Say What? Natalie Maines is a glorified ass

Earlier this month, Dixie Chick Natalie Maines had a lot to say in an interview with Howard Stern on his Sirius/XM radio show:

“Growing up, when people asked, ‘What kind of music do you listen to?,’ I’d say, ‘Anything but country.’

She went on to insult her former core fan base further, this time by dragging up what is almost ten years in the past:

“I naively thought those same people would come again. It was not good. Our biggest fanbase was a country audience, and they weren’t there. I don’t trust it anymore. I don’t want to put my fate in country music fans, I’m too stubborn.”

And if country fans had any hope of a Dixie Chicks reunion following two planned Chicks concerts in Canada this summer, she made sure to squash those, too:

“I didn’t want to do (the Canadian shows), because I want to focus all of my energy [on] this album. I’m not good at multi-tasking. I just wanted one touring cycle to just focus on this, but I was outvoted.”

And she, of course, gets the final say in anything the Dixie Chicks get to do from this point onward:

“I just don’t feel like it’s the Dixie Chicks’ time. I feel like things were tainted permanently. So, I struggle with going out on five Grammys or going out — petering out.”

But she must end by making sure she’s totally clear:

“I’m still in the Dixie Chicks; we haven’t broken up … I love the Dixie Chicks; it’s the most fun I’ve ever had in my life. It was like winning the lottery.”

I can easily forgive someone who puts their foot in their mouth with a largely unfortunate gaffe insulting the President of the United States. Her behavior on March 10, 2003 was certainly uncalled for, but it never really bothered me – people say idiotic things, blah, blah, blah. It didn’t damper the artistic excellence of Home and it led to one of the most complete artistic statements I’ve ever heard, Taking The Long Way.

The Chicks were better for Maines’ comment because it broke down the barrier of fear and insecurity blocking deeply honest truths and shockingly raw sensibilities. Taking The Long Way showcased a band in full alignment with their authentic selves, an unapologetic force for both personal and social justice. With the levee not just broken but demolished, I had great anticipation for their artistic future – especially after convincing myself they’d never make a record as good as Home again. Instead they made a record that rendered Home an act of child’s play.

The real effect of their commercial demise wasn’t the open wound they left in country music but its inability to properly heal. The Dixie Chicks took the high quality of early-2000s country down with them, and the state of country radio has never recovered, more and more a parody of its former self each and every bygone year. They took with them the challenge to be great, to sing intelligent songs, and fill your records with the lyrics of strong insightful songwriters. Think about it. Had the Chicks proceeded as normal, without alienating most Americans, we’d likely been spared such dreck as “Tequila Makes Her Clothes Come Off,” “Dirt Road Anthem,” “Truck Yeah,” and “Cruise.”

They managed to make bluegrass, the genre Dierks Bentley couldn’t make country radio play with a ten foot pole, not just cool but profitable. They turned a cover of a Fleetwood Mac song into a radio smash. Heck, they put the banjo and fiddle in the forefront of mainstream country again. They even managed to turn in one of the coolest Bob Dylan covers in recent memory. They climbed musical mountains and made the impossible, possible.

Now it seems, it was all for nothing, at least to Maines. I understand the desire to change directions and make a solo rock album, but burning the last pillers of the bridge that made the rock album possible? Acting with complete disregard for anyone and everyone who may’ve bought an album in the past? Come on. Maines should be grateful to be talking about another album at all. The damage she did with “the incident” was bad, but this is taking things too far.

I love how she refers to her career in country music as a “job.” As though being a country singer is just another hat to wear. It amazes me that she could lead a genre she has so little regard for. I completely understand the alienation she feels from the country music community – I’ve never seen anyone turn that quickly on someone ever. She was banished to the guillotine faster a citizen speaking out against a ruthless communist dictator. It’s hard to believe even the most outspoken of country singers – Steve Earle, Merle Haggard, etc – didn’t see fit to rally behind her. But that’s not the point, is it?

