Album Review: Ashley Monroe – ‘Like A Rose’

Although shes’s still in her 20s, it’s been a long haul for Ashley Monroe, who has been one of the best kept secrets in country music for far too long. Signed to Sony while still in her teens, her singles failed to make much headway, even when she duetted with Ronnie Dunn. Her album for Sony was critically acclaimed but only released digitally in 2009 in a half-hearted kissoff by the label a couple of years after they had dropped her. Teaming up with superstar Miranda Lambert and songwriter Angaleena Presley as the Pistol Annies has definitely raised her profile among country fans.

Her return to a major label, Warner Brothers, was one of the most exciting pieces of news last year, and I have been eagerly anticipating this album. Vince Gill produces with Justin Niebank, and they do a great job showcasing Ashley’s pretty voice. She co-wrote every song here.

The autobiographical title track and current single, which Ashley wrote with Guy Clark and Jon Randall, has an inspirational sweetness about overcoming the pain instilled in her family by the death of her father when she was 13. It is a charming track, but sadly does not appear to have made much headway with radio. The melancholic ‘She’s Driving Me Out Of Your Mind’, also written with Jon Randall, is another highlight, sounding like a lost-love country classic.

The ironic ‘A Dollar Short And Two Weeks Late’, a co-write with Shane McAnally, sounds sweet (especially with Rebecca Lynn Howard’s harmonies) but has a lyrical edge which would have made it a good fit for Ashley’s work with the Pistol Annies. Here Ashley portrays a young woman living in a conservative town who finds herself pregnant by her now-absent lover:

When you’re living in sin I guess
Sometimes that’s just what you get

So the man is gone
What a damn cliche
And my mama says
Looks like I gained some weight
Landlord’s at the door
And says the rent can’t wait
But I’m a dollar short
And two weeks late

The delicately folksy ‘Used’ (written with Sally Barris and previously included on Ashley’s digital release Satisfied) sings the praises of experience, comparing it to cherished old possessions.

The catchy but lyrically controversial ‘Weed Instead Of Roses’ is an enthusiastic endorsement of walking on the wild side of life with the protagonist’s love interest (and the drugs are the least of it, with Ashley calling for her lover to get out the “whips and chains”). Musically, this is great, but I can’t imagine it on the radio. The overt S&M references here are repeated more circumspectly with a reference to Fifty Shades Of Grey in the fabulous ‘You Ain’t Dolly (And You Ain’t Porter)’, a wittily tongue-in-cheek duet with Blake Shelton with an ultra-traditional feel musically. It’s the best thing Blake has done in years, and was clearly written especially for him with its allusions to The Voice TV show. It is one of two songs Ashley wrote with Vince Gill; the other is the lively tale of teenage criminal on the run, ‘Monroe Suede’, which is unexpectedly upbeat and highly enjoyable.

I was a little bored by ‘You Got Me’, an AC-sounding co-write with Karen Fairchild with a rather dreary minor-keyed melody, organ replacing steel guitar, a heavy-handed string arrangement and Little Big Town on surprisingly muddy backing vocals. Also on the more contemporary side, but making more impact, is the introspective ‘The Morning After’, written with Lori McKenna and Liz Rose about the depressing aftermath of a drunken teenage night when the protagonist “lost everything that mattered”. Jon Randall and Andrea Zonn harmonize.

The most disappointing thing about Ashley Monroe’s new album is that there are only nine tracks, which seems unnecessarily mean. This is a fine record, but I’m not sure how commercially viable it is. I really hope it does well, because Ashley is one of the most interesting young artists around, and I want to hear more from her.

Grade: A-

Predictions and analysis: The 55th Annual Grammy Awards

It’s that time of year again, to celebrate music’s biggest night. The 55th Grammy Awards are set to air this Sunday on CBS. In a rather surprising move, it’s the females who’ll be representing our genre at the show. Carrie Underwood, Taylor Swift, and Miranda Lambert are all slated to perform, with Lambert teaming up with her ‘Locked and Reloaded’ tour partner Dierks Bentley for a special collaboration. The country nominees are below, and it turns out they’re much stronger than was expected. The Recording Academy seems to have found a happy medium between commercial and artistic popularity. We’ll have to see if any of the artistic nominees (Jamey Johnson, The Time Jumpers, and others) will prevail against their commercial contemporaries. Predictions are below:

J.R. Journey’s Top Albums of 2012

Here are my favorite albums from 2012, in no order. Click the links to listen on Spotify.

Nashville Cast - The Music of Nashville: Season 1, Volume 1

The Tennesseean‘s Peter Cooper made a valid case about the music coming from the hit ABC drama being better than most mainstream country hits. I agree with him. While the TV show’s original songs haven’t yet shown much aptitude with traditional country sounds – leaning more toward Americana and pop-country – they’re leaps and bounds ahead of the current top 40 when it comes to content and substance.

Recommended tracks: “Wrong Song”, “If I Didn’t Know Better”, “No One Will Ever Love You”

Kellie Pickler – 100 Proof

A handful of barn-burning up-tempos, a few clever female-friendly medium tempos, and even more stone country tear-jerkers, served up with heaps of fiddle, pedal steel, and Kellie Pickler’s Carolina twang? Yes, please.

Recommended tracks: “Long As I Never See You Again”, “Where’s Tammy Wynette”, “The Letter (To Daddy)”

Jamey Johnson – Living For a Song: A Tribute to Hank Cochran

Johnson’s tribute to Music Row pioneer and songwriting legend Hank Cochran features an all-star cast taking on some of Cochran’s big hits and a few well-chosen and lesser known gems.

Recommended tracks: “Make The World Go Away” (with Alison Krauss), “A-11″ (with Ronnie Dunn), “A Way To Survive” (with Leon Russell and Vince Gill)

Zac Brown Band – Uncaged

On their third album, the Zac Brown Band again combines country with bluegrass and the sounds of the islands and the songs this time out are again smart and to the point.

Recommended tracks: “Sweet Annie”, “Goodbye In Her Eyes”, “The Wind”

Alan Jackson – Thirty Miles West

Jackson’s first album for the EMI Nashville label follows his winning no frills neotraditional formula. Thirty Miles West is a set full of top-notch songs and performances. I can’t stop playing it.

Recommended tracks: “So You Don’t Have To Love Me Anymore”, “Look Her In The Eye and Lie”, “She Don’t Get High”

Dwight Yoakam  - 3 Pears

Yoakam’s first album of all new material in seven years is as eclectic as the man himself. On 3 Pears, he shares production duties with punk-rock hero Beck and songwriting credit with Robert Richie (aka Kid Rock) and Ashley Monroe on respective tracks on a set that ably combines the sound of rock and roll’s golden AM era with his own distinctive country stamp.

