Album Review: Clint Black – ‘The Hard Way’

Clint Black’s third album was delayed somewhat by his legal battles with his management team. When the case was finally settled, The Hard Way was released in July 1992. Clint shared production duties with James Stroud and had a hand in writing all of the album’s songs, mostly with his usual songwriting partner Hayden Nicholas, but he also collaborated with a few outside writers as well. Unfortunately, this is the point in Clint’s career when the quality of his songs began to falter; The Hard Way is an uneven and largely unmemorable affair that would likely have benefited had Black not insisted on recording only material for which he shared songwriting credits.

By now Clint’s popularity had lost some ground to Garth Brooks, but The Hard Way’s singles were still all well received by radio; “We Tell Ourselves” reached #2, “Burn One Down” (my personal favorite) landed at #4 and “When My Ship Comes In” climbed all the way to #1. Oddly, “When My Ship Comes In”, the album’s highest-charting single was omitted from Clint’s greatest hits package which was released a few years later.

The album marks the beginning of a subtle shift away from traditional country with songs like the slightly rock-tinged “Something To Cry About”, which is the album’s weakest track. The rest are fairly conventional recordings which are firmly within the scope of what was considered to be mainstream at the time. None of them are terrible, but none of them are particularly great, either, with the exception of “Burn One Down” which is as good as anything on Clint’s first two albums. There are a few album cuts that I like better than the singles, such as “A Woman Has Her Way”, “Wake Up Yesterday”, and “There Never Was a Train”, which only appears on the CD version of the album, as RCA was still engaging in its stingy practice of only including 9 tracks on cassette.

The Hard Way is not Clint’s very best work, although he would go on to release a few albums that were much worse. That being said, it is far superior to most of what Nashville is trying to peddle today. It is worth seeking out only because it can be obtained very inexpensively; otherwise, I would just stick with the Greatest Hits album and give this one a miss.

Grade: B

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.

U.S. Supreme Court strikes a victory for the used music market

For the past few months, I’ve been reading about Supap Kirtsaeng, a Thailand-born student at Cornell University, and how his idea to offset the costs of college tuition led him to the United States Supreme Court. Kirtsaeng made over $100,000 by selling used textbooks online. These textbooks were purchased by his relatives in Thailand at cut-rate prices, much cheaper than they can be bought for in the U.S.  He bought books that were printed and sold legally overseas. He resold them in the States for a profit. The publisher of the textbooks, John Wiley and Sons, Inc., sued and won a $600,000 judgment against Kirtsaeng, arguing he violated fair use since the copyrighted material was sold outside the U.S. The college student and his lawyer held he did not violate fair use because he bought the books through a third-party – to whom Wiley and Sons had licensed the low-cost copyright – and appealed to the high court.

And it all sounded to me like that old first-sale doctrine argument we heard back when some recording artists got their breeches twisted over the sale of used CDs and vinyl records.

Those old enough to remember know the issued of reselling used media caused a stir in the mid-’90s when used CDs started saturating the market and caused a panic at the labels, who quickly issued cease and desist letters to the record stores, ordering them to stop selling used products. The Federal Trade Commission got involved and the labels backed off, but not before some recording artists – most notably Garth Brooks – could weigh in on the subject. Garth went so far as refuse to release new music to record store chains that sold used CDs. What I’m sure was meant to be his championing of the underdog – the “little guy” – turned out to be one of the first of many times Garth made a jackass of himself in the media, especially since he was railing against what was already a nearly nine decades-old precedent settling the argument of “licensing” versus “sale” of a copyright when you buy a book, vinyl record, DVD, or mp3.

Which is why I was surprised at first to learn that the Supreme Court would even be hearing yet another case about this. But there was a difference here. The big issue regarding The Textbook Case is that the product was manufactured outside the United States. Did U.S. copyright law – particularly the first sale doctrine – apply to works made outside U.S. jurisdiction? The justices say so, in a 6-3 vote last week, overturning the district court’s decision. And while their opinions hinged more on giant retailers like Costco and their ability to sell goods made outside the country, it trickles down to the used music marketplace.

If the high court had upheld Mr. Kirtsaeng’s conviction and fines, the availability of and our ability to purchase used (read: reasonably priced) copies of older and out-of-print albums would dramatically drop. Rejecting third-party copyrights from first-sales exemptions wouldn’t completely shut down amazon.com’s used CD market for U.S. customers – providing we were buying American-bred products. But Bear Family and some other great independent labels could have faced an embargo. So I say the court’s ruling is a victory for the audiophiles even more than the general consumer.

Maybe this will be the final say on the matter, with the court extending the first-sale doctrine’s reach to globally-produced products. Or maybe just until there are extraterrestrial copyrights to legislate.

