Album Review: Lorrie Morgan & Pam Tillis – ‘Come See Me and Come Lonely’

Lorrie Morgan & Pam Tillis

Come See Me and Come Lonely

* * * 1/2

Come See Me and Come Lonely, Lorrie Morgan & Pam Tillis’ second collaborative album, is strictly a covers record with their version of twelve classic country songs ranging from the familiar to the slightly obscure. I didn’t even have an inkling this record was in the works, so count me among the pleased, and surprised when news broke about the impending release this past summer.

The album was produced by Richard Landis, who has handled the majority of Morgan’s production duties for more than 25 years. While he maintains the essence of each song, he updates the arraignments just enough to give the album a contemporary flair that allows the album to feel modern and not note-for-note recreations of the classic recordings from which these compositions are most known.

His choices result in a very good album that unfortunately begins with K.T. Oslin’s romantic ballad “Do Ya” sung as a duel-lead duet. The results are ridiculous but Tillis does bring vigor to an otherwise lifeless song. I had no idea what to expect from another seemingly random choice, Dwight Yoakam’s “Guitars, Cadillacs.” They handled the song with ease, as though it was born from a Nashville honky-tonk.

Skeeter Davis’ version of “The End of the World” has always been too schmaltzy and slightly comedic for my twenty-first-century ears. Morgan and Tillis’ interpretation is gorgeous and brings the underlying heartbreak in the lyrics to the forefront. “It Doesn’t Matter Anymore” is similarly excellent and a brilliant nod to Tillis’ sound and style from the early 1990s.

The title track is brilliant and actually improves upon the version Dottie West released in 1978. I like their rendition of “Walk Right Back” and love how the emulate the Everly Brothers with their close-knit harmonies.

Morgan all but knocks Sammi Smith’s “Saunders Ferry Lane” out of the park, but I’ll always wonder how it would’ve sounded without so much age on her voice. “Rose In Paradise” is a southern gothic beauty, anchored masterfully by Tillis. My favorite track on the album is “Summer Wine,” presented as a duet with Darryl Worley and an almost unrecognizable Joe Diffie.

Tackling anything written and sung by Roy Orbison is a feat and Morgan and Tillis fall short on “It’s Over,” which just isn’t to my tastes at all. An acoustic take on “Blanket On The Ground” would’ve allowed Morgan and Tillis’ harmonies to shine, whereas the version they gave us drowns them out with obtrusive clutter.

Come See Me and Come Lonely isn’t a perfect album but there are some stunning performances throughout. Morgan and Tillis are on top of their artistic game even if the arrangements are too loud on occasion. I highly recommend checking this one out.

50th CMA Awards: Grading the Twenty Performances

Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:

20.

Beyoncé Feat. Dixie Chicks – Daddy’s Lessons

The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.

Grade: F

19.

Kelsea Ballerini – Peter Pan

I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.

Grade: F 

 18.

Luke Bryan – Move

Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.

Grade: F 

 17.

Florida Georgia Line feat. Tim McGraw – May We All 

Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.

Grade: F  

16.

Carrie Underwood – Dirty Laundry

The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.

Grade: D+

15.

Thomas Rhett – Die A Happy Man

The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.

Grade: B- 

14.

Keith Urban – Blue Ain’t Your Color

A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.

Grade: B

13.

Dierks Bentley feat. Elle King – Different for Girls 

At least Bentley wasn’t showcases the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.

Grade: B 

 12.

Martina McBride, Reba McEntire, Kacey Musgraves, Jennifer Nettles and Carrie Underwood – Dolly Parton Tribute 

I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.

Grade: B

Predictions for the 50th annual ACM Awards

To celebrate their 50th anniversary, The Academy of Country Music Awards is being held at AT&T Stadium in Dallas, TX  this Sunday on CBS. Blake Shelton is returning for his fifth year as host while Luke Bryan will co-host for the third consecutive time. Notable performers include George Strait, Reba McEntire, Garth Brooks, and Dierks Bentley along with the usual mainstream country suspects. Nick Jonas and Christina Aguilera will also take the stage as part of unique duets.