Recommended tracks: “It’s Never Alright”, “Heart Like Mine”, “Long Way To Go”

Occasional Hope’s Top Albums of 2012

It’s not been a bad year for country music – as long as you ignore the charts and mainstream country radio. My #1 album of the year was released on a major label but with no singles success, and most of my other selections came from independent labels, although some of the names will be familiar. Just missing the cut were, among others, albums from Joey + Rory (some delicious moments but more hit and miss than their previous efforts), Terri Clark’s classic covers, the always reliable Alan Jackson, Kathy Mattea, and current star Dierks Bentley.

For full reviews, and purchase details, click on the links in the album title and artist name respectively.

10. Alive At Brushy Mountain Penitentiary – Mark Collie

The live prison album was recorded in 2001, but only escaped the vaults of MCA this year. It was worth the wait, with an energetic set of suitably themed mainly original songs.

Best tracks: ‘I Could’ve Gone Right’, ‘Rose Covered Garden’, ‘Maybe Mexico’, ‘On The Day I Die‘.

9. Southern Roots And Branches: Yesterday and Today – Marty Raybon

Former Shenandoah lead singer Marty Raybon released a pair of albums this year. This, the secular one of the pair, was the better, with Marty’s smoky voice sounding as good as ever on a bluegrass influenced set including the odd reworking of a few Shenandoah hits.

Best tracks: ‘Long Hard Road’, ‘Big Pain’, ‘Ghost In This House’, ‘Get Up In Jesus’ Name’.

8. Honky Tonk Till I Die – Eric Strickland and the B Sides

Solidly enjoyable, unpretentious honky-tonk with some great original songs written by the North Carolinian lead singer. It may be obscure, but it’s really good.

Best tracks: ‘Haggard And Hell’, ‘Freedom’, ‘Standing In The Headlights’, ‘Womankind‘.

7. Country Enough – Wesley Dennis

An excellent return from one of the best singers who never made it. The former Mercury Records artist has a classic country voice and has written some fine songs for this independent releases.

Best tracks: ‘A Month Of Sundays’, ‘Lady’s Choice’, ‘That Dog Won’t Hunt’, ‘Sun, Surf And The Sand (And My Ties)‘.

6. The Time Jumpers – The Time Jumpers

The part-time supergroup featuring Vince Gill and Dawn Sears came up with a delightful confection of country, jazz and western swing for their first studio alum together. The musicianship sparkles and this is a real celebration of the joy of making music.

Best tracks: ‘So Far Apart’, ‘Three Sides To Every Story’, ‘The Woman Of My Dreams’, ‘Someone Had To Teach You’.

5. Best Of The Best – Gene Watson

I wasn’t sure whether to include this album in my list but in the end the quality shone through and I had to keep it in. A veteran star who still has the vocal goods to shame most of his younger, more commercially successful rivals, Gene Watson has chosen to revisit some of his best-loved recordings for this release. I would really have preferred new material from him, but this is just a lovely listening experience.

Best tracks: ‘Farewell Party’, ‘What She Don’t Know Won’t Hurt Her’, ‘Nothing Sure Looked Good On You’, ‘Between This Time And The Next Time’.

4. Pourin’ Whiskey On Pain – Tim Culpepper

The unknown newcomer gave me my most pleasant surprise this year with his traditional sound and some excellent songs.

Best tracks: ‘One More For The Road’, ‘When Misery Finds Company’, ‘Pourin’ Whiskey On Pain’, ‘Toss And Turn’.

3. AM Country Heaven – Jason Eady

I called this a “low-key delight” when I reviewed it earlier this year, and my judgment stands. This mature thoughtful record has no weak spots at all. Patty Loveless duetting on one track is an unexpected bonus.

Best tracks (though everything is worth hearing): ‘AM Country Heaven’, ‘Man On A Mountain’ (with Patty Loveless), ‘Water Into Wine’, ‘Old Guitar And Me’.

2. Too Much Ain’t Enough – Clinton Gregory

Sweet voiced singer/fiddler Clinton Gregory is back after years of silence with a lovely set of mainly sad songs.

Best tracks: ‘Too Much Ain’t Enough’, ‘Too Country For Nashville’, ‘Has Love Taken Its Toll?’, ‘Chase Away The Lonely’.

1. Living For A Song: A Tribute To Hank Cochran – Jamey Johnson

It was obvious as soon as I listened to this album that it was going to be this year’s highlight. Songs by one of the greatest country songwriters ever, performed by Jamey Johnson and some of his friends including legends like Willie Nelson, Kris Kristofferson, Ray Price and Emmylou Harris, and more recent stars like Lee Ann Womack, Ronnie Dunn and George Strait. From the exquisite opening notes of ‘Make The World Go Away’, with Alison Krauss’s angelically sweet counterpoint to Jamey’s gruff tenderness, every single song here is a gem, and almost every track is excellent. This really is an outstanding album.

Best tracks: hard to pin down, but if I must then ‘Would These Arms Be In Your Way’ solo; ‘Make The World Go Away’ with Alison Krauss; ‘You Wouldn’t Know Love’ with Ray Price; and ‘Don’t Touch Me’ with Emmylou Harris.

Single Review: Kix Brooks – ‘New To This Town’

After the breakup of hitmaking duo Brooks & Dunn, Ronnie Dunn’s solo career was greeted with considerable interest. It is fair to say that there was less anticipation for partner Kix Brooks’ solo endeavours. Kix Brooks was definitely the member of Brooks & Dunn held in less regard even by fans of the duo. He rarely sang lead on one of the duo’s singles, but he sang his share of album tracks, and often provided the more interesting moments.

Conversationally drawling his way through the song, Kix presents a man stuck in the same small town his ex lives and wistfully wondering what it would be like not to be surrounded by memories, or the fear of running into her around every corner. The picture painted is full enough to be convincing.

Production is reasonably contemporary without completely overwhelming the song’s essential sadness in a complete wall of sound, and although there is an extended guitar solo (courtesy of the Eagles’ Joe Walsh, who gets a special credit), it doesn’t take over the song. The melody is simple, allowing the lyrics center stage.

Kix wrote the song with frequent collaborator Terry McBride and Marv Green. It sounds very like a good B&D album cut, which makes its substantially more interesting than most radio playlists. It would probably be a more memorable record sung by a better singer, but Kix’s vocals, while limited, work on this song. He imbues it with a resigned regret which is very efefctive.

Grade: B+

Listen here.