Album Review: Travis Tritt – ‘My Honky Tonk History’

The creative renaissance that Travis Tritt enjoyed with the release of Down The Road I Go was unfortunately short-lived; 2002′s Strong Enough was a commercial and critical disappointment and 2004′s My Honky Tonk History, while slightly better than its predecessor, was likewise a mixed bag.

Based on the album’s title, some fans might have been expecting a back-to-basics collection of traditional weepers; if so, those fans were likely quite disappointed, since the album often is anything but traditional. Ironically, the Luke Bryan and Patrick Jason Matthews title track is one of the most rock-leaning tracks Tritt ever released. The track’s production is rather heavy-handed, and this is also the case with the second track “Too Far To Turn Around”. Two tracks into the album I was bracing myself for a tedious listening experience; “The Girl’s Gone Wild” is more mainstream contemporary country but the lyrics are cliched and the whole song sounds like a retread of the Garth Brooks Hit “Ain’t Comin’ Home Til The Sun Comes Up”; a song of which I was never overly fond. The tune seems to have been carefully tailored to the prevailing tastes at country radio, but radio’s response was lukewarm and the tune topped out at #28.

Fortunately things take a turn for the better starting with the fourth track “What Say You”, a duet with John Mellencamp. It’s not a traditional number by any means; it is more in the vein of something that Bob Dylan or The Byrds might have recorded. I’ve never been a fan of Mellencamp’s music but somehow the tune manages to work. It marks Mellencamp’s first –and to my knowledge, only — entry into the country Top 40. The record just missed the Top 20, peaking at #21.

Following “What Say You” is the excellent “Circus Leaving Town”, a traditional steel-guitar drenched number which is by far the album’s best track. “Monkey Around”, a bluesy number written by Delbert McClinton, Benmont Tench, and Gary Nicholson provides a nice change of pace, and Tritt sounds as though he is thoroughly enjoying himself with this tune. “I See Me” is a more mainstream effort, a ballad about a father observing his young son. Earlier in Tritt’s career, this would likely have been a big hit but by this time radio had cooled toward him considerably and the record stalled at #32.

By the last third of the album, the quality begins to taper off again, as the songs become more rock-oriented with offerings like “When Good Ol’ Boys Go Bad”, the anti-commercialism anthem “It’s All About The Money” and the don’t-get-above-your-raisin’ themed “When In Rome”, which closes the album. The two exceptions are the beautiful ballad “We’ve Had It All”, a Tritt co-write with Marty Stuart and “Small Doses” written by Jerry Salley and Chris Stapleton who would later enjoy a stint as lead vocalist for The SteelDrivers. “Small Doses” is the one tune here that sounds as though it belongs on an album titled My Honky Tonk History.

Though it failed to spawn any major hits or earn gold or platinum certification, My Honky Tonk History did reach #7 on the Billboard Top Country Albums chart. His declining popularity with radio and creative differences with Columbia led to Travis’ departure from the label in 2005. With the major label phase of his career now over, he went on to experience even greater difficulties with the independent Category 5, with whom he signed in 2006. Uneven in quality though it is, My Honky Tonk History does contain a few very good tracks and for those alone it is worth picking up a cheap copy.

Grade: B

Week ending 1/19/13: #1 singles this week in country music history

1953 (Sales): Jambalaya (On The Bayou) — Hank Williams (MGM)

1953 (Jukebox): Back Street Affair — Webb Pierce (Decca)

1953 (Disc Jockeys): Back Street Affair — Webb Pierce (Decca)

1963: The Ballad of Jed Clampett – Flatt & Scruggs (Columbia)

1973: She’s Got To Be A Saint — Ray Price (Columbia)

1983: Going Where The Lonely Go — Merle Haggard (Epic)

1993:  Somewhere Other Than The Night — Garth Brooks (Liberty)

2003: 19 Somethin’ – Mark Wills (Mercury)

2013: Cruise – Florida Georgia Line (Republic Nashville)

2013 (Airplay): Goodbye In Her Eyes — Zac Brown Band (Southern Ground/Atlantic)

Week ending 1/13/13: #1 albums this week in country music history

1968: Eddy Arnold – Turn The World Around (RCA)

1973: Freddie Hart and The Heartbeats – Got The All Overs For You (Capitol)

1978: Dolly Parton – Here You Come Again (RCA)

1983: Alabama – Mountain Music (RCA)

1988: Randy Travis – Always & Forever (Warner Brothers)

1993: Garth Brooks – The Chase (Capitol)

1998: Garth Brooks – Sevens (Capitol)

2003: Shania Twain – Up! (Mercury)

2008: The Eagles – Long Road Out of Eden (Lost Highway)

2013: Taylor Swift – Red (Big Machine)

Week ending 1/5/13: #1 albums this week in country music history

1968: Eddy Arnold – Turn The World Around (RCA)