Along with the regular awards, the ACM will also be handing out specially designed 50th anniversary Milestone Awards to Taylor Swift, Kenny Chesney, Miranda Lambert, Brooks & Dunn, Reba McEntire, Garth Brooks and George Strait. (Swift is expected to accept in person despite distancing herself from the genre).

Check out the nominations, here.

Entertainer of the Year

Garth Brooks, who has six previous wins, is nominated for the first time since 2001 in a year that saw him break ticket sale records, but underwhelm with his Man Against Machine album. The absence of Taylor Swift, George Strait and Tim McGraw left the category open for some fresh blood, resulting in Florida Georgia Line’s first nomination.

Should Win: Garth Brooks – he continues to show how it’s done, twenty-five years after his debut.

Will Win: Luke Bryan – he’ll ride his CMA momentum all the way to the finish line, scoring his second win in three nominations.

Male Vocalist of the Year

Despite eight previous nominations with five wins, it’s not shocking to see Brad Paisley included here. But after such an underwhelming year, it’s still surprising to see him included in a six-way tie. Dierks Bentley scores his second nomination in ten years, while half of the remaining four consist of previous winners. Jason Aldean has taken home this award for the past two years.

Should Win: Dierks Bentley – His only previous nomination came in 2005, while he was still in the promotional cycle for his sophomore album. His stature has only risen in the years since, with critical acclaim and consistent support from country radio, making him long overdue for his turn in the spotlight.   

Will Win: Luke Bryan – He’s arguably the biggest male artist in country music right now, eclipsing Aldean, Eric Church, and Blake Shelton with his stadium show, fast rising singles, and immense popularity. There’s little chance he’ll walk away empty handed, taking home his first win on his third consecutive nomination.

Album Review: Heidi Feek – ‘The Only’

Heidi Feek

The Only

* * * 1/2 

I became a fan of Heidi Feek after her profile during a season one episode of The Joey + Rory Show. During the segment, she introduced the world to her then fiancé and spoke about her love of listening to vinyl records. She’s since become a regular fixture on her parents’ television show, providing background vocals during performances and singing Patsy Cline’s “Walking After Midnight” and Hank Williams’ “Kaw-Lija” during Crosley Radio Vinyl Rewind pieces.

Like her parents Feek is a throwback to a simpler era making it easy to forget she’s in her mid-twenties, around my age. She’s a great vocalist, with a distinctively bluesy twang not far removed from Cline or torch singer Mandy Barnett. I’ve been anticipating a full-length album since that initial appearance, and while I didn’t buy her 2010 EP Eden I was quick to acquire a copy of The Only when the release was announced in late August.

Needless to say, I’m not disappointed. Feek’s first full-length album is a wonderful showcase for her distinct stylings and a fine introduction to who she is as an artist. The album blasts off with the rockin’ “I Like The Way,” an excellent electric guitar drenched number reminiscent of Dwight Yoakam, and the first of four tracks she penned solely with her father Rory. Reverb heavy “I Didn’t Know About You” (co-written by Feek, her father, and James Slater) continues in a similar uptempo vein, transporting Feek back to the Sun Records era of the 1950s while also updating that sound to keep the track modern and fresh. Similarly to “I Like The Way,” “I Don’t Know About You” succeeds on its electric guitar centric sound, giving Feek some muscle behind her energetic vocal.

“57 Bel Air,” another father daughter co-write, is not only the best of the uptempo numbers, and the strongest track on the whole project and the one song I can’t wait to hear each time I listen to the album. It picks up on the electric guitar heavy sound that threads together the uptempo numbers, but adds a distinctive drum beat that elevates the track above the rest. “57 Bel Air,” in which Feek compares her current relationship to the classic car, does the best job of maintaining the rock sound Feek loves while also keeping the track firmly within the realms of her country roots.