Maines has made us all the fools. She’s turned her outspoken nature around to make us look bad. Like we were pawns in this big facade, supporting someone just going along for the ride, fulfilling the duties of a job. An actor in the meatiest role never to nab an Academy Award. But there’s a big difference now – our eyes are open. The fans can see right through Maines, a onetime FUTK fashionista. Her inability to be genuine is downright sickening. She’s nothing but a glorified knucklehead, talking just to hear herself talk. And enough is enough. Maybe the world is better without that Dixie Chicks album we’ve been long awaiting, if it means she takes her mouth and just goes away. At least until she has regard for something, and more importantly, someone.

Now, I still love the music of the Dixie Chicks. And The Court Yard Hounds. There’s something warm and inviting about Maine’s singing voice that speaks to me. I’ve often been very good at separating people from their art. How can you not? Almost everyone in the entertainment business has said some stupid thing at one point or another. That’s why I will be buying Maines’ solo rock album Mother this May. I’m glad she’s back with new music. Now if she’d just shut up and let that music do the talking. It would be a nice change, and might restore the last faded strain of credibility she might have left.

Now, as pissed as I am at her continued lack of self regard, I’m glad she did the Howard Stern interview. I’ve (and country fans) have waited long enough for news about a new Chicks album, and this is the update we’ve needed for so long – straight from the horses’ mouth. But we should’ve been careful what we wished for.

Album Review – Easton Corbin “All Over The Road”

Easton Corbin

All Over The Road

* * * 1/2 

Upon the release of his self-titled debut in 2010, Easton Corbin was branded as the savior of country music thanks to his neo-traditional sound and George Strait-like vocal approach. Corbin showed promise, and scored back-to-back #1s, but his debut felt too safe, like he was aiming to please by recording songs that were middle of the road and took few risks.

Unfortunately that trend continues with All Over The Road and I can fully understand why. In our post “Neon” and “So You Don’t Have to Love Me Anymore” society, it’s clear that neo-traditionalism is being pushed out in an effort to “Kick It In The Sticks” with “The One That Got Away” while we “Tip It On Back” and “Take A Little Ride.”

But thankfully Corbin and producer Carson Chamberlin didn’t completely sacrifice quality at the price of commercial viability. There actually are some excellent songs thrown into the mix, and if country radio will play them, they might turn into big hits.

I’ve been a big fan of the lead single, Jim Beavers and Bob DiPiero’s “Lovin’ You Is Fun,” the catchy two-step number currently sitting at #8 and climbing. The easygoing nature of Corbin’s vocal coupled with the beautiful stands of steel guitar laced through the arrangement more than sell the song while the upbeat nature means its perfect fodder for heavy rotation at radio.

I also love the romantic “A Thing For You,” which Corbin co-wrote with Chamberlin and Tony Lane. Sounding like a long-lost mid-90s shuffle, the track succeeds because its light as air and turns the mournful steel guitar into an optimistic delight.

“Only A Girl” co-written by Chamberlin with Will Nance and Wade Kirby exists in much the same fashion, and is very ear catching. The hook of “It’s Only a Girl/There’s A Million of them in this Town” is kind of basic, but Corbin makes up for it by injecting the track with his personality.

Another standout is album highlight “Tulsa, Texas,” which Tony Lane co-wrote with Mike Lane and David Lee. Another upbeat steel infused honky-tonker, it didn’t make the cut for Corbin’s debut, but he liked it so much he put on here.

It’s easy to see why, as it boasts the best lyric on the album with the story of a guy telling his ex where she can find him:

I’ll be down in Tulsa, Texas, Tallahassee, Tennessee

Memphis, Mississippi, it’s probably where I’m gonna be

Albuquerque, Alabama, St. Lou, Louisiana

If you wanna find me, you can find me in Tulsa, Texas

Another favorite is the closer, Tom Shepherd and Jeff Silvey’s “I Think Of You,” which sounds like the best Zac Brown Band song they didn’t record. A perfect country tune, Chamberlin did a wonderful job of opening the track as a piano ballad before bringing in the steel, fiddle, drums, and guitars. That beginning allows Corbin to display his venerability and showcase how he’s grown since his debut.