Favorite country songs of the 1980s, Part 1

The 1980s were a mixed bag, with the early 1980s producing some of the lamest country music ever recorded, as the Urban Cowboy movie wrecked havoc on the genre. Fortunately, there was still good country music being released. The first flowering of the late 1980s “New Traditionalist” movement arrived in 1981 with the first hits of Ricky Skaggs and George Strait, but they remained outliers until 1986 as far as good new artists were concerned. The latter part of the decade, however, produced some truly excellent country music with the 1986 arrival of Randy Travis and company.

This list is meant neither to be a comprehensive list of great country songs from the 1980s, nor any sort of ranking of records. It’s just a list of some songs that I liked and remember. See if you recall any of these records.

“If You’re Gonna Play In Texas (You Gotta Have A Fiddle In The Band)“ – Alabama
Alabama made excellent music during the 1980s, although the country content of some of it was suspect. Not this song, which is dominated by fiddle. One of the few up-tempo Alabama records that swings rather than rocks.

“I’ve Been Wrong Before” – Deborah Allen
An accomplished songwriter who wrote many hits for others, particularly with Rafe VanHoy, this was one of three top ten tunes for Ms. Allen, reaching #2 in 1984. This is much more country sounding than her other big hit “Baby I Lied”.

“Last of The Silver Screen Cowboys” – Rex Allen Jr.
After some success as a pop-country balladeer, Rex Jr. turned increasing to western-themed material as the 1980s rolled along. This was not a big hit, reaching #43 in 1982, but it featured legendary music/film stars Roy Rogers and Rex Allen Sr. on backing vocals.

“Southern Fried” – Bill Anderson
This was Whispering Bill’s first release for Southern Tracks after spending over twenty years recording for Decca/MCA. Bill was no longer a chart force and this song only reached #42 in 1982, but as the chorus notes: “We like Richard Petty, Conway Twitty and the Charlie Daniels Band”.

Indeed we do.

Classic Rewind – Lee Ann Womack – ‘Twenty Years and Two Husbands Ago’

Occasional Hope’s Top Ten Singles of 2011

While it wasn’t a great year for country music, there were some definite signs of life, and some very good songs made their way across the airwaves. A few were even hits. Here are my favorite singles this year:

10. ‘Look It Up – Ashton Shepherd’
Ashton comes across like a modern Loretta Lynn in this scornful rejoinder to a cheating spouse. Forgiveness is not an option. Although it was a top 20 hit and just about her biggest to date, I expected more commercial success from this sassy number, written by Pistol Annie Angaleena Presley with Robert Ellis Orrall.

9. ‘Colder Weather’ – Zac Brown Band
The Georgia band is one of the most artistically adventurous acts in country music, and this is one of their finest records. A complex lyric depicts a couple separated by the man’s driving job; she seems keener than he does on their being together. It was inspired by co-writer Wyatt Durrette’s own thwarted romance with a girl who struggled with the travel demanded by a music career. The production neatly marries an understated piano-led first verse with rock elements as the protagonist’s emotions rise. It was another #1 hit for the band.

8. ‘In God’s Time’ – Randy Houser
Rich-voiced singer-songwriter Randy Houser released his finest effort to date this year with this gently understated expression of faith in God, whatever may happen. A gentle piano-led accompaniment provides effective support. This was intended to be the lead single for Houser’s third album for Show Dog Universal, but it did not do as well as hoped, and Houser has now left the label. He has since signed to indie label Broken Bow, so hopefully he will be able to continue releasing mauic of this caliber.

Razor X’s Top Ten Singles of 2011

It seems like every year it gets more and more difficult to find new single releases that I actually like. There were a few — but only a few — gems this year. Here are some of my favorites:

10. Northern Girl — Terri Clark. Clark’s homage to her homeland, co-written with former Sugarland member Kristen Hall, is her first single that I’ve truly liked in quite some time. Sadly, it failed to gain any traction on either side of the border.

9. Drink Myself Single — Sunny Sweeney. Currently at #36 on the charts, the third offering from Sunny’s Concrete collection has already out-performed its predecessor and hopefully will become her second Top 10 hit. It reminds me of the type of song radio regularly played back in the 90s during the line-dancing craze.

8. Home — Dierks Bentley. Finally, a song about love of country that manages to avoid jingoism and combativeness. It was written in response to the shooting incident that critically injured Congresswoman Gabrielle Giffords and killed six other people in January of this year.

7. Cumberland Rose — Sylvia. The former 80s star returned in January with her first single release in 24 years. Often unfairly dismissed as a minor talent, Sylvia delivers a lovely vocal performance on this folk ballad written by Craig Bickhardt and Jeff Pennig. I couldn’t find anyplace online to listen to it in its entirety, but it’s well worth the 99 cents to download it from iTunes or Amazon.

6. Tomorrow — Chris Young. The latest in a long tradition of country songs about clinging to one more night before finally ending a relationship that’s run out of steam. Chris Young is one of Nashville’s finest young talents and is destined for great things if he can keep finding material as good as this.

5. In God’s Time — Randy Houser. This introspective number provides a much better showcase for Houser’s vocal ability than his more popular Southern rock-tinged work. It’s the best thing he’s released so far.

4. Here For A Good Time — George Strait. After a couple of rocky years, George Strait finally got his mojo back with this fun number that he wrote with Dean Dillon and his son Bubba Strait.

3. Look It Up — Ashton Shepherd. This blistering confrontation of two-timing spouse deserved more airplay than it got. It may not have been a tremendous commercial success, but I’ll bet Loretta Lynn is proud.

2. Colder Weather — Zac Brown Band. Reminiscent of Dave Loggins’ classic “Please Come To Boston”, the Zac Brown Band continues to push the boundaries of country music without diluting it beyond recognition.

1. Cost of Livin’ — Ronnie Dunn. This tale of a down-on-his-luck veteran is a sad testament to the current economic difficulties in much of the world and a plight to which too many people can relate. Beautifully written and performed, it’s by far the best thing played on country radio this year. It failed to garner any Grammy nominations, but hopefully it will get some recognition by the CMA and ACM next time around.

Jonathan Pappalardo’s Top Ten Singles of 2011

While 2011 was a bland and boring year for mainstream country music where anthems to dirt roads, tales about being someone’s honey bee, and odes to plastic party accessories were all over the radio, it did feature some bright spots. There was even one artist I thought was so constantly strong, two of their singles made my top ten for the year. I would’ve added this person’s latest as a third, but two in one top ten is more than enough.

So in addition to complaining about those songs that seem to have taken country music off track, let’s take a moment and celebrate what was good about country music in 2011. And judging by my list, you have to remember that just because a song spent four or five weeks at #1, doesn’t mean it’s of good quality. So here’s my list of favorite songs, all released as singles in 2011.

