Album Review – Aaron Tippin – ‘What This Country Needs’

Change was afoot for Aaron Tippin in 1998. His tenure at RCA Nashville ended in 1997 and Lyric Street Records quickly signed him in early 1998. He went to work on a new album, and released What This Country Needs in October. Tippin co-produced the project along with Pat McMakin, marking their first time working together.

He previewed the album with Mark Nesler and Tony Martin’s “For You, I Will,” which peaked at #6. A love song, it succeeds on a pleasant mid-tempo production featuring a nice dose of fiddle and steel. It’s a fairly middle of the road song at best, and Tippin’s somewhat disengaged vocal is partly to blame. But I do really enjoy the production.

Subsequent singles didn’t fair as well. The neo-traditional “I’m Leaving” hit #17 and is quite good, although his vocal is too gruff and out of place. Piano and steel ballad “Her” peaked at #33 and overall is much better than its predecessors, especially vocally, although the track isn’t anything overly special. The in your face title track, a Tippin co-write with Donny Kees, hit #47. Somewhat clever play on words the track isn’t talking about America (like the opening lines suggest), but the country genre’s move in a poppier direction:

‘Cause what this country needs

Is a little more steel guitar

And put a little fiddle right in the middle

Straight out of a Texas bar

And give us a song, we can all sing along

From sea to shining sea

Be proud of it and always love it

That’s what this country needs

Tippin may get his point across, but the track is no “Murder On Music Row.” The rock production is too jarring for a song about reconnecting with traditional sounds. He mostly sticks with those traditional sounds on the remaining tracks, with “Don’t Stop (We’re Just Getting Started)” leading the pack. By 1998 this line dance ready barroom romper was a bit dated, but the drenching of steel helps it rise above the pack.  The same classic elements bring the excellent “Somewhere Under The Rainbow” to life.

“I Didn’t Come This Far (Just to Walk Away)” is a favorite track of mine because I really enjoy both the melody and overall country feel. Same goes for “Back When I Knew Everything” and “Sweetwater,” two barroom anthems. The honky-tonk production and twang-y guitars are excellent additions to the songs. The remaining tracks, “Nothing Compares to Loving You” and “You’re The Only Reason For Me” are the only clunkers suffering from being too loud and far too adult contemporary, respectively, for my tastes.

Overall, What This Country Needs is just an okay album – nothing terrible yet nothing outstanding (none of the songs are particularly memorable in any significant way). My main issue with the project is Tippin himself – he sounds neither comfortable nor confident and gives spotty vocals throughout. He’s proven he can be strong enough on somewhat traditional material, but he hardly brings any of those goods here.

Grade: C

Album Review – Patty Griffin – ‘American Kid’

The loss of a parent is a monumental milestone and common denominator we all share as humans. As ‘The Greatest Generation’ whittles down, our living links to twentieth century history become non-existent. And if you’re like Patty Griffin, you weren’t prepared for this inevitable moment. The gaping hole caused by the death of her father, Lawrence Joseph Griffin, a veteran of WWII, became the geneses for her seventh studio project, American Kid, her first album of all-new material in six years.

Griffin covers the extremes of her feelings with sharp poignancy, opening the record with a jaunty ode to the hereafter (“Go Wherever You Wanna Go”) and a cynical tale about dying in the Sunshine State (“Please Don’t Let Me Die In Florida”). The acoustic guitars and mandolin, coupled with Griffin’s warm cheerful vocal, heighten the sanguinity in the former while that same mandolin strikes an aggressively angry tone on the latter that works with her biting yet somewhat esoteric lyric. She closes the album on a similar note; opting to speak to her father directly on the beautiful but slow “Gonna Miss You When Your Gone.”

Self-reflection is one of the great virtues of American Kid and Griffin spends a lot of time in her father’s shoes, panting exquisite portraits of his full-life and grappling with his inner psyche. This approach would’ve backfired in lesser hands, but Griffin clearly knows exactly what she’s doing. A simple acoustic guitar frames “Faithful Son” a haunting manifestation about being taken for granted, while those same feelings of inner pondering are brought to a new dimension on the revelatory “Not Another Man” as a conversation between man and God.

“Irish Boy” finds Griffin in a near-whisper as she recounts a failed romance her dad encountered after the war, while she penetrates jubilee on the sing-song-y “Get Ready Marie,” likely the origin story of her parent’s love affair. Both are excellent, although I wish she’d picked up the pace a little on “Irish Boy” – it’s just too slow. “Mom and Dad’s Waltz,” is a cover of the Lefty Frizzell classic, but with Griffin’s delicate reading, you would’ve thought she wrote it herself.

First single “Ohio” is one of only a handful of places where Griffin isn’t in deep reflection about her dad and one of two to feature both lyrical and vocal assistance from her beau Robert Plant. It’s a masterpiece, and one of those rare records that only come around about once in a generation. The other is the deeply evocative “Highway Song,” proving these two need to make a collaborative record together before long.

Through the winning combination of her gorgeously articulate songwriting and deeply expressive voice (which boasts a remarkably similar tone to Lori McKenna’s), Griffin lays her pain on the floor and bares nothing at the expense of the listener. The record sags in the middle, where one too many slow jams beg for some change in tempo, but the production never obstructs the quality of Griffin’s pen, which always shines through.

American Kid is the first fully realized artistic statement of 2013 and one of the more personal albums of the decade so far. Even though I couldn’t say it on my first go around, I’m in love with the beauty and deep penetrating ache of this record and beg anyone looking for the essence of artistry to seek out a copy.

Grade: A 

Classic Rewind – Donna Fargo – ‘Country Singer’s Wife’

Classic Rewind – Miranda Lambert – ‘Greyhound Bound For Nowhere’

So, I guess time flies, right? It was 10 (!) years ago today that this little lady came in third on Nashville Star. I was devastated she didn’t win as I knew with every fiber of my being she was going to be the next big thing. But since the premise of the show was to sign the winner to a record deal and send everyone else packing, I had no idea she would get the justice she deserved. Or that my premonition would prove correct.