Likely second single “Are You With Me” is a little slicker than we’ve come to expect from Corbin, but it never becomes bombastic thanks to the healthy dose of steel in the not-to-distant background. The romantic ballad also succeeds because of Corbin’s tender vocal, but the track would’ve been even better had it been a duet with someone like Carrie Underwood or Miranda Lambert or maybe even Kellie Pickler or Lee Ann Womack.

A duet would’ve given the album some added spice, which wouldn’t have hurt the proceedings, which were brought down by the addition of a few throwaway tracks. “That’s Gonna Leave A Memory,” “This Feels A Lot Like Love” and the title track are all okay in their own right, but feel like light weight filler. They’re the kind of songs Alan Jackson has been getting away with for more than a decade – indistinguishable honky-tonkers where you swap lyrics out of the same basic melody over and over again. I’ve been over this practice since before it began and don’t want to see Corbin brought down by it.

“Hearts Drawn In The Sand” has a solid story, but kind of feels like the type of song given to a new artist when they’re trying to establish themselves. I wasn’t impressed by its inclusion here, although Corbin does his best with what he’s given to work with.

But I really like “Dance Real Slow,” even if it has the same fiddle licks as Strait’s “Amarillo By Morning.” I love the accents of fiddle throughout and the whole vibe of the song just works.

Overall I really like All Over The World. When I was listening to it, I kind of felt like I was back in 1995 listening to Daryle Singletary, but the more I dig in the more solid the album feels. He definitely could’ve stood to take more risk and stretch himself (does every song have to be about a girl?) but he proves here he’s one of the good guys, even if he should rough himself up a bit more.

The 2012 CMA Nominations: The year that, well, just couldn’t

Such as they are, here’s the CMA nominees list for 2012 with my comments and Will Win / Should Win picks:

Entertainer of the Year

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

The usual solid, yet unspectacular group. The lack of Carrie Underwood will have all her fans fuming as usual and everyone else will bark at the inclusion of Swift, a two time winner and the incumbent, for her increasing lack of country credibility.

Will Win: Taylor Swift – I’m betting on the safest choice this time around. She’s the most likely to pull off a win, her third. Chesney may’ve had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.

Should Win: Luke Bryan, but he wasn’t nominated. As an all around entertainer, he’s so much better than Aldean, the only one who stands to keep the award out of Swift’s hands.

Female Vocalist of the Year

Kelly Clarkson
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood

Kelly Clarkson, really? I adore her but she hasn’t fully embraced a career in country music…yet. But she did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally justified. McBride is a snoozer scoring her 14 consecutive nomination and 15th overall as her career takes a downward spiral.

See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.

Will Win: Lambert – she’s at the top of the heap and the countriest of the big 3

Should Win: While I’d love to see this award go to Clarkson, she’s a pop singer who’s done a bang up job covering country songs in concert. That’s it. I’ll say Lambert because of her intuition with Pistol Annies

Male Vocalist of the Year

Jason Aldean
Luke Bryan
Eric Church
Blake Shelton
Keith Urban

Another somewhat standard list until you take into account Urban is here in place of the red hot Dierks Bentley. His exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should’ve joined Brad Paisley and been made to sit this one out this year.

Will Win: Shelton – there’s seemingly no stopping him right now despite one mediocre single after another.

Should Win: Bryan. While I love Church, Bryan is the most exciting male vocalist to come along in years and a personal favorite of mine.

Vocal Group of the Year

The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town
Zac Brown Band

On chart hits alone, all five deserve to be here this time around. It’s nice to see the exclusion of Rascal Flatts as their already bland material has only gotten worse in recent years.

Will Win: Lady Antebellum – is there any reason to bet against them?

Should Win: Little Big Town – Their latest single “Pontoon” isn’t just their biggest single, but its country music’s song of the summer. Zac Brown Band has also yet to score a deserving win, but LBT has been waiting for their time in the spotlight for far too long.

Vocal Duo of the Year

Big & Rich
Love and Theft
Sugarland
The Civil Wars
Thompson Square

Another interesting list. Sugarland shot themselves in the foot with Incredible Machine and thus are the least likely to repeat in this category. Love and Theft just scored their first #1, and Thompson Square have the ACM momentum.