1973: Merle Haggard – The Best of the Best of Merle Haggard (Capitol)

1978: Dolly Parton – Here You Come Again (RCA)

1983: Alabama – Mountain Music (RCA)

1988: Randy Travis – Always & Forever (Warner Brothers)

1993: Garth Brooks – The Chase (Capitol)

1998: Garth Brooks – Sevens (Capitol)

2003: Shania Twain – Up! (Mercury)

2008: The Eagles – Long Road Out of Eden (Lost Highway)

2013: Taylor Swift – Red (Big Machine)

Spotlight Artist: Martina McBride

Sharon, Kansas native Martina Schiff grew up listening to and performing country music. From the age of eight, she sang with The Schifters, a band her father had formed. After marrying sound engineer John McBride in 1988, she moved to Nashville to pursue a career in country music. John obtained work as part of Garth Brooks’ sound crew and later became his concert production manager. Martina sold T-shirts at Brooks’ concerts and so impressed the country superstar that he agreed to produce a demo tape for her, which eventually led to a record deal with RCA and a gig as Brooks’ opening act.

Martina’s debut album The Time Has Come was released in 1992 and was a modest success. True success came a year later with the release of her sophomore album The Way That I Am, which was in more of a country-pop vein than her mostly traditional sounding debut album. The Way That I Am produced Martina’s first top 10 hits, “My Baby Loves Me” and “Life #9″. The controversial “Independence Day”, a tale of domestic abuse and retribution, was also included on the album. The single was released in April 1994, and was just making some inroads on the country singles chart around the time of the O.J. Simpson murders in June of that year. Because of the subject matter, many radio stations refused to play the record. It peaked outside the Top 10, but it still became Martina’s signature tune, winning the Country Music Association’s Video of the Year Award in 1994. She would revisit the abuse theme over the course of her career with songs such as 1997′s “A Broken Wing” and 2002′s “Concrete Angel”.

Following the highly successful Evolution album, which was released in 1997, Martina moved further into pop and adult contemporary territory. She performed as a guest vocalist on pianist Jim Brickman’s “Valentine”, which peaked at #3 on the adult contemporary charts, and her 1999 bubble-gum pop hit “I Love You”, which was featured on the soundtrack to the film Runaway Bride, reached #24 on the Billboard Hot 100, #21 on the AC chart and #1 on the country singles chart. She was named the CMA’s Female Vocalist of the Year in 1999. In 2005 she revisited her roots with the classic country covers album Timeless, which sold over a million copies but produced no radio hits.

More recently, Martina has taken more control over her career, writing more of her own material and producing some of her own albums, but she has struggled to get airplay in a radio environment that has become increasingly indifferent to artists over the age of 40. She left RCA in 2010, and signed with Republic Nashville. Her first single for her new label, “I’m Gonna Love You Through It”, became her first Top 5 hit in five years, but she has been unable to sustain that level of success with subsequent releases.

The quality of her material may have tapered off in recent years, but Martina McBride’s talent as one of contemporary country music’s finest female vocalists is undisputed. We hope you’ll enjoy our look back at the past 20 years as we spotlight Martina’s career during the month of January.

Week ending 12/29/12: #1 albums this week in country music history

1967: Eddy Arnold – Turn The World Around (RCA)

1972: Merle Haggard – The Best of the Best of Merle Haggard (Capitol)

1977: Dolly Parton – Here You Come Again (RCA)

1982: Alabama – Mountain Music (RCA)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: Garth Brooks – Sevens (Capitol)

2002: Shania Twain – Up! (Mercury)

2007: The Eagles – Long Road Out of Eden (Lost Highway)

2012: Taylor Swift – Red (Big Machine)

Week ending 12/15/12: #1 albums this week in country music history

 1967: Eddy Arnold – Turn The World Around (RCA)

1972: Merle Haggard – The Best of the Best of Merle Haggard (Capitol)

1977: Elvis Presley – Elvis In Concert (RCA)

1982: Alabama – Mountain Music (RCA)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: Garth Brooks – Sevens (Capitol)

2002: Shania Twain – Up! (Mercury)

2007: The Eagles – Long Road Out of Eden (Lost Highway)

2012: Taylor Swift – Red (Big Machine)

Week ending 12/1/12: #1 albums this week in country music history

1967: Eddy Arnold – Turn The World Around (RCA)

1972: Merle Haggard – The Best of the Best of Merle Haggard (Capitol)

1977: Elvis Presley – Elvis In Concert (RCA)

1982: Alabama – Mountain Music (RCA)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: Shania Twain – Come On Overs (Mercury)

2002: Dixie Chicks – Home (Sony)

2007: Garth Brooks – The Ultimate Hits (Pearl)

2012: Taylor Swift – Red (Big Machine)

