My Kind of Country

Country music from a fan's point of view since 2008

Classic Rewind: Nitty Gritty Dirt Band – ‘Cadillac Ranch’

Album Review: Nitty Gritty Dirt Band – ‘Bang, Bang, Bang’

bangbangbang1999’s Bang, Bang, Bang was the Nitty Gritty Dirt Band’s sole release from DreamWorks Records, and a last-ditch effort to reverse the band’s decade-long commercial decline. Emory Gordy, Jr. and Steve Fishell were brougnt in to co-produce with Josh Leo. The result was an album that relied more heavily on outside songwriters than most of their earlier work and a more mainstream country-pop sound instead of the country-rock for which they had become well known. As the title suggests, Bang, Bang, Bang isn’t their most substantive collection of songs, but it still has its enjoyable moments.

The opening track “If This Ain’t Love”, written by Jim Lauderdale and Gary Nicholson is a big departure for the group. The horns are a bit jarring but the tune is catchy and contains plenty of steel guitar in the mix, which is a very welcome inclusion — remember this was the era of Shania Twain and Faith Hill when many artists had one eye on the pop charts. The title track, which was the album’s sole single, is a disappointing piece of fluff. It died at #52 when it was originally releasd in 1998. The following year’s re-release fared even worse, recaching only #63. Even more disappointing is the Steve Bogard/Rick Giles tune “Forget The Job (Get A Life)”, an extremely annoying number that sounds like something Shania Twain rejected. I don’t know what they were thinking when they recorded this one but everyone involved should have known better. “It’s About Time” isn’t a first-rate song but it is saved by a nice harmony vocal provided by Matraca Berg.

Things get better with a nice cover of Mac McAnally’s “Down The Road”, which I prefer to the original. “Singing To the Scarecrow”, about a Kentucky farm girl who dreams of stardom, is one of two Dennis Linde compositions and is also quite good. Even better is “Dry Town”, an uptempo Gillian Welch-Jown Rawlings number. The novelty tune “The Monkey Song”, written by Jimmy Ibbotson, is the album’s sole song written by a NGDB member.

While Bang, Bang Bang ultimately did nothing to relaunch the band’s recording career, and it may not be the best remembered entry in their discography, it is certainly worth a listen. Used cheap copies are readily available.

Classic Rewind: Nitty Gritty Dirt Band – ‘Workin’ Man (Nowhere To Go)/Long Hard Road (Sharecropper’s Dream)

Album Review: Angaleena Presley – ‘American Middle Class’

angaleena-presley-album-american-middle-class-2014-08-1000pxFor her solo debut, Pistol Annie Angaleena Presley took the unconventional approach of self-producing the album along with her Husband Jordan Powell. Released earlier this month on Slate Creek Records, American Middle Class is one of the most authentic creations of self-expression you’ll likely hear all year.

Presley, who hails from Beauty, Kentucky, faced an uphill battle in Nashville where she couldn’t get signed to a major label. Then she landed her big break as ‘Holler Annie’ in the trio also consisting of Miranda Lambert and Ashley Monroe. As a songwriter, her “Fastest Girl In Town” was a top 5 hit for Lambert and Ashton Shepherd took her co-write “Look It Up” into the top 20.

I’ve always been a fan of Presley’s direct approach to songwriting, where she refuses to mince words in effort to make a point. Her Pistol Annies cuts have been some of my favorites from the trio, and while she doesn’t have the flashiest vocal tone, it works in her favor here.

Presley, who co-wrote the whole album, composed five of the album’s songs solo. “Ain’t No Man” is a brilliantly biting ballad with stunning turns of phrase while “All I Ever Wanted” sets a religiously confrontational lyric to an ear catching shuffle beat. The mix of Presley’s strong vocal with her prominent background vocalist renders “Pain Pills” too cluttered, distracting the listener from the tale of Jimmy, who’s drowning his sorrows in booze and narcotics in an effort to cope with his life.

Presley is at her best when her storytelling prowess remains the focus of a song, and American Middle Class abounds with prime examples. Her self-penned “Better off Red” is a masterpiece of perception, a beautiful reflection on one’s place in our world. Equally powerful is Lori McKenna co-write “Grocery Store,” three minutes of observations culled from a checkout line. The deceptively simple track is filled with gorgeous articulations of our mundane everyday lives and comes together as a dazzling work of art almost too good to be true.