Will Win: Thompson Square – they’ve yet to repeat the monster success of “Are You Gonna Kiss Me or Not” in their last two tries, but they’re far from one hit wonders. Shawna may not be the most flashy female vocalist, but she’s the most akin to the genre’s traditions.

Should Win: The Civil Wars – there isn’t a more ear catching duo in country music right now

New Artist of the Year

Lee Brice
Brantley Gilbert
Hunter Hayes
Love and Theft
Thompson Square

If we ever needed proof country music is in a rut, this is it. No one on this list has proven truly outstanding in anything they’ve done to date, and none have displayed the integrity to correctly push the genre forward.

Will Win: Brice, Gilbert, and Hayes are so even I can’t predict between the three. That may give Thompson Square the edge.

Should Win: Thompson Square – of this group, they’re the best of the bunch

Album of the Year

Luke Bryan, Tailgates and Tanlines
Eric Church, Chief
Miranda Lambert, Four the Record
Dierks Bentley, Home
Lady Antebellum, Own the Night

The significance of this category is huge. For the first time since his MCA debut When I Call Your Name, Vince Gill isn’t nominated. Guitar Slinger was one of the best country records of 2011 and deserved to be on this list. Also missing are George Strait’s Here For A Good Time, despite the fact his last two albums won, and Pistol Annies for their excellent Hell on Heels.

But rest assured, we get Own The Night. The category wouldn’t be complete without it now would it?

Will Win: Own The Night - if its good enough to get a Best Country Album Grammy, than it can’t loose here, right?!

Should Win: Chief – The Church album is the best of this list and the most original commercial country album of 2011. Four The Record was good, but nowhere near the caliber of Chief.

Song of the Year (Award goes to songwriters)

“Even if It Breaks Your Heart” – written by Will Hoge and Eric Paslay
“God Gave Me You” – written by Dave Barnes
“Home” – written by Dierks Bentley and Jon Randall Stewart
“Over You” – written by Miranda Lambert and Blake Shelton
“Springsteen” – written by Eric Church, Jeff Hyde and Ryan Tyndell

Another boring list. The exclusion of “So You Don’t Have To Love Me Anymore” is a travesty, and George Strait should’ve been honored for his songwriting contributions to Here For A Good Time. But the inclusion of “Springsteen” is all that matters to me.

Will Win: “Over You” – I can already see Lambert and Shelton accepting this together and I’m very happy about it

Should Win: “Springsteen” – its the best song of this bunch hands down

Single of the Year (Award goes to artist and producer)

Jason Aldean, “Dirt Road Anthem”
Blake Shelton, “God Gave Me You”
Dierks Bentley, “Home”
Little Big Town, “Pontoon”
Eric Church, “Springsteen”

Aren’t the nominations for Aldean’s awful rap over? Shelton, meanwhile, has been nominated for one of his grossest productions ever. Bentley’s patriotic anthem is wonderful, and Church’s ode is his best single yet.

Will Win: I’m leading towards, “Home” but could also see “Springsteen” sneak in a win. But as far as singles of the year go, “Pontoon” is about as big as it gets

Should Win: “Pontoon” – sure its frivolous, but unlike the Aldean hit its harmless fun, and LBT deserve anything the CMA decide to throw their way

Musical Event of the Year

“Dixie Highway,” Alan Jackson and Zac Brown Band
“Feel Like a Rock Star,” Kenny Chesney and Tim McGraw
“Roll Me Up and Smoke Me When I Die,” Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
“Safe and Sound,” Taylor Swift featuring the Civil Wars
“Stuck on You,” Lionel Richie and Darius Rucker

The most thought out and interesting list, by a wide margin. The Jackson duet is his most exciting song from Thirty Miles West, the Swift duet is the most compelling single of her career, and the Nelson song is an hilarious classic in the making. The reworking of Richie’s classic suits him and Rucker well while the only clunker is the awful excuse for Chesney and McGraw to sing together on stage this past summer.