Week ending 11/17/12: #1 albums this week in country music history

1967: Eddy Arnold – Turn The World Around (RCA)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Elvis In Concert (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Rascal Flatts – Melt (Lyric Street)

2007: The Eagles – Long Road Out Of Eden (Lost Highway)

2012: Taylor Swift – Red (Big Machine)

Week ending 11/10/12: #1 albums this week in country music history

1967: Eddy Arnold – Turn The World Around (RCA)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: George Strait – Greatest Hits Volume 2 (MCA Nashville)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Faith Hill – Cry (Warner Brothers)

2007: Carrie Underwood – Carnival Ride (Arista/19)

2012: Taylor Swift – Red (Big Machine)

Week ending 11/3/12: #1 albums this week in country music history

1967: Buck Owens and His Buckaroos – Your Tender Loving Care (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Faith Hill – Cry (Warner Brothers)

2007: Rascal Flatts – Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Week ending 10/27/12: #1 albums this week in country music history

1967: Bobbie Gentry – Ode To Biliie Joe (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Elvis Presley- 30 #1 Hits (RCA)

2007: Rascal Flatts- Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Week ending 10/20/12: #1 albums this week in country music history

1967: Bobbie Gentry – Ode To Biliie Joe (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Elvis Presley- 30 #1 Hits (RCA)

2007: Rascal Flatts- Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Week ending 10/13/12: #1 albums this week in country music history

1967: Bobbie Gentry – Ode To Biliie Joe (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Elvis Presley- 30 #1 Hits (RCA)

2007: Rascal Flatts- Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Album Review: Kathy Mattea – ‘Walk The Way The Wind Blows’

1986′s Walk The Way The Wind Blows marked a turning point in Kathy Mattea’s recording career. Following two moderately successful albums for Mercury Records, it marked a major change in direction, both creatively and commercially. She cast aside the pop-country arrangements that had characterized her previous two albums and the stripped-down folk-flavored sound proved to be a good fit with radio during the then-fledgling New Traditionalist movement.

Mattea’s commercial fortunes began to change with the release of the album’s first single, “Love at the Five and Dime”, which included harmony vocals by Don Williams. It is notable both for being her first Top 10 hit, peaking at #3, and for gaining recognition for its songwriter Nanci Griffith. Griffith’s own recording of the song appeared that same year. The song’s success stands as a testimony to the remarkable era in which it was released; nothing about the well written story tune is, on the surface, particularly radio friendly, and it is unlikely that would ever have been a hit during any other era in country music. It most certainly would not be given much attention in today’s environment.

The upbeat title track, written by Tim O’Brien was selected to be “Love at the Five and Dime’s” follow-up hit. This one seems to be more in line with what radio is typically looking for, but it did not perform quite as well as its predecessor, peaking at a still respectable #10. Mercury chose another ballad as the album’s third single, the lovely “You’re The Power” written by Craig Bickhardt and F.C. Collins. Though it reached #5, this one doesn’t seem to be as well-remembered today as some of Kathy’s other hits, but it is beautifully performed and is my favorite song on the album. The album’s final single was “Train of Memories”, which peaked at #6, but was ultimately overshadowed by the bigger hits that followed it from Kathy’s next album.

The introspective “Leaving West Virginia” gives us a rare glimpse at Kathy Mattea the songwriter. The protagonist is heading for California rather than Nashville, but it seems quite possible that the tune is semi-autobiographical. “You Plant Your Fields” and “Up Grinnin’ Again” are the album’s two weak spots. They are not bad songs, and if included on any number of other albums, they might not stand out as the weakest tracks, but they don’t quite rise to the level of most of the other songs on the album. The album does close on a high note, with a cover of Rodney Crowell’s “Song For The Life”, which would become a hit for Alan Jackson eight years later.

Like its predecessor From My Heart, Walk The Way The Wind Blows was produced Allen Reynolds, who was probably most famous up to that point for his work with Crystal Gayle. He would continue to be Kathy’s producer for the rest of the decade before going on to even greater fame producing hits for Garth Brooks.

Though it was released over 25 years ago, Walk The Way The Wind Blows has held up exceptionally well. The production does not sound dated and the only clue to the album’s age is the fact that this type of music would not be considered commercially viable today. It is available for download and used CD copies can be purchased at bargain prices. It’s worth checking out if you missed it the first time around.

Grade: A-

Week ending 7/28/12: #1 singles this week in country music history

1952: The Wild Side of Life — Hank Thompson (Capitol)

1962: Wolverton Mountain — Claude King (Columbia)

1972: It’s Gonna Take A Little Bit Longer — Charley Pride (RCA)

1982: Take Me Down — Alabama (RCA)

1992: The River — Garth Brooks (Capitol)

2002: The Good Stuff — Kenny Chesney (BNA)

2012: Even If It Breaks Your Heart — Eli Young Band (Republic Nashville)