“Life of the Party” teams Presley with her hero Matraca Berg for another mouth-watering creation, this time the pedal steel soaked story of a woman facing the light of day after a night spent with another man. The pair is an irresistible songwriting force, with Berg turning in a co-write on par with the myriad of classics she churned out in the 1980s and 1990s, a feat in of itself.

On “Drunk” Presley and co-writer Sara Siskind cover identical ground as Presley’s labelmate Brandy Clark did on “Hungover,” and they turn out equally as delicious a tune about unappreciative men and their selfish ways. “Knocked Up,” co-written with Mark D. Sanders, is the prequel to “Drunk,” a banjo driven number about an unplanned pregnancy and shotgun wedding that plays like a delightful dark comedy.

“Dry Country Blues,” which Presley also co-wrote with Sanders, paints the gritty glory of small town life down to the drunk boys out to get laid and their female counterparts trying not to turn into meth whores. The self-penned title track, which covers the same ground, boarders on preachy and falls dangerously close into a pandering flag-waving anthem, but she makes it work by bringing in Patty Loveless for a harmony vocal that gives the track an added texture that works well with the formidable arrangement.

“Blessing and a Curse,” co-written with Bob DiPiero, is one of the more mainstream-leaning lyrics on American Middle Class with a bluesy arrangement that works beautifully with Presley’s voice. Even the electric guitar, which dominates, isn’t a hinder but rather an assist to the track’s overall splendor. Another such track is “Surrender,” the record’s closing number and a co-write with Luke Laird and Barry Dean. The ballad is as lush and exciting as it is assessable, and Presley turns in an elegant vocal.

American Middle Class is easily a highlight of 2014 with Presley’s fine tuned prospective on the world expressed through sharp songwriting and immaculate choices in instrumentation. Her decision to co-produce with her husband has given the album an added authenticity that gives the record an artists’ touch, an obvious missing link in the majority of mainstream music today. Presley, who’s the real deal, has filled my heart with a joy I haven’t felt in a long, long time.

I cannot recommend this nearly flawless album enough.

Grade: A+

Classic Rewind: Nitty Gritty Dirt Band – ‘Fishin’ In The Dark’

Album Review: Nitty Gritty Dirt Band – ‘Acoustic’

220px-NGDB-AcousticTwenty years ago, when their string of radio singles came to end, Nitty Gritty Dirt Band returned their roots with a collection entitled Acoustic. Like other similarly titled projects through the years, this isn’t re-recordings of past hits, but rather an album of all-new material.

While the album didn’t spawn any singles, it’s most notable for introducing the world to “Bless The Broken Road,” a Jeff Hanna, Marcus Hummon, and Bobby Boyd co-write that would top the charts for Rascal Flatts ten years later. Not many know the song began as a Nitty Gritty Dirt Band tune, with a lush piano drenched arrangement not too far removed from Rascal Flatts’ hit recording.

Jimmy Ibbotson had a hand in writing a few of the album’s tunes. “Sara In The Summer” is a harmonica laced folksy country shuffle, “How Long” is a mid-tempo love song, and “One Sure Honest Line” is a song about songs. All are excellent, showcasing the band’s tight harmonies set to clean, appealing production. Ibbotson co-wrote “This Train Keeps Rolling Along,” a fantastic story song with Jim Photoglo and Vince Melamed.

Bob Carpenter was another prominent songwriter on the album. He co-wrote Harmonica ballad “Let It Go,” America-like “Badlands,” and harmony rich “Love With Find A Way.” While all of the tracks are good, “Love With Find A Way” is the highlight, sounding like The Eagles from their Desperado era in the early 1970s.

Dennis Linde contributed “Hello, I Am Your Heart” a slice of filler that really doesn’t go anywhere. Jimmy Fadden had two cuts. “Cupid’s Got A Gun” is a plucky ballad while “Tryin’ Times” is heavy on mandolin yet light on social commentary, as the title suggests.

If anything, Acoustic is too polished. The album still sounds impeccable but the immaculate arrangements hinder any chance for letting loose, which a lot of these songs could benefit from. It’s still a great album, though, and well worth seeking out.

Grade: A

Classic Rewind: Carl and Pearl Butler – ‘Punish Me Tomorrow’

Five songs and some recollections from 1968

Although I had been listening to country music all of my life, 1968 was the first time I ever really focused on the genre.