Will Win: “Feel Like A Rockstar” – the CMA can’t resist when two genre superstars team up

Should Win: “Safe and Sound” – putting Swift aside, its the most compelling track and another reason why The Civil Wars are currently the genre’s best duo.

Music Video of the Year

Eric Church, “Springsteen”
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You”
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”

Of these, Church has the best video, followed by LBT. What’s so remarkable about the whole “Pontoon” thing is LBT haven’t caved into any pressure to act like 20 year olds. They’re being completely themselves all the while making millions.

Of the others, The Keith video is stupid fun, Chesney is all sex and no substance, and Lambert is as boring and depressing as the song.

Will Win: “Red Solo Cup” – as stupid as the song, but captures it perfectly

Should Win: “Pontoon” – lets have fun with this one, and this video is pure fun in the sun. But if Church only ones award, it’ll likely  be this one

Musician of the Year
Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally

The award I know the least about, but all talented musicians. Can’t go wrong with any of them.

Will Win: Mac McAnally – too strong to bet against

Should Win: Sam Bush – for some variety

 

Concert Review – CMA Songwriters Series at the Royale Boston (Featuring Carrie Underwood)

Luke Laird is one of the coolest dudes on earth.

At least that’s the perspective I gleaned from his participation in the CMA Songwriters Series, back for its sophomore outing in Boston, July 31. Laird lacked the I-aim-to-please convention of the other participants, and thus gave the deepest insight into the songs that came from his pen.

Laird peeled his material back to its original form, often exposing the forged purity of country radio. He restored “Hillbilly Bone” to its country-rap beginnings, turning in a far more interesting song than Blake Shelton and Trace Adkins took up the charts in 2009/2010. He also sang the real lyrics to “Pontoon – ” it’s “back this bitch up into the water” not “back this hitch up into the water.”

To an outsider those amendments can seem insignificant; even pointless. But they reveal an authenticity about his writing process; a glimpse into his psyche. Laird is a very provocative writer, an outlander in a world of convention. By night’s end I was longing for the opportunity to jet down to Nashville and spend an afternoon with him.

The whole night was indicative of that feeling, turning songwriters into  stars, and Carrie Underwood into their equal, not a celebrity amongst peons. The round robin style contributed to that, lessening any opportunity to upstage anyone else.

The remarkable fact of the evening, far more noteworthy than a sold-out crowd, was the crop of songs sung, some of the blandest in recent memory, ones often filling up “worst songs of the year” lists on country blogs. But for two hours on a Tuesday evening that hardly mattered, as personality far out shined quality.

The affable Bob DiPiero hosted the evening, keeping the proceedings moving along, scolding a group of talking fans, and giving a shout out to the countless others watching via live stream. As a still relevant member of the 90s guard (and one time husband of Pam Tillis), DiPiero should’ve been the avenue for a trip down memory lane, but instead he chose to focus on his more recent, post millennium compositions (“If You Ever Stop Loving Me,” “Gone”).

DiPiero did turn the clock back once, however, singing a song he wrote about the daughter of his friend who showed up at his house in a red convertible. I was thinking he was going to sing the 1997 Collin Raye smash “Little Red Rodeo,” but instead DiPiero took on “Daddy’s Money” his #1 hit for Ricochet from 1996. I was nervous it wouldn’t go down well (who would know that song?), but it was one of the night’s most well-recieved moments.

The showcase, more panel than fluid concert, went down the line, letting each songwriter take turns on something they wrote. The evening had a wonderfully intimate feel in part because everyone was sitting down and also because of the acoustic guitar backing. DiPiero sat on the far left followed by Laird, Underwood, Hillary Lindsey, and Brett James.

The focus on post-2000 material pandered to the largely newer-country-fan crowd, and it showed in their marked excitement for what was being sung. DiPiero revved the crowd with opener “Southern Voice” (his excuse to write a song with the line “Appalachia Cola”), while Laird had everyone singing along to “Take A Back Road,” the gravel-in-my-travel ode to the cultural differences in upbringings between him and his co-writer Rhett Akins.