I knew early on in the competition she had the goods, but this very performance knocked me COLD. It was original song night. And she choose to sing this number she co-wrote with her father Rick. It was later included on her debut album but wasn’t a single. Looking back I think everyone saw the star in the making. I guess it was more obvious than I thought. I’m glad because I’ve never felt the same feeling about any reality competition country singer since – male or female (but then again I never watched Carrie Underwood’s season of American Idol). None have left as big an impression on me as Lambert, and I bet none ever will. Here’s to one of Nashville’s best decisions in the past thirteen years!

Classic Rewind – Dolly Parton, Linda Ronstadt, and Emmylou Harris – ‘After The Gold Rush’

From Trio II:

Album Review – Clint Black – ‘Spend My Time’

The early 2000s brought a sea of change in Clint Black’s career. After the massive success of “When I Said I Do,” Black took three years away from the business to raise his daughter, who was born in 2001. His contract with RCA Nashville also expired during this time and left Black the opportunity to form his own label, Equity (the label that put Little Big Town on the map with The Road To Here in 2005.)

His first full-length project for the label, Spend My Time was released in 2004 and marked Black’s first album of all-new material since Nothin’ But The Tailights in 1997. He again produced the project solo, keeping with the tradition he set with his all acoustic set in 1999.

While Spend My Time was a comeback of sorts for Black, the changing tide of country music left very little room for the album on radio playlists and as a result, the singles faired poorly. He just missed the top 15 with the title track, a lovely ballad he penned solo. It’s a fantastic song about the passage of time, and while it could’ve been very cliché, he keeps it sincere with his honest vocal and neo-traditional arrangement.

He wrote #51 peaking second single “The Boogie Man” with noted songwriter Will Jennings. Black wrote the track for his young daughter and it exudes a pleasing playfulness that he nicely brings out in his vocal. The production, however, is a bit uncharacteristically thick and rockish for Black, but he keeps it in check with ear catching bluesy piano throughout. Final single “My Imagination,” a nice string heavy ballad, peaked at #42.

Like the majority of Black’s musical catalog Spend My Time is a solid effort. It’s clear he’s played with his winning formula a bit, taking out overly traditional arrangements and adding in a dash of poppier sounds that give the project a contemporary flare that keeps it modern without sounding dated. He also manages to sound completely himself, and avoids the pitfalls of changing too much too quickly.

The ballads are the record’s best tracks, toned down to offer nice clarity. “Whatever Happened” has a nice acoustic guitar laden melody while “Just Like You and Me” raises above Black’s somewhat shouty vocal thanks to ample steel. Those same elements also elevate “Someone Else’s Tears” and “A Lover’s Clown” sounds like something Black would’ve put on any of his mid-90s work.

I do have an issue with him vocally, however. He tends to over sing almost all the songs here, like his vocal was turned up to eleven while the backing music doesn’t match that intensity. He would’ve succeeded even further if he had just a bit more subtlety in his voice. That being said, his vocal gymnastics are well matched on the ample uptempo material, the places on Spend My Time where the album ranges in quality.

Black’s upbeat ‘sweet spot’ if you will are on tracks like “State of Mind” and “The Shoes Your Wearnin,’” where the drums and guitars don’t interfere with the song, but allow Black to roll along with a nice energy. Unfortunately, none of those such moments are found here. The reggae influenced “We All Fall Down,” 80s rock inspired “She’s Leavin,’” and choir heavy “A Mind To” are nothing more than noise, too loud in every respect to be enjoyed for the interesting lyric they probably are.

“Haywire” works beautifully because it leaves space for Black to deliver bluesy riffs reminiscent of “Put Yourself In My Shoes” that are firmly in his wheelhouse. It may not be to my personal taste, but it’s one of the standout tracks. “Everything I Need” is also very good, if a bit too loud. I’m not a huge fan of guitar rockers (like Brad and Keith are known for) but he makes this one work.

Overall, Spend My Time isn’t a bad album at all and marked a worthy return for Black. He still in fine voice and keeps the material up to his usual standard even if none of these songs (apart from the title track) are memorable in any significant way. He just needs to tone everything down a few notches and find a bit more tenderness, and he may’ve come closer to hitting a home run. As it stands Spend My Time is good effort that could’ve been a lot stronger. But I appreciate that he’s clearly putting in effort.

Grade: B

Classic Rewind – Clint Black – ‘Tuckered Out’

From the 1993 CMA Awards, which Black co-hosted with Vince Gill:

Classic Rewind – Clint Black & Martina McBride – ‘Still Holdin’ On’

From the 1997 CMA Awards:

Album Review – The Band Perry – ‘Pioneer’

“Daddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest” – Kimberly Perry

It’s no secret that “If I Die Young” is one of my favorite singles of this decade, no matter how much airplay it receives. Nathan Chapman’s simple production combined with Kimberly’s sweet vocal is an irresistible combination, difficult for me to resist.

So about a year ago now, I was thrilled when The Band Perry announced they’d be working with Rick Rubin on their sophomore album. The veteran producer who famously resurrected Johnny Cash’s career in the final two decades of life, he also produced the final Dixie Chick record Taking The Long Way, possibly my favorite album from them. In addition, they expressed their intent to work with songwriting genius (and Semisonic front man) Dan Wilson based on his involvement with “Someone Like You” and “Don’t You Remember” from Adele’s 21 (He also had a lot to do with the genius of the Chicks’ album). The Perry siblings even spoke openly of their love for those two songs, which made me very excited, as I love them, too.

So, what the heck went so horribly wrong? Well, it seems like the their label had other ideas. Kimberly has explained that Rubin “in his current incarnation” is a minimalist, but “we also knew that to accommodate all of the goals that we had, the best producer was Dann Huff.” One can assume, reading between the PR fog, that Republic Nashville didn’t approve of Rubin’s artistry, and wanted the band to go with a producer that would keep them firmly within the good graces of country radio. In other words, an intelligently articulate record wouldn’t be supported in today’s Nashville in the same ways an overproduced Huff-led record would.

And is Pioneer ever overproduced. Huff works his usual magic, suffocating the songs until they are one click away from needing life support. The rock production has even affected Kimberly’s voice, the band’s crowning instrument, which is now sadly showing the wear of extreme overuse. I wasn’t expecting to hear such breathy vocals from her, and like Carrie Underwood’s newly acquired rasp, it’s kind of sad. What ever happened to simply singing?