There were several reasons for this, including the fact that with part-time and summer jobs I had some spending money for the first time in my life. One of my jobs was in Virginia Beach where there was a record store next door that actually carried a decent selection of country 45s.

The summer of 1968 may have been “the Summer of Love” for many but in my opinion pop music had started getting a bit weird for my taste so I started keeping my radio on either WCMS in Norfolk (“Where Country Music Swings”) or WTID in Newport News (“Top Gun”). Both of these were AM stations as the FM bands were reserved for classical music.

Mostly I listened to WCMS which was the stronger station (50,000 watts) and had better disc jockeys, folks such as “Hopalong” Joe Hoppel and “Carolina” Charlie Wiggs. Disc jockeys had more latitude in what they played, and local listener requests figured heavily in airplay. While I won’t pretend that the radio stations were perfect (there were lots of dumb commercials and sometimes really silly contests),radio station DJs could play records by local artists and other non-charting records without running afoul of corporate mucky-mucks. Local DJ Carolina Charlie had two records in “Pound By Pound” and “Angel Wings” in 1968 that received frequent airplay on WCMS and also received airplay on other stations throughout the area in which Charlie played live shows.

Most of the larger country radio stations had their own top forty charts and many of them had a local countdown show on Saturday or Sunday afternoon. At one time I had several years worth of top forty charts for WCMS AM-1050. Mom, God rest her soul, threw them out long ago without telling me, so to some extent I am operating on memory but there were five songs that were huge hits in the Norfolk area in 1968 that have stuck in my memory, songs that were not necessarily big hits nationally, but that the local audiences, composed largely of US military personnel and families loved (there were three local Navy bases plus an army base).

Undo The Right”, sung by Johnny Bush and written by Johnny’s good buddy Willie Nelson, was a big hit nationally, reaching #10 on Billboard’s Country chart. In the Norfolk area, the song was huge staying at the #1 slot for five weeks. The song, with its heavy dose of fiddle and steel, was more country sounding than 95% of the songs (mostly countrypolitan or Nashville Sound productions) to chart that year. The single was issued on Pete Drake’s Stop label and led to Bush being signed to RCA, where a mysterious throat problem derailed his career for a number of years

The big hits basically had long since stopped by 1968 for George Morgan, although “Sounds of Goodbye”, released on the Starday label, might have become a big national hit for him had not two other artists recorded the song, thus splitting the hit. Although the song only reached #31 nationally, it did spark off a bit of a renaissance for Morgan. In the Norfolk area the song was a top five hit, reaching #2. The song, probably the first hit on an Eddie Rabbitt composition, also charted for Tommy Cash at #41 and was a top twenty hit for Cash on the Canadian Country charts. Vern & Rex Gosdin had a successful record with the song on the west coast of the US in late 1967. Cashbox had the song reach #15 but their methodology in 1968 was to combine all versions of the song into a single chart listing. I’ve heard the Gosdins’ version of the song, but Tommy Cash’s version for United Artists never made it to an album and I’ve never found a copy of the single, so I’ve not heard his recording.

“Got Leavin’ On Her Mind” was probably my favorite recording of 1968. Written by the legendary Jack Clement, the song was issued on the MGM label by newly minted Country Music Hall of Fame member Mac Wiseman. As far as I know, the song was a ‘one-off’ for MGM and Wiseman. Long known as “the voice with a heart” and a legendary bluegrass singer, this record had the feel of bluegrass without actually being a bluegrass record in that the instrumentation was standard country without Nashville Sound trappings. Bluegrass artists rarely have huge chart hits and this was no exception, reaching only #54 for Mac. In the Norfolk area, demand for the single was strong and while it only reached #5 on the WCMS charts, the record store I frequented had difficulty keeping the record in stock, reordering new supplies of the single on several occasions.

Carl and Pearl Butler were archaic even when their music was new, but “Punish Me Tomorrow” seemed to catch the ears of the servicemen in our area. It only reached #28 nationally, but it was top ten on WCMS and might have reached higher but the DJs on WCMS made the mistake of playing the flip side “Goodbye Tennessee” resulting in the station receiving a lot of requests for that song, too.

