Posts Tagged ‘Rosi Golan’

Album Review – Little Big Town – “Tornado”

September 18, 2012

Little Big Town

Tornado

* * * *

You’d think the combination of irresistible four part harmonies and a keen sense of song would be the makings of country music royalty, but Little Big Town have had more starts and halts in the past ten years than just about any mainstream act. They more than won the respect of the industry, but never quite latched onto the fans and country radio.

Their fifth album, a deliberate attempt to reverse those fortunes, is the group’s first to utilize producer-of-the-moment Jay Joyce, a smart decision that presents the quartet in a new and exciting light. Thanks to a stellar collection of songs tastefully sung and framed, Tornado blows recent releases by Dierks Bentley, Carrie Underwood, and Zac Brown Band out of the water and is easily the best mainstream country album since Eric Church’s Chief (also helmed by Joyce) came out a year ago.

Tornado works because it tampers with their core formula without sacrificing the qualities that have endeared them to the country audience for the past ten years. Platinum selling lead single “Pontoon,” a Luke Laird, Natalie Hemby, Barry Dean co-write about summertime fun on the water got them off on the right foot, and recently became their first number one.

Anchored by Karen Fairchild’s commanding lead vocal and a slinky ear-catching beat, the song works because it isn’t a mid-life ploy at reclaiming adolescence, but rather three minutes of harmless fun aboard a boat. The second verse should’ve been developed more fully, but it works really well as a concept, and the arrangement is one of my favorites of any single this year.

Tornado matches the exuberance of “Pontoon”, but in most cases exceeds it. I’m really enjoying the album’s opening four tracks, each one a showcase for a different member of the group. Jimi Westbrook takes the lead on “Pavement Ends,” Fairchild on “Pontoon,” Kimberly Schlapman on “Sober” and Phillip Sweet on “Front Porch Thing.”

Westbrook, the thinnest vocally of the group, is adequate on “Pavement Ends,” Jason Saenz and Brent Cobb’s rollicking ode to dirt road partying, one of the more exciting songs on the subject matter. His male counterpart, Sweet (one of my favorite male vocalists in contemporary country), is excellent on “Front Porch Thing,” a wonderful banjo-led song about kicking back on a front porch with an old guitar and a song to sing.

But Schlapman is a revelation on the beautiful “Sober,” easily the album’s standout number. Written by Liz Rose, Hillary Lindsey, and Lori McKenna, the mandolin centric track is a sweet ballad about being drunk on love. I thoroughly enjoy how Joyce masterfully stands back and uses a less is more approach, allowing the gorgeous four part harmonies, and stunning chorus, to steal the show.

Other album highlights include the first-rate title song and second single, a sinister Bobbie Gentry-like ballad about a woman seeking vengeance on her cheating boyfriend. Written by Hemby and Delta Maid, and effectively sung by Fairchild, the track blows away Underwood’s latest (which tackles a similar theme) and works thanks to the tasteful spooky guitars and moody vibe.

I also love the Westbrook fronted “Leavin’ In Your Eyes,” which Joyce turns into a 1970s inspired soft rock opus, complete with a simple driving beat. The use of Fairchild and Schlapman on harmony vocals was a brilliant decision, as it helps to make the song more interesting than if the foursome sang together.

“Can’t Go Back,” written by Hemby with Kate York and Israeli-born Rosi Golan is another striking ballad and a fine showcase for the band’s signature harmonies, while album closer “Night Owl,” written by the band with Hemby, is a gorgeous reverse of “Leavin’ In Your Eyes” in which Fairchild and Schlapman take the lead while Westbrook and Sweet take the harmonies. “Night Owl” is another of my favorites sonically and nicely frames the group’s delicate vocals with lush acoustic guitars

Not all the tracks work, however. Sung as a duet by husband and wife Westbrook and Fairchild, “Your Side of the Bed” is a rip-off of Gretchen Wilson’s “The Bed,” down to the story of a failing marriage under the microscope in the bedroom. I’m having a difficult time believing the couple’s pain and the use of harmonies in the chorus. A better decision would’ve been to have Westbrook or Fairchild sing it solo, as the harmonies dilute the song’s emotional heft. I love the idea of the track as a duet, but it plain doesn’t work for a four-part group.