After the requisite jokes regarding his longer-than-usual hair moved the spotlight off his music, James, a 90s recording star, got the crowd going with a fine version of his Ashley Monroe co-write “The Truth,”  Jason Aldean’s career highpoint, as well as fine versions of “Mr. Know It All” and the sing-a-long “When The Sun Goes Down.” James was easily the night’s most annoying participant, whither it was the deep gravel of his vocals (blamed on a cold) or his cocky attitude.

As much as the focus shifted to other well-known compositions, the night belonged to Underwood. This meeting of the CMA Songwriters was meant as a showcase for her material, as much as for everyone else’s.

Underwood opened with “So Small,” her first linkage with Laird, and his first #1 as a songwriter. Throughout the night she also rolled through past hits  ”Undo It” and “Temporary Home,” all while dressed more causally in pants and a white top, accented with her little-past-shoulder length hair in tight blond curls. She appeared as relaxed as any on stage, an everywoman among her peers.

This ego-less attitude extended to Lindsey who used her spotlight to showcase her connections with Underwood. She spoke lovingly of hoping the recently signed Idol winner would even consider recording one of her songs before launching into “Jesus, Take The Wheel,” the inaugural collaboration between songwriter and singer.

The songs she wrote for, and with Underwood, stole the show. They teamed up twice on Blown Away album cuts – “Do You Think About Me” and “Two Black Cadillacs.” Both proved excellent, and succeeded as pitches to get them released as singles (and in that order). The performance of “Cadillacs,” was a spoiler though, as the stripped down atmosphere is a much better setting for the, as Underwood put it, “sinister” lyrics.

On the opposite end of the spectrum, James took his turn and apologized in advance for, a comical reading of “Cowboy Casanova” that came off like a drunk guy doing grating bar karaoke. It marked the night’s most annoying moment, almost frat like in nature. I’m just not as big a fan of that particular composition as I thought, and after only three years, its proving not to age well.

Of all, Lindsey appeared the most carefree, whimsically seducing the audience with her charisma. Her need to pee turned into a running gag she kept comical, an accentuation of her southern charm and ability to develop a rapport with the audience.

This palpable charm extended to her detours from her connections with Underwood, most notably “American Honey,” her co-write that became a hit for Lady Antebellum. Better than any, the song fits Lindsey’s overall persona like a glove, as she exudes the same innocence projected by the lyrics. Lindsey also sang a new song, one not yet recorded, entitled “Concrete Heart.” If country radio can put aside the frivolous material currently hawking spins, it should be a hit for someone. I look forward to seeing who records it (Underwood, perhaps?).

The night’s musical highlight came with the ridiculously fun “Pontoon,” as Underwood shared an e-mail she wrote to Laird congratulating him  on his next #1. Even better were Underwood’s attempts at helping Laird sing it, blanking on half the bridge before turning out the final “motorboatin’” solo, in her soft girly voice. (Excerpts of it can be heard in the viral video ”Pontoon Party.”)

But what I greatly appreciated from the whole evening was the atmosphere. I came away wanting to be friends with all on stage, and I couldn’t believe songwriters (non, apart from James, have released albums) could be so entertaining. But more than that, the acoustic setting reeled in Underwood’s wild abandon, and she was able to sing without dancing around distractedly.

That’s a feat in and of itself and it put the focus back on the music, not Underwood the stage performer (which could use major polishing). Without the loud production everyone could be heard and thus the music could be appreciated. It makes such a difference in a concert when everyone on stage can be heard. And kind of surprisingly, the multiple acoustic guitars sounded so full, you didn’t miss the band. 

 I knew buying tickets, the night had the potential to be a very special gathering, a once in a lifetime opportunity to witness a performer at the peak of their abilities in a very rare setting. I didn’t really know what to expect going in, and I came away having my expectations exceeded.

If you ever have the chance to catch one of these gatherings, seize the opportunity with gusto. They happen country wide during the whole year and offer more satisfaction for country fans, than any major Kenny Chesney or Taylor Swift styled tour. At least they did for me anyway.

The CMA Songwriters Series is just another in a long list of genre only happenings, that make me proud to be a country music fan and reinforce my stance, that I’m musically right where I belong.

