category to come up with something groovy enough to get you on your feet, I chose this iconic classic when nothing else would come to mind.

The overall magic of the musical accompaniment mixed with an actor with musical chops and a singer who can act,  will get even the whitest male on the dance floor.

Day 10 – A Song That Makes You Fall Asleep – Alan Jackson “Good Imitation of the Blues.” 

Nothing is more soothing then slow balladry, Alan’s deep voice, and production by the queen of relaxation Alison Krauss. 

Jackson’s Like Red On A Rose is one CD I could never quite wrap my head around – slow and lounge-like yet cold and off-putting, the overall package wares on you after a while and makes it almost impossible to get through without being lulled to sleep. The album, and especially this song, are not meant to be heard when driving.

Like Red on a Rose was supposed silence the critics looking for something new from the iconic singer, but he went a bit too far away from his roots. Many liked it after repeated listenings, but I never could get into it all that much.

Day 11 – A Song From Your Favorite Band – Dixie Chicks “Cold Day in July”

The least remembered single from Fly, “July” is a story of dissolve, regret, and moving on – A masterclass of musicianship and vocal prowess. 

The Dixie Chicks are my favorite band because they never fail to stand out, rise above, and command attention. There hasn’t ever been anyone like them and there never will again – they brought Bluegrass to the mainstream and won the hearts of fans the world over.

Never has an act gone from universal love to calculated hate so fast. But through it all, the music remains at a quality rarely surpassed and that’s all that really matters.

Day 12 – A Song From A Band You Hate – JaneDear Girls “Wildflower”

The puzzling mix of winey girl-like vocals and embarrassing production values mix with inane lyrical content to create a duo that would only be signed to the Nashville of today – a town hell bent on a fast dollar and easy marketability. Talent often takes a backseat in this new model and it shows here.

When thinking of the group/band evolution in country music you have The Carter Family laying the foundation and everyone from The Statler Brothers, Oak Ridge Boys, Alabama, Diamond Rio, Highway 101, Restless Heart, Blackhawk, Shenandoah, Dixie Chicks, and more recently, Lady Antebellum, Zac Brown Band, Little Big Town, and The Band Perry building on that foundation.

Against those that paved the way, JaneDear Girls are a step below in all aspects and not worthy of building on or adding to the legacy that precedes them.

They did a better than average job on the recent ACM Women of Country special, but it’s hard to take them seriously in their quest to be the next great band in country music.

Day 13 – A Song That Is A Guilty Pleasure – The Carpenters “Top Of The World”

When it comes to music, I’m not afraid to stand up and lay claim to something I love, no matter how corny or embarrassing it may be.

“Top of the World,” a massive hit for The Carpenters in the early 70s, is just such one of those songs. The sunny production and proclamation of a young romance are irresistible. Sure, the whole thing is dated by about forty years but it doesn’t matter – music, and not just country, is a feeling and this never fails to bring out my optimistic side.

Day 14 – A Song No One Would Expect You to Love – Paul Simon “You Can Call Me Al”

This tale of mid-life crisis is a wordy gem in need of a deeper listen. The magic isn’t in Simon’s weightless vocal but in the lyrics themselves. It’s a masterclass in clever wordplay and a cool record in an era where style outranked substance. 

Day 15 – A Song That Describes You – Tim McGraw “The Cowboy In Me”

If ever the lyrics of a song were meant to mirror my life, it’s this one. When searching for a song to fit this category, I was looking at McGraw’s Set This Circus Down album jacket and re-read the words to “Cowboy” and just knew I’d found it. 

I’m that guy who doesn’t know why he acts the way he does, like he doesn’t have a single thing to lose. Without a doubt I’m my own worst enemy. My life is definitely one most would love to have, yet I can’t seem to really fundamentally get that through my head. And yes, I’ve been known to wake up fighting mad.

Maybe it is just the cowboy in me, or at least the pseudo-cowboy, since I’m as far from “cowboy” as Jason Aldean is from hardcore traditional, but this is the song that best describes the essence of my being.