Pioneer is what happens when country music becomes too commercial. Every aspect of the product is grossly overdone in an attempt to appeal to the arena and stadium crowd, and while the songs may work well live; they fail as a listening experience on an album. Luckily, though, this isn’t the atrocious mess it could’ve been and they did find (and write) some decent songs, even if nothing here lives up to the singles from their debut.

I quite like “Don’t Let Me Be Lonely,” despite the somewhat muffled production and “I Saw The Light” is possibly my favorite song on the whole project. The title track is as folksy as they seem to get, and “Back To Me Without You” is nicely restrained although it gets a bit power ballad-y by the end. I don’t have a huge issue with thick production at all when it’s done correctly (here’s looking at you, Eric Church). Huff’s style actually works well on “Forever Mine Nevermind,” which has noticeable country elements in the choral melody.

I’m also enjoying the tender “Mother Like Mine,” which the trio wrote as a declaration of what the world would look like if everyone had been raised by their mom:

So the wars would all be over

‘Cause she’d raise us all as friends

And no one would ever wonder if somebody wanted them

We’d walk on grass that’s greener

And our cares would all be freer

If the world had a mother like mine

The no wars line is a bit predictable, and Kimberly’s vocal shows the wear of shouting too much on stage, but overall it’s a very touching song that would work well as a single. Their southern gothic tribute “End of Time” isn’t as revelatory as I would’ve liked, but it’s probably closest to the sound on their debut. “Night Gone Wasted” is a mess in this form, but I can hear the honky-tonk elements beneath all the noise, especially on the chorus. If any song ever called for an acoustic makeover, this would be it.

The rest is just plain dreck. I do get why some would praise “Chainsaw” for being a country romp, but it sounds to me like something Huff would’ve done with Rascal Flatts circa 2004. There’s just nothing new in the production to peak my interest. The lyric is typical Band Perry but the melody sounds very dated. Even the Target exclusive tracks are marred by unintelligent choices in both vocals and production, and can hardly be appreciated for the quality songs they probably are.

To call me disappointed in Pioneer would be an understatement. I’m thankful this isn’t an obvious clichéd attempt at commercialism, but this record could’ve been and deserved to be so much more. The songs are there but you wouldn’t know it based on all the distracting elements hindering overall enjoyment. Pioneer will rightfully get The Band Perry to that next level they so deserve to ascend to, but it comes at far too big a price for the fans that loved the simplicity of their debut. Hopefully, they’ll be able to find a happy medium next time.

Grade: C+  

Classic Rewind – Clint Black – ‘Like The Rain’

Album Review – Clint Black – ‘Nothin’ But The Taillights’

After the somewhat lackluster One Emotion Clint Black regrouped by issuing his first Greatest Hits album, an effort surprising for its poor representation of his debut album (only “Killin’ Time” and “A Better Man” are included) among other noticeable absences. It still managed to go double platinum and included two big hits – the guitar ballad “Like The Rain” (a favorite of mine) and somewhat aggressive “Half Way Up.” The former would be another #1 hit for Black in the fall of 1996.

He returned with a new album in 1997, previewing it with “Still Holding On,” a duet with Martina McBride. Co-written with Matraca Berg and Marty Stuart, the track served as the lead single for both Black and McBride’s new releases that year. It peaked at #11 and became Black’s first single not to chart top 10. I’ve always loved the song and consider it a nice slice of pop-country, even if it is a tad generic from two label mates looking to cash in on each other’s success.

The next three singles from Nothin’ But The Taillights helped to greatly reverse Black’s fortunes and became three of his most impactful hits since his debut album. Black and Skip Ewing co-wrote “Something That We Do,” a love song inspired by Black’s marriage to actress Lisa Hartman Black. It’s a beautiful song, albeit a tad long, and one of the most endearing professions of love since Alan Jackson’s “I’ll Love You All Over Again.”

“Something That We Do” may’ve peaked at #2, but his next two singles were chart toppers. The Steve Wariner co-written title track is an upbeat guitar heavy (and comical) wife-pissed-off song that was played to death in early 1998 to the point where I can’t even listen to it today. I don’t hate it, but the novelty has worn off. I have the opposite reaction to “The Shoes Your Wearin,’” which finds Black writing with Hayden Nicholas again. I love everything about this track, from the drums and electric guitars to Black’s vocal.

Black and Nicholas also teamed up for the next single, “Loosen Up My Strings,” which peaked at #12. Another thickly produced number; Black’s popularity likely benefited its chart run, as it should’ve been left as an album track. The neo-traditional-leaning “You Don’t Need Me Know” charted lower, peaking at #29. I don’t even remember it being a single, but it’s an excellent song with a refreshingly understated melody and vocal.

Of the album tracks, “Our Kind of Love” is a country/bluegrass tune with Alison Krauss and Union Station and “Ode To Chet” is a classic Black type song in tribute to Chet Atkins, which features fancy guitar work from Atkins himself, Dann Huff, Wariner, and Mark Knopler. Both are fabulous, although Black could’ve benefited from giving a more restrained vocal on the collaboration with Krauss. It’s beautiful melody but he comes on a bit too strong for it all to be fully appreciated. “That Something In My Life” is also very strong while “You Know It All” and “Bitter Side of Sweet” are the album’s two weakest offerings.

Nothin’ But The Taillights really is the project that put Black back on top. Not since his debut had he experienced such impactful signature hits has he does here. I really enjoy this period of Black’s career as this is when I started following and enjoying his music as a kid. If Killin’ Time was Black’s neo-traditional masterpiece, Nothin’ But The Taillights marked his highest artistic achievement in pop and even somewhat rock country.

Grade: A-

Classic Rewind – Clint Black – ‘Good Run of Bad Luck’

From the 1994 ACM Awards:

Album Review: Kacey Musgraves – ‘Same Trailer, Different Park’

A major reason for my disillusionment with modern commercial country music is the lack of the mature adult female prospective that elevated the quality of radio playlists throughout the 1990s. The absence of Matraca Berg and Gretchen Peters songs on major label albums (and the decline in popularity of artists such as Pam Tillis, Mary Chapin Carpenter, Kathy Mattea, Patty Loveless, and Trisha Yearwood) has left a noticeable gap, one filled with unsatisfying party anthems and the occasional attempt at a throwback that just never quite quenches the thirst.