I’ll have the rest of my list, numbers 11-45, on my own blog later this month.

10. Randy Houser – “In God’s Time”

The balance between religion and spirituality in American popular culture is often shaky – there are those who believe in the teachings derived from texts and others who choose to let a higher power guide them, but don’t necessarily tie it to a particular faith. As there are those who happily merge the two.

Houser’s tale of letting life work itself out by surrendering to a greater force is the ultimate definition of spirituality, the study of the soul. In realty, “Time” is a fundamental lesson in how to live your life – “But no one knows, not you or me, it might be tomorrow or it might never be. Oh, but don’t lose faith. Put it in His hands. ‘Cause it might be that He might have a bigger plan. Than you had in mind. Miracles happen, in God’s time.”

Very rarely does a singer emerge from the shadows to clearly leave their mark by just a song, but Houser has here. Not only is he among the greatest living of all country singers, but also he may be the best trying to have chart success today.

“Time” is nothing short of a masterpiece, a classic and iconic statement from a living profit. Problem is, Houser occupies his time with distracting southern rock – a decision marking his downfall. If he only understood that he was put here to create songs like this, he would sour into the heavens, and fill the shoes of the ilk in his wake.

Album Review – Merle Haggard – ‘Big City’ / ‘Goin’ Where The Lonely Go’

Recorded in July 1981 and released that October, Big City was created during a two-day recording session producing enough material to span this and his follow-up Going Where The Lonely Go, released a little more than a year later in 1982. Both projects were successful and charted four number one country hits between them. Big City, Haggard’s debut for Epic Records, would also go on to a Gold certification from the RIAA.

Big City primarily dealt with the plight of Urban America through tales of the workingman. Lead single “My Favorite Memory,” a love song of sorts, became Haggard’s 25 number one single in the fall of 1981. It stands out due to its understated production and confident vocal performance. I’m enjoying the directness of the lyrics here; Haggard is never one to mince words. The way he sings so openly about sex only makes the narrow-mindedness of today’s country radio more apparent. It’s a shame that such a great song would probably be deemed too risqué today.

Second single and title track “Big City” also topped the charts becoming Haggard’s 26th number one hit.  Drenched in the best of honky-tonk fiddle and steel guitar and Written by Haggard with Dean Holloway, “Big City” drives home the theme of dealing with the struggles faced by honest workingmen. Haggard is making a simple request here – he wants the big city to turn him loose and set him free; more specifically to Montana where he’d be free to have some fun like the rich get to do. He also bluntly tells his boss to keep his retirement and “so called social security,” since he only wants what’s coming to him. Like “Memory,” it’s the direct honesty from both the lyrics and Haggard’s vocal that draws me into the song.

“Are The Good Times Really Over (I Wish A Buck was still Silver)” just missed the top spot, peaking at number 2 in the summer of 1982. Despite just missing the top, the track, written solely by Haggard, would go on to win the ACM Award for Song of the year in 1983. The only ballad released a single, “Good Times” is a companion single of sorts to “Big City.” If Haggard is pondering the good life in “City” he’s now wondering where it’s all gone. Haggard has grown mournful as he wishes Ford and Chevy automobiles still lasted ten years before wearing out and coke was still good ‘ol cola and joints were only bad places to be. Like all great vocalists, Haggard doesn’t just sing but rather conveys his message with all the pain he can muster. But what I really love about “Good Times” is how brilliantly Haggard was able to create a conversation with the listener. This isn’t just another country song but rather a document of where our country was in 1981. I’ve always said the best country songs portray the consciousness of America and this is what I’m talking about. Only a few such songs have surfaced since and the only one truly able to match this legacy is Ronnie Dunn’s latest single “Cost of Livin.’”

Like the hit singles, the rest of Big City is just as powerful. “Good Ole American Guest” continues Haggard’s love affair with trains, this time with a western swing-y arrangement. “I Think I’m Gonna Live Forever” has a terrific blues guitar and drum solo that sound surprisingly refreshing after all these years. While “Stop The World and Let me off” is an often-covered standard done most recently by Rhonda Vincent in 2009.  I also love the delightful “Texas Fiddle Song” which brings a core country instrument front and center.

But it’s “This Song is mine” that stopped me in my tracks. Why this track never became a classic is beyond me. I love how Haggard so honestly sings about how he’s stolen words and melodies before, but this song is all his. I’ve never heard a song talk so introspectively before about the art of songwriting like Haggard does here. The light drums and string section also do their job of nicely underscoring Haggard’s plainspoken vocal.

“You don’t have Very Far to Go” finds Haggard taking the most chances vocally as he puts some power behind his voice, while “I Always Get Lucky with You” is a classic torch ballad, done frequently in the early 1980s. Both are excellent additions to Haggard’s ever-growing catalog of outstanding material.

The rest of the songs from the two-day recording session comprise Goin’ Where The Lonely Go released in November 1982. Like it’s predecessor, Lonely also produced two number one hits.

The title track was issued as the first single, 29 years ago this week. “Goin’ Where The Lonely Go” remains one of Haggard’s most recognizable hits and a highlight from this period in his recording career. Led by his deep and haunting vocal, the track is made even spookier by the flourishes of piano heard throughout. It’s a masterful vocal from Haggard but we expected nothing less from him at this point. I love how the drum work actually seems to have purpose opposed to just having to be there.

The second and final single “You take me for Granted” was written by his then-wife Leona Williams. Another mournful ballad, it finds Haggard doing what he does best – traditionally arranged and well-sung country music. It’s another fine moment albeit not a favorite of mine though, it sounds too much like a few of his other hits in this vein.

But there’s more to the album than just the two singles. “Why Am I Drinkin’” is a classic barroom thumper, which has Haggard backed by a bouncy steel guitar and asking why he has to hurt this way. The track is dated – the female backup chorus is cheesy and distracting but it does play up the barroom vibe. “If I Left it up to You” finds a man willing to work on his relationship even though she’d rather not, and “For All I Know” finds Haggard playing a man unable to trust his lady love.

Listening to Going Where The Lonely Go is an experience that, for me, comes up short. Nothing beyond the excellent title track is really anything extraordinary and in the wake of Big City this album is a let down. Since they were both recorded during the same session one would assume equal quality but that isn’t the case. There isn’t anything wrong with Lonely but it greatly pales in comparison when placed against the stellar Big City.

Big City and Going Where The Lonely Go are both available from Amazon as a 2-for-1 import released this year. For the budget conscious, they are available separately from Amazon and iTunes in both hard and digital copy.