Concert Review – Kelly Clarkson Stronger Tour – Wang Theatre – Jan 26, 2011

It seems like Kelly Clarkson is everywhere. She had an Unplugged special on VH1 last November, she sang on the AMA Awards and VH1 Divas Soul, was announced as a mentor on Blake Shelton’s team for The Voice, and she performed as the musical guest on Saturday Night Live. And not to be out done on the biggest night in sports, she’s singing the National Anthem at the Super Bowl.

I hardly remember a similar media blitz in her ten year career. Clarkson’s mangers and publicity people seem to be working overtime to make sure she has her fill of the spotlight. In between all these events, she’s also touring.

I never knew I wanted to see Clarkson in concert until I saw a notice about her Stronger tour from her Facebook page. I looked over the dates and found she was coming to the Boston Area at the end of Jan. I really wanted to go, but getting tickets proved challenging as they were already on sale and likely sold out. But being persistent paid off as good seats, too good to pass up, became available.

I don’t have a distinct recollection of ever attending a show at The Citi Performing Arts Wang Theater before, so I was really looking forward to the experience. I love the old classy theaters in Boston and have seen many a musical in town. This was my first “rock” concert at such a venue and it worked surprisingly well.

Favorite Songs by Favorite Artists: Kelly Clarkson

I’ve never really admitted this before, but I’m a huge fan of Kelly Clarkson. No, I didn’t watch her compete on or win the inaugural season of American Idol. I fell in love with her after hearing “Breakaway” for the first time in 2004.

When I bought her album in Jan 2005 I was surprised to like it. As a country music fan, I’m not easily drawn to pop music. But I didn’t just like the Breakaway album I loved it. It’s easily my favorite pop recording of the 00s. I had become a fan.

On that premise I bought My December in 2007. I was so shocked by the contrast in sound to Breakaway, I sort of gave up on Clarkson. Fearing All I Ever Wanted would only make me wish for a return to her Breakaway glory, I skipped that album entirely.

Now, I’m hardly a fair weather fan. I love Clarkson’s music so much, I begged for her to be good again. After she sang “Don’t You Wanna Stay” with Jason Aldean, she reclaimed the glory I was hoping she’d come back to.

Now I’m mad I skipped All I Ever Wanted but consider it a lesson learned. It’s  taken until this year to finally dive in and become the fan I should’ve been since that day in 2004 when she captured my attention with one little song.

Here are my 25 personal favorite Clarkson recordings with my two favorite albums Breakaway and Stronger receiving ample attention. If this level of quality continues into the next ten years of her career, there’s no telling where she’ll be able to go.

Album Review – Kelly Clarkson – “Stronger”

Kelly Clarkson

Stronger

* * * *

At first listen, Stronger seemed like an album in desperate need of a vacation in sound. But the richness of this project became more clear to me as I kept hitting the repeat button on the CD player.

Lead single “Mr. Know It All” is a sunny and upbeat pop number complete with an infectious beat and charming vocal from Clarkson. It’s one of those songs that effortlessly glides off the tongue so much so, you don’t know you’re singing along until it’s over. Co-written by country songwriter Brett James with Brian Seals, Ester Dean, and Dante Jones, I much prefer the original pop recording over the country one because it sounds more natural.

The dance pop “What Doesn’t Kill You (Stronger),” the second single, also delivers on the charm. The beat and melody are so contagious, you can’t help but want to sing and dance along. In addition, “Stronger” succeeds in taking the proverb that inspired it and presenting it in a way that sounds fresh opposed to trite. It could’ve so easily been caught up in what inspired it, but the writers (Jorgen Elofsson, Ali Tamposi, David Gamson, and Greg Kurstin) succeed in making it an anthem.

Luckily, the rest of the album follows suit in matching the quality of the singles. If you’re looking for Clarkson to build on the success of “Don’t You Wanna Stay,” her duet with Jason Aldean, than you’ve come to the wrong place.  She loves and appreciates country music, but she sings pop music because it’s the most natural fit.

My “Chaos Theory” playlist

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.

Top 45 favorite country singles of 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.

Top 40 Worst Country Singles of 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.

30 Day Song Challenge

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.