Day 16 – A Song You Used to love but now hate – Shania Twain “You’re Still The One”

A first-rate pop/country love song, “One” is, at it’s core, a really good song. It’s an iconic record that defines an era and has one of the sexiest music videos of its day.

But with all it has going for it, it has a major problem – It doesn’t hold up well after repeated listenings and since it was a major hit, radio played the fire out of it in 1998. Due to its success, I can’t stand it to this day – even after more than a decade of not hearing it, I’m still extremely sick of it.

But that’s just me.

Day 17 – A Song you Hear Often On The Radio – Jessica Andrews “Who I Am”

This is too weird. As I go to write my piece on this song, it’s playing on my local country station. You think I hear it often?

I chose Andrews’s sole number one hit because it would’ve been too easy to chose Jason and Kelly’s duet or Sara Evans’s latest. I wanted to go with a song that either hasn’t died or has seen a resurgence in recent years and this one fit the bill perfectly. Plus, I’ve always loved the song, so I can’t complain about being able to hear it again.

Day 18 – A Song You Wish You Heard on the Radio – Trisha Yearwood “Nothin’ Bout Memphis”

My favorite non-single of the last ten years, “Memphis” is a masterclass in vocal prowess, expert storytelling, and using your talents to full effect.

The story of a women visiting a town with a new love that was made famous through memories made with a former flame, is the single greatest missed opportunity in years. This is the kind of song country radio needs – intelligent and introspective yet modern and classy. Unfortunately, it’s too good for country radio which kind of makes me happy it wasn’t a single. To watch it bomb, a la “This Is Me You’re Talking To,” would have been much too painful.

Day 19 – A Song From Your Favorite Album – Dixie Chicks “More Love”

Upon its release in August 2002, Home grabbed my attention and  stole my heart. I had an admiration for the Chicks since 1997, but this is when I first fell in love with they had to offer country radio. I loved all of their previous hits but I had a deeper affection for them after Home.

My favorite track from the album is “Truth Number 2,” but I chose to highlight “More Love” here because I wanted to go with a track not herald over on the project; one needing more attention.

Day 20 – A Song You Listen to when you’re Angry – Sheryl Crow “If It Makes You Happy”

No one does angry, angst ridden rock better then Sheryl Crow. Which is why I’ve steered away from her recent output of out of character music. 

But “Happy” is one of her best songs and one of her most country. It’s the perfect tune to throw on when you just feel like screaming. There’s nothing better than belting the chorus to relieve negative energy pent up inside.

(NOTE: My runner-up choice is Dixie Chicks “Not Ready To Make Nice,” the song I would’ve gone with had they not appeared twice in 20 songs already)

Day 21 – A Song You Listen to When You’re Happy – Ashton Shepherd “The Bigger The Heart”

This little number from 2008′s Sounds So Good shouldn’t fail to put anyone in a good mood. It’s the kind of upbeat traditional country Patty Loveless brought to the mainstream in the 90s and Shepherd is nicely updating it for the 21st century.

It’s the right kind of sunny excitement and a case where you can be upbeat and happy without sacrificing substance. The whole package (production and Shepherd’s vocal) is so intoxicating you can’t help but be drawn right in. This is how uptempo country music used to and should still sound. Here’s a perfect example of it done right.

Day 22 – A Song You Listen to When You’re Sad – Alison Krauss and James Taylor “How’s The World Treating You”

When sadness penetrates you, it’s best to play an equally dreary song to turn around your mood and get you out of your funk.

And for me, this Grammy winning duet does it every time. When they sing about empty schedules and blue Mondays, its so over the top gut wrenching, you can’t help but foster a smile. It’s comforting to know you aren’t feeling this down and out and it helps turn you around.

Day 23 – A Song You Want To Play At Your Wedding – Charlie Daniels Band “The Devil Went Down to Georgia” 

To go the classic love song route would’ve been too easy. How many people do you think went and posted “I Cross My Heart” or “Keeper of the Stars?”