As a fan of Feek I was excited to hear her trademark ballads, the side of her musical personality I was most familiar with going in. Feek’s style is best summed up when she’s inspired by Cline, as she shows on “One Night With You,” a co-write with her dad, Austin Manual, and Aaron Carnahan and “There Lives A Fool,” which her dad co-wrote with Sara Evans about sixteen years ago. Both numbers are ripe with bluesy elements that allow Feek to shine vocally, although a chaotic guitar solo suffocates the end of “One Night With You.” The gorgeously understated opening of “There Lives A Fool,” featuring Feek’s vocal backed solely by an upright bass, showcases her impressive range and is one of album’s standout moments.

I also really enjoy “Someday Somebody,” the album’s first single and a co-write between Feek and her dad. The song takes a modern approach to her bluesy side with distinctive electric guitar riffs infused with a steady drumbeat framing her straightforward vocal. Even more contemporary is the title track (which Feek penned solo), a 90s country inspired ballad about a woman telling her man he isn’t the end of the line in terms of relationships. I love how the drums and guitars work together to create a gentle ease that helps guide the song along. “Berlin,” co-written by Feek, her dad, and Slater, follows the same path although it’s far more addicting with the wonderful ‘we hold on/we let go/body and soul/still I love you’ refrain keeping it memorable.

By all accounts, The Only is a solid album, although it didn’t provide the listening experience I was hoping for despite some truly outstanding numbers. There aren’t any clunkers on the project (not even a very atypical cover of “Heartbreak Hotel” that shows off Feek’s interpretation skills) but the production is too heavy handed at times, giving the album a sense of sameness that grows tiring after hearing just a few tracks. But The Only isn’t a bad album by any means, and well worth checking out.

Concert Review – Dwight Yoakam at Indian Ranch in Webster, MA

Dwight at Indian Ranch – June 23, 2013

Ever since the release of 3 Pears last fall and his double sell-out at the Ryman this spring, there’s been a buzz surrounding Dwight Yoakam. Like his seven-year stretch between studio albums of original material, he doesn’t tour with great frequency, so I jumped at the chance to see him live when my godparents scored tickets to a show in our area.

It was a typical day in late June. The mercury was creeping towards 90 degrees with threats of afternoon hail as we made our way to The Country Music Capital of New England (Indian Ranch) in Webster, MA – an hour and a half long drive from our home south of Boston.

Although I’d never been to the venue before, I wasn’t a stranger to the cheap ticket prices (they’ve gone up with the times), non-descript location, and traditional mid-afternoon starting time (all shows are Sundays at 2 p.m.). The venue, essentially a hillbilly campground, was a pleasant surprise – boarded by a picturesque lake – and the bleacher style seating not as uncomfortable as one would assume.

The atmosphere – a crowd of people (many my age or younger) who were all kinds of kinds – was the perfect backdrop for the two and a half hour show. Yoakam, dressed in a Canadian Tuxedo and his signature brown cowboy hat, looked like something from a bygone era while his band mates, dressed in shimmering suit jackets recalled a retro Vegas lounge act primed to croon do-wop anthems. Yoakam has always been an individualist, so this display of eccentricity wasn’t too startling.

He opened with the rousing “Take Hold of My Hand” before going back to 1987 with “Please, Please Baby.” I fully expected the fourteen cuts on 3 Pears to dominate the proceedings, but Yoakam did a wonderful job of mixing new and old giving the enthusiastic crowed a satisfying overview of his career. Fully in keeping with his mantra, Yoakam didn’t play it safe throughout his set and I was stunned at how many of the left of center songs I actually knew.

If you were only familiar with Yoakam’s radio hits, then there were plenty of moments throughout the show that would’ve gone over your head. I was surprised when he dug out three songs, all title tracks of his records, that weren’t singles – 1990’s “If There Was A Way,” 1993’s “This Time,” and 2005’s “Blame The Vein.” He also brought out a single few know, but one I played a lot on my radio show in college, “Close Up The Honky Tonks” from his Dwight Sings Buck album.