Big City: A

Going Where The Lonely Go: B 

2011: The 75-(per)cent report

School buses are back on the roads and the leaves are already starting to fall on the roads here in southern Ohio. Crisp nights are upon us, and as we head into final months of 2011, I’m revisiting my growing playlist of my favorite songs and albums released in the first three-quarters. No waxing or pondering on the fate of what’s popular this time, these are just some of my favorite releases of the year, in no particular order, combined with a few words to tell you why in some cases.  Be sure to share your top picks for the 3/4 of the year so far in the comments.

Albums

Sunny Sweeney – Concrete … As I said in my review, if this became the sounding board for all future female country albums, we’d all be better off.

Terri Clark – Roots and Wings … Though it’s not as strong as her previous effort, Clark’s latest, and its lack of airplay, is another page in the long indictment against country radio.  I’d be the first to welcome her back with this material.

Pistol Annies – Hell On Heels

George Strait - Here For A Good Time

Connie Smith - Long Line of Heartaches … Traditional country and classic themes performed by one of country music’s finest singers. A can’t-miss combination.

Chris Young - Neon

Ronnie Dunn – Ronnie Dunn … The Brooks & Dunn frontman hasn’t reached his full potential as a soloist yet – I think he’s still too unsure of himself – but this is a helluva start.

Blake Shelton – Red River Blue

… and on the not-so country side:

Lucinda Williams – Blessed

Adele – 21

Lori McKenna - Lorraine

The Decemberists – The King Is Dead 

Songs

Bradley Gaskin – “Mr. Bartender”

Kenny Chesney & Grace Potter – “You and Tequila”

Pistol Annies – “Lemon Drop”/”Trailer For Rent” … I can’t pick a favorite among these two on the album.

Ronnie Dunn – “Cost of Living”

George Strait – “Here For a Good Time”/”Poison” … It’s been said before, and better, but I really like the title track to Strait’s latest album. And I think “Poison” is one of his finest moments.

Sunny Sweeney – “Staying’s Worse than Leaving”/”Amy”

Billy Currington – “Love Done Gone”

Taylor Swift – “Back to December”/”Mean”

Lucinda Williams – “I Don’t Know How You’re Living”

Album Review – Ronnie Dunn – ‘Ronnie Dunn’

Ronnie Dunn’s long-awaited solo debut finds the singer staying close to the signature Brooks & Dunn sound, although with slightly more emphasis on the contemporary end of the country music spectrum. There are no fiddles and very little steel guitar to be found, but there is a healthy helping of Southern rock and even a dash of Tex-Mex, which make for a much more interesting album than I was expecting after the somewhat bland lead single “Bleed Red”, Dunn’s first solo Top 10 hit, which I reviewed back in February. Dunn produced the album himself and had a hand in writing nine of the album’s twelve tracks.

The album opens with the (presumably) autobiographical “Singer In A Cowboy Band”, one of the rock-leaning songs, which, though well written and well performed, contains some heavy-handed electric guitar work, which I found somewhat distracting. More effective is “I Don’t Dance”, which is also rock-flavored but with less intrusive electric guitars. Better yet is the quieter “Your Kind of Love”, one of only three tracks that Dunn didn’t write or co-write. Composed by Maile Misajon and Jeremy Stover, it’s a little closer to the familiar Brooks & Dunn sound and seems to be a good prospect for a future hit single. “How Far To Waco”, co-written with Terry McBride, opens with the sound of trumpets blaring and is reminiscent of the type of record The Mavericks used to make back in the 90s and would be another good choice for a single release. And finally, we get to hear some steel guitar on “Once”.

Overall, the tracks that work best are the quieter ones: “Last Love I’m Trying”, “I Can’t Help Myself”, and “Love Owes Me One”. But hands down, the best song on the album is the current single “Cost of Livin’”, a stripped-down track that is a testament to the current economic hard times. It tells the tale of an out-of-work war veteran who is struggling to make ends meet while he searches for new employment opportunities. Unfortunately, far too many people will be able to relate to this one. But despite the bleak circumstances he finds himself in, the protagonist is still hopeful that things will improve. This track is a masterpiece, which I can’t praise enough and it makes me wish that Dunn would release an all-acoustic album in the vein of Dwight Yoakam’s dwightyoakamacoustic.net.

iTunes offers a deluxe version of the album with two bonus tracks: “Boots and Diamonds”, and “King of All Things Lonesome”, both of would have been worthy of space on the main part of the album.

Although not every track on the album was to my taste — I could have done without “Singer In A Cowboy Band” and “Let The Cowboy Rock” — I found myself liking it more with repeated listenings. Dunn has succeeded in widening his repertoire a bit while still retaining the vintage Brooks & Dunn sound that should keep long-time fans feeling satisfied.

Grade: B+

Single Review: Ronnie Dunn – ‘Bleed Red’

In his first solo outing since Brooks & Dunn disbanded, Ronnie Dunn has gone the play-it-safe route with a radio-friendly, if somewhat bland, power ballad. This is probably a wise choice from a marketing standpoint, given the historical difficulty that has plagued artists who sought solo careers after long associations with with successful bands. Dunn’s age is also working against him, since at 57, he is well past the point where artists are typically put out to pasture by country radio. It was crucial for “Bleed Red” to strike a chord with radio programmers, and in that respect Dunn and his team have apparently succeeded, since “Bleed Red” debuted at #30 on the Billboard Hot Country Songs chart.

From an artistic standpoint, “Bleed Red” is more of a mixed bag. The Tommy Lee James and Andrew Dorff-penned composition is more AC-leaning than most of Dunn’s work with Brooks & Dunn. It’s somewhat reminiscent of Martina McBride’s “Anyway”, with its positive theme and dramatic string arrangements. Hopefully, “Bleed Red” does not mark the beginning of a long artistic decline for Dunn, as “Anyway” did for McBride. No fault can be found with Dunn’s vocal performance; he is still one of the best male vocalists in mainstream country. And while the song’s message is worthwhile — and well-timed given the current rancorous political climate — the lyrics are generic. They seek to inspire, but never quite live up to the drama of the production, which gradually builds in intensity as the record reaches its climax. In short, the entire effort is utterly forgettable and will likely fade from people’s memories as soon as it has fallen off the charts.

A stellar vocal performance combined with positive lyrics and generic, middle-of-the road production are probably enough in the current radio environment to propel “Bleed Red” to the upper realms of the charts, but I’m hoping that when Dunn’s forthcoming solo album is eventually released, it will contain some material with a little more edge and substance than this.

Grade: B-

Something to look forward to

We spent part of last month rounding up the best and worst of 2010. Now we’re into a brand new year, it’s time to start looking forward again, and wondering what the year ahead may hold in store.