Thank goodness for Kacey Musgraves. The 24-year-old former Nashville Star contestant from Golden, TX is the take-no-prisoners rebel country music needs to get out of its funk. Same Trailer, Different Park is the strongest commercial country album I’ve heard in ages, filled with timely songs that say something relevant to the modern world. She has a way of crafting lyrics that touch a nerve without seeming offensive that goes well beyond her years.

Initially I will admit I wasn’t floored by “Merry Go ‘Round” the way that most everyone else was, because I managed to get it lost in the shuffle when it debuted late last year. I now fully see the genius in it – the striking way Musgraves (along with Shane McAnally and Josh Osborne) paints a deeply honest portrait of small town life so simply. She also brings those same qualities to her new single “Blowin’ Smoke,” which includes a genius play on words (literally smoking/wasting time) for added effect.

I found that a main commonality in the records I’ve loved in past few years are lyrics containing interesting couplets, and Same Trailer Different Park is no different. The obvious example is scrapped second single “Follow Your Arrow,” which among other things, brings the equality debate firmly to the forefront:

Make lots of noise
And kiss lots of boys
Or kiss lots of girls
If that’s something you’re into
When the straight and narrow
Gets a little too straight
Roll up a joint, or don’t
Just follow your arrow
Wherever it points, yeah
Follow your arrow
Wherever it points

Say what you feel
Love who you love
‘Cause you just get
So many trips ’round the sun
Yeah, you only
Only live once

To me it’s a shame that the country music industry has evolved into a place where such a song can’t be given its due, especially since it’s not so different from such classics as “The Pill” or “The Rubber Room,” and is an anthem for our times. Personally I celebrate her boldness (which in actuality is pretty tame) and quite enjoy both the banjo driven musical arrangement and her uncomplicated twangy vocal. The track’s overall feel good attitude really works for me.

Another favorite line, ‘You sure look pretty in your glass house/You probably think you’re too good to take the trash out’ opens another confident statement piece, “Step Off,” which plays like the typical breakup ballad sans petty revenge. Also slightly atypical is the similar themed “I Miss You,” another love gone wrong song, but this time with the added vulnerability of actually missing the guy she’s broken up with. It’s nice, and a refreshing change of pace, to hear someone still grappling with feelings towards the ex instead of just writing them off in a typical Taylor Swift type scenario. The gently rocking “Back On The Map” goes even a step further and finds Musgraves pleading for a date, telling the men of the world “I’ll do anything that you ask.”

Album Review – Clint Black – ‘No Time To Kill’

By the time Clint Black released his fourth album No Time To Kill, he had finally gotten his career on track after his multiple court appearances and delayed third album The Hard Way. He once again turned to producer James Stroud and watched his career elevate to an even higher level.

A duet with then red-hot Wynonna Judd entitled “A Bad Goodbye” was the album’s first single, peaking at #2 in summer 1993. A string-laced piano ballad, it marked Black’s first foray into a slicker sound but didn’t compromise his artistic integrity. I quite like this one, mostly due to the track’s understated nature and the pair’s equally strong vocal performances.

As if to prove Black hadn’t gone pop, RCA Nashville followed up with the title track, another top 5 hit. “No Time to Kill” was a play on words with the title of his debut record, although the similarities between the two songs end there. “No Time to Kill” introduced Black’s jam band tendencies and brought the energy of his electric stage show to an album for the first time. The liveliness of the track is infectious, and I love the mix of drums, fiddle, and dobro throughout.

Possibly my favorite single from No Time to Kill is “State of Mind,” which rightfully went to #2 in the fall of 1993. I love everything about this song from the use of harmonica on the intro to the fiddle that welcomes you about a minute in. It’s just an all around feel good song, which is surprising given the subject matter (a man on the mend from a bad relationship).

The album’s sole number one hit (and another favorite of mine) came from “A Good Run of Bad Luck,” a gambling themed number also featured on the soundtrack to the movie Maverick starring Mel Gibson and Jodie Foster. Like “No Time To Kill,” “A Good Run of Bad Luck” perfectly echoes Black’s energy on stage, which made the number perfect for playing live.

The only odd single choice from No Time To Kill is “Half The Man,” which peaked at #4 in 1994. There’s nothing wrong with the song, although the neo-traditional arrangement is a crutch for Black to regress a little. He doesn’t bring anything fresh to this type of song and it probably only received airplay thanks to Black’s popularity at the time. Much better is the Western Swing meets Bluegrass influenced “Tuckered Out,” which peaked at #74 due to unsolicited airplay. The high-energy number shows another side to Black’s musical persona, and it’s far more sonically interesting than “Half The Man,” which is more forgettable than anything else.

Of the remaining songs, “I’ll Take Texas” plays up Black’s Merle Haggard influence both sonically and vocally while “Back To Back” is an excellent mid-tempo number driven by dobro. I can’t say the same for the remaining two as “Thinkin’ Again” and “Happiness Alone” are boring neo-traditional numbers that lack the spark Black brought to his earlier work in that vein. But No Time To Kill is a fantastic album overall and a true standout from a singer/songwriter unwilling to forgo taking risks. It’s worthwhile addition to the collection of any true country fan.

Grade: A 

Classic Rewind – Loretta Lynn and Conway Twitty – ‘As Soon As I Hang Up The Phone’

Predictions for the 48th annual ACM Awards

Now that we’ve turned the clocks forward an hour and our calendars from March to April, it’s time to turn our attention to Las Vegas and the annual Academy of Country Music Awards telecast. CBS is carrying the show live Sunday Night (April 7) and it promises to be an eclectic mix of mainstream country music; hosted by Blake Shelton and Luke Bryan. Look for Tim McGraw to sing his latest “Highway Don’t Care” with Taylor Swift and Keith Urban, while Jason Aldean is rumored to be involving Joe Diffie in his performance of “1994.” Kelly Clarkson will be singing “Don’t Rush” and Bryan plans to debut a new single, “Crash My Party.” But I’m most excited to see what promises to be a buzzed about moment – Garth Brooks and George Strait collaborating for the first time to pay tribute to show producer Dick Clark.