Yoakam kept the Buck Owens theme alive throughout his set, even pausing “Turn It Up, Turn It On, Turn Me Loose” just after the line ‘While We’re Dancing to an Old Buck Owens Song’ to bring out a full rendition of “Act Naturally,” before finishing his 1990 hit. Their “Streets of Bakersfield” was done by Yoakam solo, a nice touch, as you can’t replace Owens on the iconic single.

He didn’t converse with the audience too much during his set as he let the music do the talking. Yoakam rolled through most of his trademark songs – from debut single “Honky Tonk Man” and early hits “Guitars Cadillacs” and “Little Sister” to 90s hits “It Only Hurts When I Cry” and “A Thousand Miles From Nowhere.” He tweaked “Ain’t That Lonely Yet” into a slightly slower honky-tonk ballad, and I enjoyed this arrangement a little more than the hit recording. Easily the most fun (and my favorite) moment of the show was “Little Ways” because Yoakam had the crowed in the palm of his hand with each “You. Got. Your. Little Ways” at the start of every chorus. He closed with “Fast As You,” which was just as fun as when it came out twenty years ago.

There actually weren’t that many new songs in his set – Yoakam only sang four of the tracks from 3 Pears. The esoteric Roger Miller-like “Waterfalls” was my favorite of these moments and a definite crowd pleaser (the couple in front of us even had a toy giraffe in honor of the song). I’m always at a loss for what’s popular, and I miss judged that one.

Sadly, his cover of “Dim Lights, Thick Smoke” proved an unofficial theme of the show. As much as I enjoyed the concert (and Yoakam is a great entertainer) the band was too loud and created a melding of sound that equaled noise more than music. Yoakam’s voice is still in fine shape, but it sounded like it was in a vacuum when he’d step up to the microphone. I chalked it up to another chance to utilize the reverb that somewhat overshadowed 3 Pears but it could’ve been the acoustics at the venue.

It didn’t ruin the show, but did damper my enjoyment a bit. Luckily, though, the noise factor didn’t affect “Always Late (With Your Kisses)” as I could still make out the band crooning “always late” throughout the song. The noise factor did make “Ring of Fire” unbearable, but his rockish treatment of the Johnny Cash classic always seemed a bit much anyways. Being a big Yoakam fan I also would’ve liked to hear him stretch his set even further – I was dying to hear him play “Nothing,” “Pocket of a Clown,” and “Thinking About Leaving” – but that’s just me being selfish.

Thankfully Yoakam’s charm shone throughout his set and had me glued to the stage despite the abundance of people watching, an always enjoyable hobby. He may be pushing into his late 50s, but Yoakam still has the swagger of men half his age. His trademark footwork hasn’t succumbed to time nor does he look ridiculous bringing out the same moves that had fans swooning more than thirty years ago. If you ever get a chance to hear Yoakam live I’d highly recommend it, his show is a thoroughly enjoyable experience from one of the best artists to come around in the modern era and a moment you’ll never forget.

Three more names cemented in bronze: the class of 2012

As winter slowly turns to spring and the chill begins to exit, a celebration is brought fourth where more than a century of tradition is whisked back into the spotlight, if only for a brief time.

The importance of this commemoration knows no bounds as the past and present collide to bestow an honor upon three worthy individuals whose contributions have been revolutionary.

This recognition, which concludes with a medallion ceremony later in the year, elevates greatness, yet sparks fierce debate among those who object to this honor coming too soon or far too late.

But one ideal will always rise victor – the highest professional honor in country music is induction into the Hall of Fame. And in 2012, that prestigious mark of upmost respect shines a light on Hargus, “Pig” Robbins, Connie Smith, and Garth Brooks.