Newly crowned CMA Entertainer of the Year Brad Paisley’s This is Country Music has a release date in March, with the lead single already on its way up the charts. Current Arista labelmate Alan Jackson is reportedly considering his future options now that he has fulfilled his obligations to the label, and perhaps we will see him moving to pastures new like Martina McBride and Trace Adkins, although either way I don’t really expect a new album from him this year. Ronnie Dunn has already been into the studios for his contribution to the Country Strong soundtrack, and is working on his solo album. I doubt he can expect Brooks & Dunn levels of success for this, even if he was the voice of the duo’s hits, but I’m looking forward to hearing what he comes up with.

The Sony group has relied on American Idol to pick up new artists with a built-in fanbase for several years; this tie-in has now ended, with the group now planning to be associated with Simon Cowell’s rival X Factor show (launching in the fall), and the Idol link now picked up by the Universal Music Group (country imprints are MCA and Mercury). The most successful of these signings is of course Carrie Underwood, whose pattern of releases to date suggests a new album at the end of 2011. I don’t expect any change in direction from her high-energy pop-based style, but more intriguing are the things Kellie Pickler has been saying about her third album being more firmly rooted in traditional country music. I haven’t been particularly impressed by her music to date, but I’m willing to keep an open mind. The latest Idol alumnus to go country after the show is Texan Casey James, who finished third on last year’s Idol and is now with BNA (as the Casey James Band); his roots seem to be more blues than country but he may be worth watching out for. RCA will be releasing a second album from the previous year’s third place finisher Danny Gokey; his debut sold pretty well but failed to set the radio alight or to connect with more traditional country fans.

RCA has lost one of its superstar acts in the form of Martina McBride. It will be interesting to see what (if any) effect Martina’s move to Republic Nashville has on her music: a determined attempt to regain the limelight following the relative under-performance of her last album and recent singles by appealing to modern radio tastes a la Reba’s recent work, an artistic resurgence, or just more of the same? Sunny Sweeney’s Republic debut is also keenly anticipated.

Sticking with RCA, Sara Evans’s long-delayed new album (originally announced for January 2010) is now due to come out in March, taking its title, Stronger, from her Country Strong cut, which is rising up the charts. Again, we’ll have to wait to see if she is trying to get radio play by concentrating on her pop crossover style, or returning to her country roots. I suspect the former, particularly since she has been working with Taylor Swift’s producer Nathan Chapman. My favorite RCA artist at the moment is Chris Young, and I hope he will be back in the studios this year, as his breakthrough second album was released in September 2009. I feel his material to date has (with a few exceptions) not been worthy of his great voice, and I hope that now he can claim two #1 hits, he can demand the very best of what Nashville’s songwriters have to offer.

Reigning CMA Male and Female Vocalists of the Year Blake Shelton and Miranda Lambert have a wedding to plan, but Miranda in particular will be expected to produce a follow-up to her acclaimed 2009 release, Revolution. Blake divided his 2010 output into two “Sixpak” EPs (neither of them very good, the first producing just one single), and it will be interesting to see if he sticks with this template or reverts to a fullscale album in future.

I hope this will be the year Ashton Shepherd finally breaks through commercially. The prolific George Strait tends to release an album a year, so with nothing new in 2010 he is overdue for a new album. Joe Nichols has a Greatest Hits set out soon, so I assume Show Dog Universal has stopped promoting 2009′s Old Things New, and perhaps we can look forward to something new later in the year. But the artist I’m most hoping for new music from is Lee Ann Womack, especially after her stellar contribution to the Country Strong soundtrack.

Over at Curb, it seems that Tim McGraw may finally be out of his contract. LeAnn Rimes’s Vince Gill-produced covers set was supposed to be released last year, but may appear this year, although I’m not inspired by what we’ve heard so far. Heidi Newfield is also supposedly due to have her second solo effort for the label out this year. I’d like to hear more from talented duo Martin Ramey and Star de Azlan, but as it’s Curb I’m not exactly holding my breath in anticipation.

One of my favorite artists, Randy Travis is celebrating the 25th anniversary of his groundbreaking Storms Of Life with his second duets album, the success of which will depend partly on the choice of duet partners. Legends who have new music in the works include Dolly Parton and Charley Pride. And of course, I’m also hoping to hear some great music from new acts.

What are you most looking forward to this year?

Album Review: ‘Country Strong’ soundtrack

The newest country-themed film, Country Strong is due out next January, with an early release just before Christmas in Nashville and LA. The music is much more mainstream than it was in Crazy Heart, the last such movie, and indeed two singles are currently in the lower reaches of the country charts. The tracks are all new recordings, some from actors in the film, others from a selection of country artists. A variety of producers have been used, and the music ranges from traditional to pop country.

Actress Gwyneth Paltrow, who plays a successful country singer in the movie, sings four of the songs. Her singing is perfectly competent, if a little colorless; it’s hard to say without seeing the film whether this is in character with the part she’s playing. The theme tune is one of the two radio singles. It’s a pleasant enough generic contemporary song, produced by Byron Gallimore, which makes it perfectly convincing as a hit single. Vince Gill and Patty Loveless sing backing vocals but are too far back in the mix to be heard. ‘Coming Home’ is a rather boring and awkwardly phrased pop-country ballad written by Bob DiPiero, Tom Douglas, Hillary Lindsey and Troy Verges, and drowned in strings. Gwyneth rocks out Gretchen Wilson-style in ‘Shake That Thing’ (written by Mark Irwin, Josh Kear and Chris Tompkins), and while this is yelled and tuneless, it should be pretty convincing in the context of the movie. She duets with Tim McGraw (who also has a role in the film) on the breakup-themed rock ballad ‘Me And Tennessee’, written by Paltrow’s real-life rock star husband Chris Martin, who also plays acoustic guitar on the track.

Oddly, McGraw does not get any solo cuts here; maybe Curb wouldn’t allow it. Starlet Leighton Meester (best known for her TV role in Gossip Girl) covers a Rascal Flatts song, ‘Words I Couldn’t Say’, which is less histrionic than the original, but not particularly interesting, and Leighton’s vocals sound rather processed and like a slightly more tuneful Taylor Swift. The best of the actors’ songs is the gruff-voiced Garrett Hedlund who is very effective on ‘Chances Are’, a very good song written by Nathan Chapman, Lori McKenna and Liz Rose, and produced by Frank Liddell and Luke Wooten. I understand Hedlund’s role is as a singer-songwriter, and he certainly sounds the part here on this drawled, half-rueful confession of a man’s inadequacies:

I used to give a damn
I used to try real hard but I’ll give in tonight, chances are
One foot on the narrow way and one foot on the ledge
Sifting through the devil’s lies for what the Good Book says
If I’m going anywhere
I’ll probably go too far
Probably away from you, chances are

This track was the real surprise package on this record.

