Classic Rewind: Sara Evans – ‘Just A Closer Walk With Thee’

Single Review: Kelleigh Bannen – ‘Sorry On The Rocks’

Listening to Capitol/EMI newcomer Kelleigh Bannen’s debut single sounds like you’re hearing the amalgamation of Martina McBride, Sara Evans, the Dixie Chicks, and virtually every female country act to hit it big at the turn of the century.  The sound here isn’t vintage, but certainly a throwback to the mass appealing sounds of a boom era for females in country music.  A crisp, neotraditional sound leads the Nashville native’s precise singing, and everything about this track reeks of committee planning.

The gist of the confrontation in the lyrics comes from the place where Lee Ann Womack’s “Last Call” meets your garden variety I’m-kicking-you-to-the-curb, frisky female goodbye song (think: “You Can Feel Bad”, “A Little Gasoline”, “Bye Bye”).  A pair of clever lines - ”pretty words don’t mean too much, coming from the bottom of a glass” and “I’ve finally had enough/It’s clear you’ve had way too much” – keep the exchange interesting and make you think ‘hey this girl’s clever and will probably win this argument’.

But on the downside, producer Paul Worley uses those moments to crank the drums way too loud and invites the singer to reach outside her low-register comfort range.  Neither of those sonic missteps is the song’s major liability, however. While the narrating character in “Rocks” comes across and sensible and likable, she lacks the garrulous tenacity demanded on today’s airwaves. After all, she isn’t threatening to shoot, set fire to, or maim this clueless drunk who’s called her up in the middle of the night.  She simply tells him to kiss off. That, coupled with the tired and predictable production snaps is where your commercial liability lies.

Endearing, it is. Pleasing to the ears, it is. A big fat flop at country radio? I’m afraid so.

Grade: C

Listen here.

ACM Award predictions

The Academy of Country Music is announcing its annual awards live on TV on Sunday. Here are our predictions and hopes for the ceremony:

Entertainer of the Year

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

Jonathan: First off, let the Carrie Underwood backlash begin. And end. I agree with the fans who love her, but she didn’t make enough of a splash in 2011 to be considered here. At least you need to release a solo single. I agree with this list as it features most of the big players in country music right now. I would’ve included Zac Brown Band here as musicianship should win out over star power. But I can’t say any of these artists don’t deserve it from a numbers perspective.
Will Win: Taylor Swift – it’s still a fan voted award and she has the largest fan base for these kinds of contests.
Should Win: Blake Shelton – not because of his radio hits but because he’s the only one here to ascend to the next level in 2011. He makes country music look cool on The Voice, too. He may not have a strong catalog of singles but we could do far worse in Hollywood’s ideal of country music.

OH: I think I would also lean to Blake Shelton here. Chesney, Aldean and Swift have all had bigger tours and more impressive sales, but Blake has been representing country music to a mass audience thanks to his TV exposure. However, this being a fan-voted category, I think Taylor Swift will be Sunday’s winner, with only the fast-rising rocker Jason Aldean likely to challenge.

Razor X: Taylor Swift has this one in the bag, as it’s fan voted again this year.

Note: Voting is still open for anyone who wants to make their contribution.

Album Review: Lori McKenna – ‘Bittertown’

Lori McKenna is not really a country artist, and would make no claims to be one. However, several of her songs have been picked up by mainstream country performers, and this album, originally released independently in 2004, was the one which allowed her to break through to national attention when Faith Hill covered three Mcenna songs, two of them from Bittertown, on her 2005 album Fireflies. This persuaded Warner Bros to sign Lori to a recording deal, and they re-released Bittertown.

Unfortunately I don’t find her voice particularly attractive to listen to, lending a harsh edge on songs like ‘Mr Sunshine’ while her diction can be muddy, burying the interesting but complex lyrics and making it hurt to establish exactly what she is saying.

The brooding ‘Bible Song’, about dissatisfaction with a restrictive small town life, which was later recorded by Sara Evans, is one of the best songs. Lori’s raw vocals work well here, and are actually more effective conveying the bitter emotions surrounding a young father’s suicide than Sara Evans’s more polished interpretation. Buddy Miller sings backing vocals.

‘Stealing Kisses’ and ‘If You Ask’ were two of the songs covered by Hill. The former is the wistful thoughts of an unhappy housewife, the latter is a slow burning wearied love letter to the unworthy and self destructive man the protagonist loves. Both are good songs.