In three unique and different ways, each inductee has left a stamp on country music not likely to be erased with time. Through his paino-playing on iconic songs such as “Don’t It Make My Brown Eyes Blue” and “White Lightning,” Robbins has redefined the essence of the studio musician.

With “Once A Day,” a little tune pinned by Bill Anderson, Smith did the impossible – becoming the first female artist to log eight consecutive weeks at #1. That feat, accomplished more than forty years ago, has yet to be topped.

And Brooks took our notion of what a concert tour could be, turned it on its head, and ran with it.

Hargus “Pig” Robbins

I must admit that before this morning, my young age prevented me from knowing Robbins and his contributions to country music. But after listening to his introduction by Kix Brooks, I found familiarity with most of the songs he played on.

Especially this day and age, with digital sales rendering the dust jacket obsolete, the ideal of the studio musican has nearly gone out the window. No longer do we care who backs up our favorite singer as long as said artist releases new music.

But the studio musician is the backbone of all music. Without session players, as they’re also called, albums would never be released. We need these professional musicians who can learn a song on a dime (often without sheet music, thanks Kix) and execute them flawlessly.

Robbins was one of those such people and arguably one of the best the genre has ever seen.

Connie Smith

Unless you are far too close to mainstream country music, the release of Long Line of Heartaches last August brought fourth much joy. It was Smith’s first album since 1997 and an excellent reminder of country’s rich past.

At 70, Smith sounds better today than most female singers in the business. I was recently scanning the television channels when I came across The Marty Stuart Show on RFD-TV. A homage to all the great variety shows from the 60s and 70s, The Marty Stuart Show is a shining example for classic country music in a world in which country rock knows no bounds.

Marty’s guest that evening was none other than Smith, his wife. For half an hour she took to the stage and sang from Heartaches. She performed more than half of the album and even brought her three daughters on stage for “Take My Hand.”

The show can be “hicky” at times, but Smith’s voice shined loud and clear. It was so nice to have an outlet from which to see her perform and I knew I was witnessing something special.

My first vivid memory of Smith came in 1997 when I watched her perform on the Grand Ole Opry from my grandparent’s living room. I don’t remember what she sang, but I remember it airing after she married Stuart. Being young and naive, I didn’t understand what I was watching and thought she looked “tough.”

The next time I remember paying attention to her was during a duet of “Once A Day” live on the Opry with Martina McBride in 2005. That performance is on YouTube and very good, although Smith steals the show (as she should have).

Like Jean Shepard last year, Smith’s induction is long overdue. Her importance to country music may be quiet in comparison to the likes of Loretta Lynn, Tammy Wynette, and Dolly Parton, but she belongs with them in a class of her own.

With a better understanding of her importance, and a deep love of Heartaches, I now can say I’m a bonafide fan.

Garth Brooks

Being a 90s kid, (oh how I loathe that term), I have the most vivid memories of Brooks. It’s funny, as a child, I first came to know him trough his famous stage show and always viewed him as larger than life; some unapproachable giant force. His image of flying over rafters and gliding on his back through rows and rows of fans only magnified it for me.

I remember, once, not “getting” him. This idea of his popularity being something overblown. I don’t know when I woke up and got a clue but it came pretty fast.

In 1997, when I was also first learning about Smith, my grandfather turned 75. So my mom had an idea – I would sing “Much Too Young (To Feel This Damn Old)” at the party. I’m not a singer or guitar player, so I did my best to pull it off. I remember having to learn the song for weeks before hand and feeling pretty cool that I could use the word “damn.” It was a special moment and I can still see myself sitting on the stool in the middle of the dance floor.

That same year, like the rest of the world, I tuned into the famous Central Park concert. Being young, I really had no idea the magnitude of what that show really symbolized for country music. I remember how happy everyone was that Garth was sticking only to old material.