I chose to go from a different angle and pick CDB’s 1979 classic, the perfect get on your feet and dance number. Its already livened up a few weddings I’ve been to, and trust me, it does the trick every time. As much as you want romance, the guests have to dance the night away, right?

Day 24 – A Song You Want To Play At Your Funeral – Vince Gill “Go Rest High On That Mountain”

Unlike the out-of-the-box wedding pick, I went ubber-traditional with this one. Believe me, it wasn’t because I wanted to, but I couldn’t think of the perfect “he lived a good life” song. 

In the end, though, this timeless tale that honors both Keith Whitley and Gill’s late brother, is the perfect song for anyone being laid to rest because when the time comes, your work on earth really is done.

Day 25 – A Song That Makes You Laugh – Mark Chestnut “Going Through The Big D”

Country music has had its share of quirky lyrics but this tale of divorce is a play on words laugh fest that turns a serious event into brilliant comic fodder.

As the story goes, the couple married after six moths and bought a house in a sub-divided neighborhood. Pretty quickly the fuses were short, the night were long, and it was over before they knew what they had gotten themselves into. Problem is, divorce is never final because they’re “still paying on the vinyl.”

Maybe the multi-colored waterproof flooring in the laundry room did the marriage in, or was it the warning from his friends who said he jumped into the river of love a little soon?

But he shouldn’t be complaining – she got the lemon of a house while he made off easy with the Jeep. At least we know what’s really important in all this – when you’re going through the “Big D” it doesn’t mean Dallas.

Day 26 – A Song You Can Play On An Instrument – NO SELECTION

That’s right, folks. I can’t play a single instrument so I opted out of this category.

Day 27 – A Song You Wish You Could Play On An Instrument – Nickel Creek “Sweet Afton” 

I credit this song, their version of the lyrical Robert Burns poem set to music, with making me love the mandolin. I’d never heard such a beautiful sound in my life. If I could learn any instrumental part of a song, it would be that one.

Please listen to this recording if you haven’t already – it’s a flawless record that bridges the best of bluegrass with the storytelling made famous by country music and creates a marriage sweet and pure. It’s one of the best records I’ve ever heard in my life.

Day 28 – A Song That Makes You Feel Guilty – Tracy Lawrence “Lessons Learned”

They don’t call this a song challenge for nothing – I couldn’t think of a single song to fit this theme. Instead I went with a song about being guilty, this top 5 hit from 2000. 

Through any guilt you inevitably learn something not just about the situation but about yourself. And the best lessons are those that run deep, don’t go away, or come cheep because this world turns on those lessons we’ve learned.

Day 29 – A Song From Your Childhood – Lila McCann “I Wanna Fall In Love”

Probably among the easiest of categories, I could assemble a list a mile wide of defining songs from my childhood. But in the spirit of choosing just one, I picked McCann’s sole chart topper from 1997 because it stands out as one I couldn’t get enough of back then, and still love today.

The infectious vocal and melody were perfect for McCann’s young age and showcased the promise of her talent while framing her with the right mix of country and pop. Plus, the lyrical content help this from becoming an embarrassment all these years later. I’m as proud to say I love this now, as I did back then.

Day 30 – Your Favorite Song From This Time Last Year – Miranda Lambert “The House That Built Me”

Its fitting that the end of this challenge comes with one of the best songs in recent memory. In May 2010, I hadn’t yet heard “From A Table Away” or “If I Die Young,” so this was still number one on my list at the time.

A timeless tale of finding yourself from within the walls of your childhood home, “Me” is at the heart of the human journey to becoming whole. We look to what built and shaped us to recapture the innocence taken from us by the journey into adulthood. Problem is, you can never recapture a memory or a feeling no matter how much you try; it’s going to turn out differently every time. But those feelings of innocence are in the essence of our souls, and to tap into them, is to bring you closer to your authentic self, the person you were put on this planet to become.



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