Country fans will be most interested in the new tracks from established artists. We’ve already heard Sara Evans’ latest single, ‘A Little Bit Stronger’, a pleasant but rather bland positive ballad about coping with adversity, which has grown on me since it was first released as the lead single for both this album and Sara’s long-awaited next solo album (said to be entitled Stronger and possibly now due early next year). Her voice at least sounds lovely on this Tony Brown-produced and Luke Laird/Hillary Lindsey/Hillary Scott-penned number. Like Sara, Faith Hill has been silent for some time, and returns here with a forgettable AC-leaning ballad, ‘Give In To Me’, produced by Jay Joyce, which is soothing and sounds as though it will be background music for a love scene, and goes on a bit too long.

Chris Young and Patty Loveless team up on a duet written by Marv Green and Troy Olsen, and was produced by James Stroud, which must have been the original theme song. ‘Love Don’t Let Me Down’ was the original title for the movie, and it is a decent song, but not a particularly memorable one. It feels like a waste of this pairing of two of the best voices in country music. Trace Adkins reminds us he really can sing well on the reflective Natalie Hemby/Troy Jones song ‘Timing Is Everything’. Nicely produced by Kenny Beard with some lovely fiddle from Larry Franklin, this fine song about the role of chance in our lives is sensitively interpreted by Trace, and rather better than most of the material on his current album.

Single Review: Gwyneth Paltrow – ‘Country Strong’

“Country Strong” is a very conventionally-produced power anthem, with fluffy lyrics performed by a beautiful blonde singer. In other words, it has all the trappings of a potential smash hit. Having grown weary of the steady onslaught of outside-the-genre celebrities trying to crack the country music market in recent years, I was initially more than a bit skeptical upon learning that Gwyneth Paltrow was releasing a single to country radio. Therefore, I was a pleasantly surprised after listening to the song to discover that Paltrow proves herself to be a competent, if non-distinctive, vocalist, though admittedly the excellent harmony vocals provided by Vince Gill and Patty Griffin help to camouflage Paltrow’s vocal shortcomings. I may revise my opinion of Gwyneth’s singing depending on how her live performance on the upcoming CMA Awards show goes, but in the studio, at least, she is definitely up to the task.

Written by Jennifer Hanson, Tony Martin and Mark Nesler, and produced by Byron Gallimore, “Country Strong” is the title track of a new soundtrack album being released by RCA this week, to promote the upcoming motion picture of the same title. In the film, Paltrow portrays a fallen country star, struggling to recover from alcoholism and rebuild her career. Tim McGraw co-stars as her manager and husband.

There is nothing particularly memorable or interesting about this record, and in fact, a strong case can be made that the last thing country radio needs right now is another generic, relentlessly positive female empowerment anthem. However, since the track’s purpose is solely to act as a promotional tool for a movie, and since Gwyneth Paltrow is not normally known as a singer, I’m prepared to cut her and the record a little slack. And since, presumably, Paltrow’s character triumphs over her adversities by the end of the film, the positive message is entirely appropriate.

A music video of “Country Strong” can be viewed on YouTube. The single can be downloaded from iTunes and Amazon. The soundtrack album, which also contains contributions from Chris Young and Patty Loveless, Ronnie Dunn, Sara Evans, Trace Adkins, Lee Ann Womack, and others is also available from Amazon.

Grade: B

Single Review: Reba McEntire – ‘I Keep On Lovin’ You’

The title track and third single from Reba’s comeback album has a lot to live up to, as the follow-up to her latest #1 hit. I admit I never expected radio to be as receptive to Reba after such a long layoff as it has proved to be, but it looks as if the concessions Reba and her producer made to contemporary tastes have paid off handsomely in commercial terms. Two uptempo numbers have given her airplay, and now she changes the pace by showing off her interpretative ability to a new radio generation on a ballad. To say this song provided one of the better moments on Keep On Loving You may come close to damning it with faint praise because I was disappointed by that album as a whole. The release of this as a single gives me a chance to reassess it on its own merits.

Written by Ronnie Dunn with his regular songwriting partner Terry McBride, the song bears many of the hallmarks of a Brooks & Dunn ballad and I can imagine Ronnie singing it himself. The tune is very pretty, and help to lift a first verse which offers a few platitudes about having faith. The lyrics of the central part of the song, however, are genuinely interesting, offering an unusually mature attitude about a longterm relationship which has endured its share of ups and downs. The protagonist is almost obstinate in the way she is holding on to love through fights, repeated (probably broken) promises, and pleas for forgiveness:

Sometimes I swear it might be easier to throw in the towel
Someday we’re gonna look back and say look at us now
That’s why I keep on lovin’ you

It is not a romantic picture, but it does feel very real. I do wonder how younger listeners with a more idealistic image of love may respond to it. On the whole, then, this is a very good song.

Reba’s version opens very nicely indeed, with some subdued steel and an effectively restrained, reflective vocal in the first two verses and first run-though of the chorus. I really enjoy listening to the first half of the song. Unfortunately the production builds into a big ballad with heavy production as the song progresses, and some totally unnecessary electric guitar rises way too high in the mix from the second chorus (exactly halfway through the song) onward. I think perhaps this may be intended to indicate triumphing against the odds, but that is not really borne out in the lyric. Reba’s voice (still one of the best in country music) is strong enough not to be completely overpowered, but in order to do this comes close to oversinging at times, particularly in some of the repeats of the title line. Furthermore, the build from the first half of the song to the second does not really sound organic, making this feel somewhat disjointed – as though Reba is trying to appeal to two bases simultaneously.

While the lyric is mature and definitely grown up, the production of the second half is clearly aimed at the mainstream sound on today’s country radio. It should follow ‘Consider Me Gone’ to the upper echelons of the chart. The coincidence of almost sharing a title with a song currently on the charts, labelmates Steel Magnolia’s top 30 hit ‘Keep On Lovin’ You’, is unlikely to harm the chances of Reba’s offering. The songs are dissimilar enough that there is no risk of confusion between them, and not only is Reba a much bigger name and on a hot streak at the moment, but this is a better song. While the production is flawed, this will not hurt it at radio.

Grade: B

Year In Review: Megan Morrow’s Top 10 singles of 2009

Looking at my list it becomes very apparent that the best singles don’t always make it to country radio. There are songs on various albums that I like much more but that were never released. That said, here are some of the songs that I find myself humming and still enjoying at the end of 2009.