Watching from my grandfather’s basement, I can see clear as day, his inability to get the VCR to work so we could tape the show. I was mad but it was just so cool to be able to watch it. Funny thing, when he brought Billy Joel on to sing “New York State of Mind” I had never heard of him (or at least really knew who he was). I always thought he should’ve been wearing a cowboy hat.

Apart from his concerts, yes I also saw his 1998 show from Ireland, and a concert of my own in 1996, I have vivid memories of Brooks’ music. More than any other artist, he was a true marketing genius.

Getting a new Garth Brooks album was always a treat because there would be multiple covers and “first editions” to choose from. I have first edition copies of Sevens, Double Live, The Magic of Christmas, and Scarecrow.

I remember listening to a radio show, in 1998, when they played every cut off of The Limited Series with commentary from Brooks. It was so cool, at that time, to think he was releasing a boxed set of his material with one new cut on each album.

I also rushed out and bought everything he had for sale during his “Wal-Mart Only” years. Sure, you could say I’m a sad sap for buying into all this, but for some reason you had to – it’s Garth Brooks. (Along those same principles – I also own In The Life of Chris Ganes).

In his day, Brooks had it all. The mammoth concert tours, hit singles, and everything in between. And with Trisha Yearwood he had the tabloid love affair we all love to speculate about (did they hook up in the 90s or not?).

But the truly remarkable aspect of Brooks’ career are the songs. It isn’t very often that an artist can back up their success with such memorable and iconic records. There isn’t a single superstar today – from Kenny Chesney, Carrie Underwood, and Taylor Swift, to Brad Paisley, Keith Urban, or Tim McGraw who can match Brooks song for song. His is music of substance, class, and grace.

For instance, on 9/11, I remember singing “The Dance” to myself on the way home from school. When I got home, the first song I turned to was “The Change.”

There isn’t anyone who can match him. I remember people would take the day off from school or work to stand in line at their local CD store on Garth Brooks release day. His albums were events.

But Brooks’ induction came so soon, ahead of the more deserving Randy Travis and Ricky Skaggs (who he singled out in his speech), because of one aspect – touring. His concerts were revolutionary for elevating the stage show to heights previously unknown in country music. Like his albums, his shows were happenings.

Before Brooks, you didn’t have fans rushing online at 10:00am to secure their seats to a show. Country artists may have seen sellouts aplenty, but never in places like the Staples Center and Madison Square Garden. He brought country music to a whole new level; one not surpassed until Chesney’s stadium shows in the 21st century. Brooks drew the blueprint that made the mammoth country shows we all go to today, possible.

All and all, If Brooks is anything, he’s his own man. He was the first to announce a retirement (via a silver covered Country Weekly cover in 2000) at the height of his fame, and remains the staunch holdout for a presence digitally. He doesn’t even have any vintage clips on YouTube.

But like any great artist, the songs will always live on. I was listening to my local country station just last week and what came on? None other than “If Tomorrow Never Comes.” Singing along to his first #1, it felt comfortable, right. Just like his entrance into the Hall of Fame.

Looking Ahead

As we look back at the legacy Robbins, Smith, and Brooks bring to the Hall, the debate over future inductees rages on. Brooks may have gotten in ahead of his time, but no one exemplifies the “90s boom” better and as the forefather of the country spectacle, he made the stadium shows of today doable.

But here’s my list of who should welcome the exit of winter’s chill in some upcoming March and allow us to have a celebration in their honor:

Modern Era Category (In order of importance):

• Randy Travis
• Alan Jackson
• Gene Watson
• Brooks & Dunn
• Hank Williams, JR
• Ricky Skaggs
• John Anderson
• Dwight Yoakam
• Clint Black
• The Judds
• Alison Krauss
• Patty Loveless
• Marty Stuart

Veteran Era Category (In order of importance):

• Kenny Rogers
• Ronnie Milsap
• David Allan Coe
• Johnny Paycheck
• June Carter Cash
• Tanya Tucker
• Anne Murray
• Rose Maddox
• The Browns (and/or Jim Ed Brown)