Drinking Champagne” went top ten on WCMS, anticipating by four years the huge success that Cal Smith would achieve starting in 1972. Written by legendary disc jockey Bill Mack, the song reached #35 on Billboard’s country chart but went to #1 for a week on WCMS. Years later George Strait would have a successful record with the song. Cal’s was the better version and this might have been a huge national hit if released a few years later after Smith hit the big time.

I realize that most of our readership wasn’t born in 1968 and if they think about country music in 1968 at all, it is for pop-country singles like “Honey“, “Harper Valley PTA” and the various Glen Campbell and Sonny James singles that received some pop airplay. There were good solid country records being made but aside from the aforementioned and some Johnny Cash recordings, they weren’t receiving pop airplay. In 1968 there were large sections of the country that had no country stations at all; moreover, many country stations went off the air at sundown or cut power significantly so that they reached only the most local of audiences.

Classic Rewind: Mark Chesnutt – ‘Brother Jukebox’

RIP: the songwriter Paul Craft died on Saturday aged 76. He was the writer of this among many other fine songs, and was one of those old school writers who never needed to co-write. He had just been elected to the Nashville Songwriters Hall of Fame earlier this month. There is an excellent tribute/obituary by Peter Cooper in The Tennesseean.

Album Review: Nitty Gritty Dirt Band – ‘The Rest Of The Dream’

the rest of the dreamThe follow up to Will The Circle Be Unbroken Vol 2 was always going to be a challenge. The band kept Randy Scruggs, who had overseen the Circle II sessions on hand as their producer for 1990’s The Rest Of The Dream, but did not attempt to copy that album at all. Instead it is a solid return to the country-rock which had done so well for them in the 1980s. Unfortunately they may have lost momentum with their focus on the less overtly commercial Circle II, while country radio was being engulfed with fresh new faces and the move to a more traditional sound. Sadly, they were never again to enjoy a top 40 country hit.

The lead single was a cover of rock star Bruce Springsteen’s ‘From Small Things (Big Things One Day Come)’. A dramatic story song about a young girl who elopes with first one man and then another, then shoots her second lover, while the abandoned husband awaits her release from prison, it is delivered in upbeat fashion. It sounds very radio friendly (and convinces as a country-sock song), but peaked at a very disappointing #65. The pleasant but forgettable ballad ‘You Made Life Good Again’ didn’t do much better.

The sunny mid-paced title track, released as the last single with a supporting video, failed to chart at all. It was one of a brace of songs contributed by singer-songwriter John Hiatt, who had appeared on Circle II. It’s enjoyable enough, but I prefer the other one, ‘Just Enough Ashland City’, a charming up-tempo story song in which the narrator finds true love and learns not to judge by outward appearances:

I was Mr Sophisticated and she was “just a country girl”
She wound up showing me everything
I’d ever been dreaming of
I may have known the way to San Jose
But I didn’t know a thing about love

This might have been a more successful single, as might aacouple of other tracks. The gentle ballad ‘Waitin’ On A Dark Eyed Gal’, written by Ron Davies (brother of Gail), is an excellent tune, about holding on to forlorn hope and defying the reality that the narrator has been stood up.

Also great is ‘Blow Out The Stars, Turn Off the Moon’, an excellent song about the end of a relationship written by the brilliant Bobby Braddock, filled with images of their romantic nights under the stars:

When our love was new as the first evening star
We both said “I worship you just as you are”
Then I tried to change you, girl, and I don’t know why
You tried to change me, hey, might as well try
To blow out the stars, turn off the moon
Fade out the crickets and the nightingales too
Take down the magnolias that ride the soft wind
Another love story has come to an end

It is sensitively sung by Jeff Hanna, and beautifully played by the band. This lovely song is my favourite track.

The band’s Jimmie Fadden co-wrote (with Kim Tribble and Bob Garshelis) the charmingly quirky ‘Snowballs’, fantasising about winter walks with a sweetheart, throwing snowballs at the moon:

And after every throw we’d share a little kiss
Make sweet love together every time we’d miss

Hillbilly Hollywood (covered by John Anderson a year or so later on his comeback Seminole Wind album) is about the draw of Nashville for a young musician, which was written by Vince Melamed and Jim Photoglo. I prefer Anderson’s version, but this one is decent.