Here are the nominees and predictions:

Entertainer of the Year

· Jason Aldean

· Luke Bryan

· Miranda Lambert

· Blake Shelton

· Taylor Swift - Jonathan Pappalardo 

As a fan voted award, the logic would be on Taylor Swift to take this home. And while she’s the likely winner, I’m wondering if Blake Shelton’s Voice popularity may propel him to the podium instead. There has to be a chance someone besides Swift could take this home, right? Well, I’m not betting on it, but Shelton seems the most likely one to do it.

Male Vocalist of the Year

· Jason Aldean

· Luke Bryan

· Eric Church

· Toby Keith

· Blake Shelton - Jonathan Pappalardo 

It’s nice to see Keith sneak in a nod here, as he’s still a gifted vocalist and “Hope On The Rocks” proves it. Aldean is just too weak a singer to make much of a significant impact and I can’t see the Academy embracing Church. So this as a two-way race between show co-hosts Shelton and Bryan, and I only see the ACM awarding it to Bryan if they want to shake it up. But they may see him as an eventual winner (like after he releases his next album) and go with Shelton again.

Female Vocalist of the Year

· Miranda Lambert - Jonathan Pappalardo 

· Martina McBride

· Kacey Musgraves

· Taylor Swift

· Carrie Underwood

While I would love to see Musgraves take this home, she’s too new for such a prestigious honor. McBride’s a broken record at this point – she hasn’t had an impactful hit single in years and while Underwood is releasing some of the most ambitious songs of her career, she’ll likely be seen as old hat by this point. This is Lambert’s award to lose and Swift’s dominance in a completely different genre market isn’t going to change that.

Vocal Duo of the Year

· Big & Rich

· Florida Georgia Line

· Love and Theft

· Sugarland

· Thompson Square - Jonathan Pappalardo 

If Florida Georgia Line wins this award, I’m done. “Cruise” may’ve been one of the biggest hits of last year, but popularity hardly denotes quality. Thompson Square should repeat here and even though they aren’t as strong as they could be, they’re the best of this bunch outside of Sugarland.

Vocal Group of the Year

· The Band Perry

· Eli Young Band

· Lady Antebellum

· Little Big Town - Jonathan Pappalardo 

· Zac Brown Band

After their come out of nowhere Grammy win in February, Little Big Town are the darlings of Nashville and that will continue with a win here. Their success is long overdue, as is a win in this category. Zac Brown Band and The Band Perry can have fun duking it out for second place.

New Artist of the Year

· Florida Georgia Line - Jonathan Pappalardo 

· Brantley Gilbert

· Jana Kramer

This is really a toss up. Any of these three could win although Kramer has proven the most country minded of the nominees. She’s my favorite, but I’m not counting out Florida Georgia Line. It’s another fan voted award and “Cruise” is insanely popular.

Album of the Year [Award goes to Artist(s)/Producer(s)/Record Company]

· Blown Away – Carrie Underwood (19/Arista Nashville), Produced by: Mark Bright

· Chief – Eric Church (EMI-Nashville), Produced by: Jay Joyce

· Red – Taylor Swift (Big Machine Records), Produced by: Jeff Bhasker, Nathan Chapman, Dann Huff, Jacknife Lee, Max Martin, Shellback, Taylor Swift, Butch Walker, Dan Wilson

· Tailgates & Tanlines – Luke Bryan (Capitol Nashville), Produced by: Mark Bright, Jeff Stevens

· Tornado – Little Big Town (Capitol Nashville), Produced by: Jay Joyce - Jonathan Pappalardo 

A good list of mainstream albums. Chief would seem the frontrunner since it already won the CMA Award, but this is the first race to include Little Big Town’s superstar making set. I’m going out on a limb and say Tornado will take this home.

Single Record of the Year [Award to Artist(s)/Producer(s)/Record Company]

· “Even If It Breaks Your Heart” – Eli Young Band (Republic Nashville), Produced by: Mike Wrucke

· “Over You” – Miranda Lambert (RCA), Produced by: Chuck Ainlay, Frank Liddell, Glenn Worf

· “Pontoon” – Little Big Town (Capitol Nashville), Produced by: Jay Joyce - Jonathan Pappalardo 

· “Springsteen” – Eric Church (EMI-Nashville), Produced by: Jay Joyce

· “Wanted” – Hunter Hayes (Atlantic/WMN), Produced by: Hunter Hayes, Dann Huff

“Pontoon.” It won the CMA, a Grammy, and reversed the fortunes of a band too talented for the oblivion it was heading for. There’s no way they’ll lose, but if they do it’ll go to Hayes and his sophomore single “Wanted.”

Song of the Year [Award to Composer(s)/Publisher(s)/Artist(s)]

· “A Woman Like You” – Lee Brice, Composers: Phil Barton, Johnny Bulford, Jon Stone, Publishers: 3JB Music (BMI), Adios Pantalones (SESAC), Hears That Skyline Music (SESAC), Sixteen Stars Music (BMI), Warner-Tamerlane Publishing Corp. (BMI)

· “Even If It Breaks Your Heart” – Eli Young Band, Composers: Will Hoge, Eric Paslay, Publishers: Cal IV Songs (ASCAP), Will Hoge Music (BMI)

· “Over You” – Miranda Lambert, Composers: Miranda Lambert, Blake Shelton, Publishers: Pink Dog Publishing (BMI), Sony ATV/Tree Publishing (BMI) - Jonathan Pappalardo 

· “Springsteen” – Eric Church, Composers: Eric Church, Jeff Hyde, Ryan Tyndell, Publishers: Bug Music (BMI), Ole Purple Cape Music (BMI), Sinnerlina (BMI), Sony ATV/Tree Publishing (BMI)

· “Wanted” – Hunter Hayes, Composers: Hunter Hayes, Troy Verges, Publishers: Happy Little Man Publishing (BMI), Songs From The Engine Room (BMI), Songs Of Universal Inc. (BMI)

“Over You.” The ACM will follow in the footsteps of the CMA and bring Lambert and Shelton to the podium. Two genre superstars are just too hard to ignore. Their only competition, Kacey Musgraves’ ‘Merry Go ‘Round’ wasn’t even nominated, so I just don’t see anyone else taking this home.