“On Fire Tonight” is an attempt at amped up rock that’s well presented and sung, and should work wonderfully in a live setting. But on record the Laird co-write with band comes off as underwhelming and a bit subpar for the group that has proven (even on Tornado) they can do a lot better.

I’m also having trouble getting into “Self Made,” which probably has a nice message, but is overtaken by a disastrously cluttered production that’s so bombastic, its hard to hear what the group is singing. Joyce, who should’ve kept with the rest of the album and continued with the less is more approach, failed Hemby and Jedd Hughes’s co-write with Westbrook and Fairchild.

All and all, Tornado is an excellent mainstream country album and the strongest so far this year, bar none. I’m finding it impossible to drum up excitement for mainstream country these days but Little Big Town has managed to do that for me. I was so afraid they were on the path to compromising themselves at the price of commercial viability, but thankfully I was wrong.

Tornado isn’t a masterwork like Kathy Mattea’s Calling Me Home, but I’m confident in saying it stands next to the likes of Sugarland’s Love On The Inside, Miranda Lambert’s Revolution, and Trisha Yearwood’s Heaven, Heartache, and the Power of Love as some of the best mainstream fare released in the past five years.

It’s a good day to be a Little Big Town fan

July 18, 2012

There aren’t many announcements in modern country worth even a modicum of excitement, but news of brand new music from Little Big Town (Tornado, their fifth album, hits Sept. 11) is worth shouting from the rooftops.

Why? Because their the most consistently good and highly underrated band in country music gunning for radio airplay.  Their brilliance as a tight unit has led to some of this century’s most interesting singles from “Boondocks” and “Bring It On Home” to “Fine Line” and “Little White Church.”

That keen ear for song selection looks to continue with Tornado as the crop of writers chosen to pen the songs are among Nashville’s strongest from Lori McKenna to Jedd Hughes to Luke Laird.

The overwhelmingly intoxicating “Pontoon” has exploded as the lead single, hitting the top 15 in eleven weeks while also sitting atop the iTunes country chart for most of the last two months.

So what accounts for the change of heart from radio and fans?

A modification in sound for one. Out is Wayne Kurkpatrick, the mastermind behind their Road to Here-Place To Land-Reasons Why albums and in is Jay Joyce, the man behind Eric Church’s style of country. This change has lit a fire within and created a hunger missing from their previous music. There’s a new determination now to force country radio to stop ignoring them, once and for all.

Only time will tell if subsequent singles match the buzz of “Pontoon.” I’m in love with the sound of this song for sure, but the very underwhelming second verse, which misses (as well as desperately needs) a second half, irks me to no end and displays the laziness penetrating most of the lyrics in modern country. But, I’ll be darned if there is a cooler sounding song currently vying for radio airplay.

Thankfully, though, to hear Jimi Westbrook talk about Tornado, there’s a lot to get worked up about:

“I am so excited for people to hear this new record. “Jay really pushed us to be in the moment. There was such an amazing energy between all of us in the studio and I think you can feel it.”

Here’s the album’s cover, complete with their rebranding campagin:

Here’s the track list:

1. “Pavement Ends”
Jason Saenz/Brent Cobb

2. “Pontoon”
Barry Dean/Natalie Hemby/Luke Laird

3. “Sober”
Liz Rose/Hillary Lindsey/Lori McKenna

4. “Front Porch Thing”
Chris Stapleton/Adam Hood

5. “On Your Side of the Bed”
Lori McKenna/Karen Fairchild/Jimi Westbrook/Kimberly Schlapman/Phillip Sweet

6. “Leavin’ in Your Eyes”
Brett Warren/Brad Warren/Jay Joyce/J.Westbrook/K.Fairchild/K.Schlapman

7. “Tornado”
Natalie Hemby/Delta Made

8. “On Fire Tonight”
Luke Laird/P.Sweet/J.Westbrook/K.Fairchild/K.Schlapman

9. “Can’t Go Back”
Natalie Hemby/Kate York/Rosi Golan

10. “Self Made”
Natalie Hemby/Jedd Hughes/J.Westbrook/K.Fairchild

11. “Night Owl”
Natalie Hemby/J.Westbrook/K.Fairchild/K.Schlapman/P.Sweet

Is it too much to ask for September 11 come just a bit faster, please?


Follow

Get every new post delivered to your Inbox.