Jimmy Ibbotson co-wrote ‘Junior’s Grill, a tribute to a favorite diner which would be a great commercial jingle but is a little dull as a song. All four current band members (Hanna, Ibbotson, Fadden and Bob Carpenter) cowrote ‘Wishing Well’, but the song is disappointingly bland.

Overall, though, this is worth picking up –especially as used copies can be found cheaply.

Grade: B+

Classic Rewind: Nitty Gritty Dirt Band and friends – ‘Don’t You Hear Jerusalem Moan’

Week ending 10/18/14: #1 singles this week in country music history

porteranddolly1954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)

1964: I Don’t Care (Just As Long As You Love Me) — Buck Owens (Capitol)

1974: Please Don’t Stop Loving Me — Porter Wagoner & Dolly Parton (RCA)

1984: Uncle Pen — Ricky Skaggs (Epic)

1994: She’s Not The Cheatin’ Kind — Brooks & Dunn (Arista)

2004: Suds In The Bucket — Sara Evans (RCA)

2014: Burnin’ It Down — Jason Aldean (Broken Bow)

2014 (Airplay): Roller Coaster — Luke Bryan (Capitol)

Classic Rewind – Larry Gatlin & The Gatlin Brothers – ‘Denver’

Classic Rewind: Nitty Gritty Dirt Band – ‘Partners, Brothers and Friends’

Album Review: The Nitty Gritty Dirt Band – ‘Workin’ Band’

workinbandWith the release of 1988’s Workin’ Band, The Nitty Gritty Dirt Band began to wind down its most commercially successful decade. It was the band’s final “regular” album of the decade and its last for Warner Bros.; the following year’s album and their Universal debut would be the much-acclaimed and guest star-studded Will The Circle Be Unbroken?, Volume II which we reviewed in April 2009 .

Like the previous year’s Hold On, Workin’ Band was produced by Josh Leo. It produced three Top 10 singles, beginning with “Workin’ Man (Nowhere To Go)”, a #4 peaking hit that despite its uptempo arrangement, dealt with the plight of American farmers who were displaced after losing their farms at auction. It was followed by another uptempo, radio-friendly number “I’ve Been Lookin'”, which reached #2. Both songs were penned by band members: Jimmie Fadden wrote “Workin’ Man” and Jimmy Ibbotson and Jeff Hanna penned “I’ve Been Lookin'”. The third single, “Down That Road Tonight” was written by Jeff Hanna with Josh Leo and Wendy Waldman. My least favorite of the three singles, “Down That Road Tonight” contains just a hint of the blues. It reached #6 and marks the second-to-last time The Nitty Gritty Dirt Band would score a Top 10 hit (“When It Goes” from the Circle II collection became their final Top 10 in 1990).

Two of the album’s tunes were later covered by other artists. Holly Dunn released a very similar version of “Thunder and Lightnin'” a year later and Lorrie Morgan recorded a much slicker version of “Soldier of Love” in 1996, which pales in comparison to NGDB’s rendition.

Band member Bob Carpenter contributed two of his original compositions to the project: “Baby Blues”, a co-write with Wendy Waldman and “A Lot Like Me”. Both are departures from the band’s usual sound. Carpenter takes over as lead vocalist and though he is not as gifted a singer as his bandmates, he is effective on both tunes, particularly the rock-infused “A Lot Like Me”, that I liked a lot more than I expected to.

Workin’ Band was always one of my favorite Nitty Gritty Dirt Band albums. I bought it on cassette when it was released in 1988, but never upgraded it to CD. Consequently, I had not heard it in a very long time, but it has held up surprisingly well and I found that I enjoyed it as much as I did over quarter-century ago.

Grade: A-

Classic Rewind: Johnny Cash and Waylon Jennings – ‘Even Cowgirls Get The Blues’

Album Review: J P Harris & the Tough Choices – ‘Home Is Where The Hurt Is’

home is where the hurt isI tend to be wary when it comes to the “modern outlaw” kind of country artist; too many of them are a bit too rock-influenced for me. But J P Harris and his band the Tough Choices are not only the real thing, they’re very good indeed. They also have the advantage of some excellent songs on their latest album.

‘Give A Little Lovin’ is a pacy almost rockabilly tune about trying to get a little romance going which makes an entertaining opener.

‘A Breaking Heart’ is even better, a glorious fiddle and steel dominated shuffle about seeking refuge in a honky tonk. ‘One For Every Day’ is another great drinking-to-get-over-her song.