Songwriter of the Year

· Rodney Clawson

· Dallas Davidson (Already won, off-camera award) 

· Josh Kear

· Luke Laird

· Shane McAnally

Davidson has already won; this is an off-camera award. But I would’ve gone with McAnally who seems to be on fire right now. His collaborations with Brandy Clark are killer.

Video of the Year [Award to Producer(s)/Director(s)/Artist(s)] *(Off Camera Award) [TIE]

·” Creepin’” – Eric Church, Producer: Iris Baker Director: Peter Zavadil - Jonathan Pappalardo 

· Merry Go ‘Round – Kacey Musgraves, Producers: Perry Bean, Kacey Musgraves Director: Perry Bean

· “Tornado” – Little Big Town, Producer: Iris Baker Director: Shane Drake

· “Wanted” – Hunter Hayes Producers: Stephanie Reeves, Eric Williams Directors: Traci Goudie, Patrick Hubik

· “We Are Never Ever Getting Back Together” – Taylor Swift, Producer: John Nguyen Director: Declan Whitebloom

· “The Wind” – Zac Brown Band, Producer: Ben Kalina Director: Mike Judge

Most of Zac Brown Band’s videos are distracting, with annoying concepts that take away from the song completely. “The Wind” is no exception. The Swift clip is awful and does nothing to portray her maturity and “Wanted” isn’t special enough to stand out from this pack. Church deserves this the most, as both the song and video for “Creepin’” are completely original. This is where he should get some much-deserved hardware. 

Vocal Event of the Year [Award to Artist(s)/Producer(s)/Record Company] *(Off Camera Award)

· “Don’t Rush” – Kelly Clarkson Featuring Vince Gill (19/RCA/Columbia Nashville) Produced by: Dann Huff

· “Easy” – Rascal Flatts Featuring Natasha Bedingfield (Big Machine Records) Produced by: Dann Huff, Brian Kennedy, Rascal Flatts

·”Feel Like a Rock Star” – Kenny Chesney (Duet With Tim McGraw) (Blue Chair/BNA) Produced by: Buddy Cannon, Kenny Chesney  – Jonathan Pappalardo 

· “Let It Rain” – David Nail Featuring Sarah Buxton (MCA Nashville) Produced by: Chuck Ainlay, Frank Liddell

· “The Only Way I Know” – Jason Aldean With Luke Bryan & Eric Church (Broken Bow) Produced by: Michael Knox

What a terrible, terrible bunch of songs that equate to nothing more than empty opportunistic pandering. The only worthwhile songs here are “Don’t Rush” and “Let It Rain” and they are hardly ‘events.’ I bet Chesney/McGraw will take this home but if it wasn’t an off-camera award, than I’d say Aldean/Bryan/Church. The latter would make for ratings gold on stage, but it would be a wasted opportunity off-camera. In truth, though, I couldn’t care less about these nominees if I tried.

Spotlight Artist: Clint Black

Clinton Patrick “Clint” Black was born February 4, 1962 in Long Beach, NJ as the youngest of G.A. and Ann Black’s four children. Black was raised in Houston, moving from NJ to Texas before turning a year old. By age fifteen, Black was playing harmonica and guitar and had joined his brothers in a band. He would drop out of high school (and end his formal schooling) to play with the band full-time.

Black soon became a solo act and in the early 1980s he held gigs playing lounges by night and working construction (among other jobs) during the day. His interest in country music came through Reba McEntire and George Strait, who were bringing the traditional sounds he loved back to the genre. Black had a chance meeting with guitarist Hayden Nicholas in 1987, and was soon sending demos to promoter Sammy Alfano and meeting with ZZ Top’s manager Bill Ham, who quickly signed him as a client.

Not long after RCA Records came calling and signed Black to a record deal. His debut album Killin’ Time was released in May 1989 and success came instantaneously. Black’s first four singles (“A Better Man,” “Killin’ Time,” “Nobody’s Home” and “Walkin’ Away) topped the charts and the album reached multi-platinum status. In addition, he was the first male artist to have his debut single hit #1 in fourteen years and the breakout star in the famed ‘class if ‘89’ which saw debuts from future genre heavyweights including Garth Brooks, Alan Jackson, and Travis Tritt among others. The success lead to bountiful recognition from the industry, with the CMA giving him the Horizon Award in 1989 and the ACM showering him with four awards including New Male and Top Male Vocalist and Album of the Year for Killin’ Time in 1990.

His sophomore effort Put Yourself In My Shoes came at the end of that year and he married actress Lisa Hartman in 1991. His second album wasn’t as revered as his debut despite selling more than three million units and containing two #1 hits. He also took part in a Roy Rogers tribute album, collaborating with Rogers on the duet “Hold On Partner.”

Black’s career took a hit in 1992 when he sued Ham for breach of contract, claiming he was being stiffed in royalties for his songs, all of which he had a hand in writing. Black was also hit with a paternity suit from a supposed former girlfriend who claimed Black had fathered her child. Being in and out of court put a strain on Black’s career and caused a one-year delay in the release of his third album, The Hard Way. In that time the country music industry had changed dramatically (Brooks and Tritt were now superstars while Billy Ray Cyrus was a cult favorite), causing RCA to wonder if he’d regain his footing. They need not worry as “When My Ship Comes In” would go #1 in early 1993.

He followed with a sexier image and No Time To Kill in 1994. A duet with Wynonna Judd, “A Bad Goodbye,” was a huge hit at radio and even prompted the ‘Black and Wy’ tour in 1994, the same year he would join Vince Gill as co-host for the CMA Awards. Black took part in winning Album of the Year that evening thanks to his recording of “Desperado” on the multi-artist Eagles tribute, Common Thread: The Songs of The Eagles.

Success continued with One Emotion, and in 1995 he topped the charts with “Summer’s Comin.’” His first Greatest Hits album followed in 1996, and Nothin’ But The Tailights was released in 1997. Black was on top once again, thanks in part to major hits in the title track, “Something That We Do” and “The Shoes You’re Wearin.’” A duet with Martina McBride, “Still Holdin’ On” would be his first single to miss the top 10.