10. Welcome to the Future – Brad Paisley (June)
Musically, this one had to grow on me, even though it has some great licks between phrases. At the same time, the lyrics jumped out at me from the get-go. I’m probably going to be the only one with this one on my list for sure, but this is another one that spoke to me in the midst of the huge shifts in our country’s landscape. Watching the elections and the inauguration reminded me of watching the Berlin Wall come down – something I didn’t know I’d ever see in my lifetime. Welcome to the future.

9. A Little More Country Than That – Easton Corbin (July)
Our local station started playing this one right after its release last summer with the tag that it’s sung by Easton “I’m-Not-George-Strait” Corbin. If you weren’t paying attention though, you’d almost think it was George! And not only does Easton have a great laid-back easy country vocal, but it fits the song to a T with lyrics like:

Imagine a dirt road full of potholes
With a creek bank and some cane poles catchin’ channel cat
I’m a little more country than that.

It’s a proposal that lets her know just who she’s getting “under this ol’ hat”. Just a great, simple, easy country song, that’s appropriately produced. Love it! Others must, too – it just rolled into the Top 20.

8. Big Green Tractor – Jason Aldean (May)
Yup. I’m going to admit I like this one. Not sure why, but it makes me smile. Not only does the tractor never break ground, but the song probably doesn’t either. Yet it’s a charming, catchy and sweet love song that paints a great picture that fits us Nebraska folks out here in corn country. It’s Jason’s second release from his 2009 album Wide Open and stayed at #1 for several weeks.

7. White Liar – Miranda Lambert (August)
Acoustic  and steel guitar on a cheating song with a burning lyric of a strong woman calling out the cheat himself and dropping her own bombshell. Doesn’t get much more country than that!

6. Cowgirls Don’t Cry – Brooks & Dunn f. Reba (Feb.)
The digital re-release of this one featuring Reba makes this a possibility for my 2009 list. With some great fiddle, a good story and Ronnie’s vocals, topped off by Reba’s heart-felt last verse, it just got to me. Granted the character in the song loses her dad, but having lost my mom in 2008 it struck a chord for me. That’s part of what I love about country music in general – its power to touch and heal.

5. Living For the Night – George Strait (May)
Love George’s interpretation of this one. He captures that absent, empty kind of feel that missing someone is all about. And then there’s the fact that he and his son wrote it together with Dean Dillon. The lyrics are straight forward yet speak volumes:

Everyday’s a lifetime without you
Hard to get through, since you’ve gone
So I do the only thing I know how to to get by
I’m living for the night.

4. People Are Crazy – Billy Currington (March)
Written by Bobby Braddock and Troy Jones, ‘People Are Crazy’ is Billy’s second single from his 2008 album, Little Bit Of Everything, and is nominated for a Grammy in two categories. It’s probably my favorite story song of the year due to its humorous way of making the point that we all share the most basic common denominators: God is great, beer is good, and people are crazy.

3. Consider Me Gone - Reba McEntire (July)
Though I loved ‘Strange’, her first single from her first album with Valory (April 09), Reba’s second single has become even more of a favorite. Reba calls it a “strong woman’s song” and that it is. Like Sugarland’s ‘Settlin’’, Reba’s character isn’t going to settle either. She lets her lover know in those powerful Reba vocals that

If I’m not the one thing you can’t stand to lose
If I’m not that arrow to the heart of you
If you don’t get drunk on my kiss
If you think you can do better than this
Then I guess we’re done
Let’s not drag this on
Consider me gone.

This one went number one on the Billboard chart this week, making Reba’s 24th trip to the top.

2. Solitary Thinkin’ – Lee Ann Womack (April)
The second single from her Grammy nominated album, Call Me Crazy, and more bluesy jazz than straight country, ‘Solitary Thinkin’ stood out on radio this year as an example of less is more. Lee Ann’s vocals are subtle and embody that smoothness that everything takes on when you’re doing some solitary drinkin’ and thinkin’.

1. High Cost of Living – Jamey Johnson (March)
This one actually got released, but was a bit too dark, rough and long for much radio play. Earthy and honest, pointed and powerful, it’s the best country song of the year in my book.

Album Review: Brooks & Dunn – ‘Cowboy Town’

For what would be their final studio album, Kix Brooks and Ronnie Dunn, the duo turned in a near carbon copy of their previous releases from this decade.  And in what appears to be a split-down-the-middle approach, Ronnie Dunn dominates the first half of the disc with both his lead vocals taking on the first five songs as well as them coming from his own pen.  Kix Brooks gets his chance to shine on the second half.  And while both members turn in a few solid performances to winning lyrics, they seem to have either went out of their way to separate their contributions, or were just getting sloppy at this point, and stacked Ronnie’s studio performances next to Kix’s to make the disc’s eventual song order.  I’d think it was a bit of both, but more of the latter.

For his half, Ronnie Dunn would obviously account for the singles.  Kix had become a full-time sideman by this point, having not sang lead on a Brooks & Dunn single since 1999.  The title track kicks off the disc, written by Ronnie with Paul Nelson and Larry Boone.  It’s another declaration of affection for the small town life, only this time it’s a ‘cowboy town’ though sentiments like ‘sweat of our brow’ and wearing your boots to church have been used to describe more than the ranching lifestyle lately, so the lyric is a bit generalized.   The same writing team also gave us ‘Johnny Cash Junkie (Buck Owens Freak)’, which finds Dunn singing the praises of his heroes.  The lead single, ‘Proud of the House We Built’, a mid-tempo Marv Green and Ronnie Dunn composition.  This testament to the power of lasting love sailed to a #4 peak on the Country Singles chart.

Citing Reba McEntire as the inspiration behind ‘Cowgirls Don’t Cry’, the pair performed the song on the 2008 CMA Awards show with Reba, before adding her to the single version, and crediting the song on the charts to Brooks & Dunn with Reba McEntire. Peaking at #2 on the charts, it became the second top 10 pairing of the two acts.  The concept of a tough cowgirl, set to a three-act country story song, is akin to ‘Does The Wind Still Blow In Oklahoma’, which Ronnie Dunn wrote with Reba for her 2007 Duets project.  I’ve always said I don’t think McEntire added much to the single, but the more I listen to it (thanks, radio), the more I understand and appreciate her contribution.

The rocked up ‘Put A Girl In It’ was third to radio, and it’s a tribute to the duo’s hits of the past if nothing else.  One of few outside written songs, this one was penned by one time ’90s hit-maker Rhett Atkins with Ben Hayslip and Dallas Davidson. Complete with rodeo-style yells from Ronnie, it fits in neatly with their similar-sounding hits and works just as well in concert with their mega-size inflatable cowgirls.  It went to #3 on the charts.  So ends the Ronnie Dunn-styled half of Cowboy Town, though he still has a few more vocal performances to give before the disc ends.