The bitter ‘Every Little Piece’ offers a more vengeful attitude to a cheating ex:

I hate you with every little piece of my broken heart…
Here’s to you dying alone and still crying
Never again feeling loved

‘South Oklahoma’ has a loping Western feel tinged with melancholy.
In the Waylonesque ‘Old Love Letters’ the protagonist decides to burn these tangible reminders of a lost love, but finds it doesn’t help.

The title track is the highlight of a very strong album. The prominent fiddle and steel underline the pain in a classic styled country barroom weeper:

It’s hard being one in a house built for two
No, I can’t stand the silence
I run from your ghost
So I run to the places that you hated most

Sometimes you crave that which hurts you the most
No, I can’t stand the silence
I run from your ghost
So I run to the places that you hated most
From the bottom of this bottle everything looks alright
Home is where the hurt is
So I stay here each night

The quietly resigned ‘Truckstop Amphetamines’ has an unexpectedly pretty melody as he sings about being tired of the weary life of a struggling musician, a theme also tackled by ‘Maria’.

The only track which didn’t do anything for me was the rocking closer, ‘Young Women and Old Guitars’. Everything else is excellent. Harris isn’t an outstanding singer, but he is a very capable one, and his songwriting is of a very high standard, while his band backs him in solid country fashion. This is highly recommended to country fans.

Grade: A

Classic Rewind: Ronnie Dunn covers the Dan Seals hit ‘Everything That Glitters (Is Not Gold)’

Album Review: Nitty Gritty Dirt Band – ‘Hold On’

220px-Nitty_Gritty_Hold_OnBy the late 80s, The Nitty Gritty Dirt Band was routinely peaking in the upper regions of the country charts and had even scored two number one hits along the way. But they’d yet to release their signature song, which would change when Hold On hit stores in July of 1987.

The album saw three singles released. Non-descript rocker “Baby’s Got A Hold On Me” came first, peaking at #2. The album’s third single “Oh What A Love” was much better, with a pleasant acoustic-based shuffle arrangement featuring prominent mandolin. The mid-tempo ballad comes off a tad cheesy today, but the arrangement and tight harmonies from the band keep it listenable.

Between those two singles, which are forgettable at best, came the aforementioned signature song. Written by Wendy Waldman and Jim Photoglo, “Fishin’ In The Dark” is an iconic single from the period, a modern masterpiece that sounds as timeless today as it did twenty-seven years ago. The combination of Jeff Hanna’s commanding vocal and Josh Leo’s flawless production is irresistible. Not since Alabama’s “Mountain Music” a full five years earlier had an opening sequence (Gentle acoustic guitar plucking building to include twangy electric guitar, ribbons of harmonica, and attention-grabbing drum beats) been so identifiable.

Eddy Raven took his version of “Joe Knows How To Live,” written by Max D. Barnes, Lyle Graham, and Troy Seals to number one in 1988. Nitty Gritty Dirt Band’s version is just as good as Ravens, albeit identical except for Hanna’s smoother vocal tone and the band’s inclusion of harmonica.

Bruce Springsteen solely wrote “Angelyne,” a slick slice of synth drenched country rock that contains a good lyric but is packaged too neatly for my taste. Richard Leigh co-wrote “Blue Ridge Mountain Girl,” a brilliantly excused ballad that would’ve been even stronger had Hanna sang lead. Karen Staley wrote the album’s closing number, “Tennessee.” I love the fiddle, steel, and band harmonies on the track, but the overtones of synth drown out any real enjoyment of the neo-traditional leaning track. Wayne Holyfield co-wrote “Dancing To The Beat of a Broken Heart,” which still leans on the synth, but is better with Hanna in the lead.

Various members of the band contributed songs to the project as well. Hanna co-wrote, “Keepin’ The Road Hot,” a generic number similar to Restless Heart’s style at the time. Jimmie Fadden, meanwhile, solely wrote “Oleanna.” The production on the ballad is too synth driven, and Fadden’s vocal is bland.

Hold On is a mixed bag of an album, heavy on synth, and lacking any real identity beyond “Fishin’ In The Dark.” The harmonies are fantastic, though, but to today’s ears the album is a bit too 80s.

Grade: B

Classic Rewind: Nitty Gritty Dirt Band – ‘Modern Day Romance’

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