Black was able to keep the momentum going with the all-acoustic D’lectrified in 1999 and had major hits in “When I Said I Do” (a duet with his wife) and the harmonica-laced “Been There” with Steve Wariner. He and Hartman-Black had their only child, Lily Pearl, in May 2001. Black took a three-year hiatus from his career to focus on being a father.

He left RCA during this period to open his own label, Equity Records, and returned with Spend My Time in 2004, producing a top 20 hit with the title track. Another full-length project, Drinkin’ Songs and Other Logic, followed in 2005 and The Long Cool EP was released in 2008. The EP contains Black’s last hit to date, “The Strong One,” which is the first solo single of Black’s career for which he doesn’t have a writing credit.

Equity closed that December amid economic difficulties and the departure of Little Big Town, the label’s only hit-making act. Black’s been very quiet in the years since (although he has been touring quite a bit around New England lately), but I’ve heard he’s working on new music he’s calling the best of his career. The new album is expected sometime this year and from what I understand there’s a push to get him back on the radio again. We shall see how it all turns out, but in the meantime, I hope you enjoy our look back at his career throughout the month.

Singles Round-Up: Pistol Annies, Little Big Town, and Carrie Underwood

Pistol Annies – “Hush, Hush”

 If “Hush, Hush” proves anything, it’s that the Pistol Annies sure know how to cultivate a brand. They’re hell bent on taking the redneck woman from deep in the holler thing as far as it’ll take them, whether it means they take risks thematically or not.

The finished product is good, but the slightly too loud electric guitar compromises the vocals a little too much. Angaleena Presley’s voice is a little thin for this type of thick production while Miranda Lambert sounds as though she’s on twang overdrive; almost overcompensating to prove she’s still a country girl. Only Ashley Monroe sounds perfectly comfortable here and she proves it with a confident vocal that makes Presley and Lambert sound amateurish.

Hell on Heels is going to be a tough act to follow. They may be up to the challenge, but “Hush, Hush” needed a bit more polish before it was ready for release. I’m digging the overall feel of the track but the story seems predictable from them. They’ve set the bar impossibly high, and while they almost reach it, they never quite get there all the way.

Grade: B

Little Big Town – “Your Side of the Bed”

Let’s get it out of the way. “Your Side of the Bed” is a direct rip-off of Gretchen Wilson’s “The Bed” from Here For The Party. Wilson’s song wasn’t a single, but the similarities between the songs are hard to ignore – both songs cover the same ground almost identically.

Little Big Town has turned the concept into a duet between married band members Karen Fairchild (once again singing lead on a LBT single) and Jimi Westbrook. Trading off the verses, they exude the right amount of desperation to make the story work. Jay Joyce also helps by framing them in a hauntingly understated 1970s soft rock tinged production that works nicely in their favor. The track is gorgeous, and the most sonically interesting mainstream single since Zac Brown Band’s “Goodbye In Your Eyes.”

I’m just having a trouble with the seemingly obligatory choral harmonies. They delude the pain Fairchild and Westbrook bring to the song by overcrowding the moments of greatest emotional impact with third parties not connected with the verses. A bit less vocal clutter, and this could’ve been one of the year’s best singles – a direct rip-off or not.

Grade: B+ 

Carrie Underwood – “See You Again”

At first glance there’s nothing wrong with this song at all. “See You Again” has an engaging melody, the strong type of vocal performance that Underwood excels at, and the track is a quintessential earworm, listen a few times, and you’ll be singing it all day.

So where’s the problem? Well, for starters, “See You Again” is classic power pop and bares no resemblance to country music whatsoever. That doesn’t help matters any as the choruses have been reduced to a muffled and bombastic mess that leaves Underwood no choice but to screech her way to next verse and bridge. This was the point in the Blown Away album cycle to change it up, with a “Do You Think About Me” for instance, opposed to sticking with more of the same. Safe filler like this doesn’t do a career any justice in the long term.

At least we’ve been spared “Cupid’s Got A Shotgun,” “One Way Ticket” or “Nobody Ever Told You” getting released. It isn’t saying much, but at least there’s that.

Grade: B-

Concert Review – Kathy Mattea at Silver Center For The Arts in Plymouth, NH

Kathy Mattea came ready to give it her all. Amidst a blinding snowstorm, and the after effects of the head cold that had eluded her to three days prior, she took the stage Feb 23 in the teeny 665 seat Hanaway Theatre (located in isolated Plymouth, NH) with just three other musicians, a caravan of guitars, and a message.

Of late Mattea has been outspoken on the subject of coal, or “Black Gold” as she sings in a recent song. Her crusade opened a so-far two-album floodgate, a life-changing detour into the Appalachian Folk songs of her West Virginian heritage and the most fully realized music of her thirty-year recording career. Her otherworldly alto graces the lyrics of Jean Ritchie, Laurie Lewis, Hazel Dickens, and Alice Garrard with the plainspoken beauty of a woman directly in line with her authentic center.

But even more impressive is Mattea’s ability to blend the “new” with the old, creating a woven tapestry linked by environmental cause, a deep sense of history, and a sharp ear. She opened with the first track on Calling Me Home (“A Far Cry”) before launching into “Lonesome Standard Time,” her #11 peaking single from 1992, without skipping a beat. She then graced the audience with my favorite of her singles, “Standing Knee Deep In A River (Dying of Thrust),” which was recently reinstated back into her set.

The intermingling of her past hits and newer material took me by surprise. I expected Mattea to focus mainly on the subject of coal, with a dusting of her biggest hits, thus leaving non-signature tunes as distant memories. But instead Mattea covered the hallowed ground between her past and present with the seamless ease of a songstress in tune with every note, paying close attention to every lyric.

Dressed in a mint green blouse, black jacket, and casual leggings, Mattea had the confidence of a seasoned professional but the cool of an everywoman; she was one among equals not a star singing to a crowd. Her greatest virtue was her subtlety, showcased through her candor and humor, on par with that of a next-door neighbor, a friend.

She greeted us like we’ve known her all our lives, commending us “Plymouthians” on our toughness in weather, braving a major snowstorm like a bright sunny day. Later she encouraged communal participation, denouncing those who belittled us for an inability to carry a tune, before having us sing loud and proud on multiple choruses of both “Eighteen Wheels and a Dozen Roses” and “Come From The Heart.” The latter bonded us as a tight-knit family – she enthusiastically attempted to get us clapping on the offbeat, which wasn’t meant to be. Clapping on all beats didn’t work either so plan B had us singing “You gotta sing like you don’t need the money, love like you’ll never get hurt, dance like nobody’s watching, it’s gotta come from the heart if you want it to work” at the tops of our lungs.

Further audience participation caused an off-script deviation into “Mary, Did You Know” and a proclamation that it wasn’t included with the $35 ticket price. She rolled with the flow, only grappling with the tune to see if she could reach the high note without her head popping off (she did have a head cold, after all). The song soared, and proved that sick or healthy professionalism wins out every time.

My favorite moment of the night confirmed another of Mattea’s many facets -her shrewd intellect. Her successful blending of old and new cumulated in a shared linkage – most of Mattea’s songs are deeply rooted in various fossil flues, albeit generally indirectly. I’d never viewed her material from such a focal point before, and she gracefully clarified her hypothesis, explaining how she’s singing about the diesel fuel of trains (“Lonesome Standard Time”) and the long hall truckers (“Eighteen Wheels”) to the coal. This led to a fabulous rendition of “455 Rocket” (fossil fuel: gasoline), her 1997 single and final top 20 chart hit. (In another showcase of her clever humor, I loved how she modified the line, “as we skid I thought I heard angles sing (sounded like the Beach Boys)” into a sly commentary on Beyoncé’s recent lip-synching scandal).

Mattea went on to grace us with more stories – how she first played the banjo in college only to pick it up again more recently, and the time she performed in newly restored theatre in Ohio, only to find out the majority of the audience didn’t know whom she was. She was candid on the subject of marriage, mentioning her and Jon’s recent (the prior week) 25-year milestone, gracing us with “Love Chooses You,” a Willow In The Wind album cut, and the song sung at their wedding.

Before “Love At The Five and Dime” she remarked on Nanci Griffith’s writing, likening the second verse to poetry, and shared that her classic “Where’ve You Been” almost wasn’t written, if co-writer Don Henry hadn’t been in the room. The latter came with a tale about a man with Alzheimer’s who’d forgotten his wife, until a visit in which she and their daughter were yelling at each other – and memories came flooding back.

Some of my favorite moments weren’t even the older hits (she also sang “Untold Stories,” another unexpected surprise) but the new material, even more simplistic on stage, than record. The quiet beauty of “Agate Hill” elicited tears, while her effective reading of “West Virginia Mine Disaster” showcased her storytelling prowess. “The L&N Don’t Stop Here Anymore” was a nice uptempo change of pace, and “Coal Tattoo” really let the band rip.

My other great joy, and the benefits of my front row center seat, was witnessing the nuances of the band in action all evening. Sitting that close, I was able to take in all that was happening on stage and watch the four musicians bring each song to life with the fullness of a full ensemble. The front row seat brought an appreciation to the evening that even two or three rows back would’ve made near impossible.

Seeing Mattea live was one of those musical highlights of life where everything comes together perfectly for a truly outstanding evening. She’s an otherworldly talent who has only aged with sincere grace and humility since her Nashville hit making days. If you’ve never attending one of her shows, or if it’s been a while since your last evening with Mattea, it’s well worth it to catch her when she’s in your area. It’ll likely be one of the best musical nights of your life. That was certainty the case for me.

Album Review – Collin Raye – ‘Can’t Back Down’

Can’t Back Down, Collin Raye’s seventh studio album, came just eight months after Tracks and did nothing to reverse his already declining fortunes. He took on co-producer James Stroud for the project, but that didn’t help matters, and he exited Epic shortly thereafter.

“Ain’t Nobody Gonna Take That From Me” peaked at #43 and it’s an excellent song, evidenced by Joe Nichols cover on 2007’s Real Things. Raye’s version, however, was a bit too poppy, but he gives a pleasant vocal and has some nice fiddle riffs throughout. The breathy religious-tinged ballad “What I Need” failed to chart.

The main problem with the album is the generic nature of the proceedings – Raye and Stroud fail to amass a collection of songs that rise above average, with the song selection failing to be anything terribly memorable let alone hit worthy. Raye spends the project trying to fit in with the early 2000s Nashville crowd, thus spending too much time pandering and not enough time finding great songs.

That being said this isn’t a terrible album, but it isn’t up to Raye’s usual standards. “Gypsy Honeymoon” does boast a nice up-beat production, but Raye’s raspy vocal is a bit off-putting. He charges up the production again on “Young As We’re Ever Gonna Be” (which he co-wrote), to much better results, pulling off what sounds like a long-lost Mary Chapin Carpenter anthem circa Stones In The Road.

Raye again looses his way on the majority of the ballads. “Dear Life” attempts to be inspirational but his breathy vocal and the AC-leaning piano hinder the enjoyment. “What I Did For Love” and “One Desire” are just odd and feature a sonically out of place drum machine that does little more but water down Raye’s usual tenderness into a pop-meets-R&B concoction that’s far more LA than Nashville.

Raye does attempt to regain his footing in the mainstream, though, and you have to credit a man for trying. “It Could Be That Easy” sounds like it could’ve come from any of his previous records, but it just isn’t nearly as strong. “Dancing With No Music Playing” and “End of the World” have the best production (with the latter best representing Raye’s glory days), but they fall up short thanks to weak lyrical content and somewhat scrawny vocal performances. “I Can’t Let Go Now” is just too slow, and the string section makes the track too sleepy for my tastes.

It’s easy to see why Can’t Back Down marked the end of Raye’s mainstream career – it just wasn’t a great album. I’m all for applauding artists when they grow stylistically, but Raye seems like he’s changed. Save the first single and “Young As We’re Ever Gonna Be,” this isn’t the same man who had a long string of hits just a few years earlier. The ballads don’t pack the same punch and his voice doesn’t sound like it’s aging gracefully, which is a shame. But it isn’t his worst album. It may be among his safest, but it isn’t dreck.

Grade: B-