Lori’s vocals are at their most effective on the sultry and atmospheric ‘Pour’, a downbeat bluesy number about being abandoned and stolen from by a lover she still hankers after.

I also rather like the confessional ‘Monday Afternoon’ about someone (probably an alcoholic, given that she’s drinking on the Monday afternoon of the song’s title) struggling to live a good life, although her diction is a bit hard to decipher at times, and I was grateful for the lyrics being printed in the booklet:

I know I promised you
That the Lord would be my friend
But the Lord and I don’t get along so very good …

I wish I was a better person
I don’t want to work at it
It should come naturally

‘Lone Star’ is quite an interesting story about childhood bullying of those who don’t fit in, but who later succeed in life while their tormentors crash and burn – not necessarily realistic, but at least a more measured and mature treatment of the theme recently used by Taylor Swift in her hit song ‘Mean’.

‘One Man’ is a love song about teenage sweethearts who have stayed together and abandoned youthful dreams of escape for a life together in the town they grew up in, and isn’t bad. ‘The Ledge’ has an ambitious melody her voice can’t quite carry off, and a lyric which is very metaphorical and frankly baffling.

‘My Sweetheart’ is potentially very charming and has a nice acoustic backing, but the vocals sound flat. ‘Cowardly Lion’ is an angry attack on an unsatisfactory husband, and is a bit loud and tuneless for me. The last two songs, ‘Silver Bus’ and ‘One Kiss Goodnight’ both have interesting lyrics but droning tunes.

This record is interesting and ambitious, and Lori is a talented songwriter, but aurally it doesn’t work for me. However, I can see why it would appeals to fans of contemporary singer-songwriters with more of an emphasis on the songs than their interpretation.

Grade: B

Classic Rewind: Sara Evans – ‘Fool, I’m A Woman’

Another Matraca Berg song here:

Spotlight Artists: Female Singer-songwriters

For our March spotlight, we’re taking a look at four distinct country songwriters who all, at one point or another, found themselves on the cusp of stardom when they scored major label deals. None would be superstars in their own right, but their songs would be turned into some of the greatest country records of the last thirty years by some of the best female (and sometimes male) voices the genre has to offer.

In celebration of the release of Gretchen Peters Hello Cruel World and Matraca Berg’s The Dreaming Fields we’re taking a look at:

Nanci Griffith

Nanci Griffith’s life hasn’t been without its struggles. Born Nanci Caroline Griffith on July 6, 1953 in Seguin, Texas, she suffered a tragic loss when her boyfriend was killed in a motorcycle accident the night of their senior prom. His loss forever altered her life and became a big inspiration to her songwriting. Griffith has since survived both breast (1996) and Thyroid (1999) cancer.

As an artist, she released her debut album There’s A Light Beyond These Woods in 1978.  She would release four albums (none of which charted) before Kathy Mattea brought her fame after her version of Griffith’s “Love At The Five and Dime” peaked at #3 in 1986.

This success led to a deal with MCA Records. Lone Star State Of Mind was released in 1987. The title track would peak at #36 and the album would peak at #23. Tony Brown would also produce the follow-up, Little Love Affairs, released in 1988. It would also chart, although not as successfully. Griffith’s deal with MCA would span just three more albums, two (One Fair Summer Evening and Storms) of which charted quite low.

The 1990s would bring further success. Suzy Bogguss had a #9 peaking hit in 1992 with “Outbound Plane,” a song Griffith co-wrote with Tom Russell. In 1994, Griffith won her first (and only) Grammy award, Best Contemporary Folk Album for Other Voices, Other Rooms; a collection of songs that inspired her.

Griffiths has a new album, her first since 2009’s The Loving Kind. Although not yet released in the United States, Intersection is available in the UK.

Christmas Rewind: Sara Evans – ‘I’ll Be Home For Christmas’

Album Review: Lee Ann Womack – ‘Some Things I Know’

Like her contemporary Sara Evans, Lee Ann Womack followed up a neotraditional debut with a sophomore effort which was a little more in tune with contemporary tastes, but still recognizably country. The song quality is high, mainly down-tempo and focussing on failed relationships. Mark Wright produced again, but his work is less sympathetic this time around, leaning a little more contemporary than the neotraditionalism of her debut and too often smothered with string arrangements to sweeten the pill for radio.

‘A Little Past Little Rock’ is a great song about a woman who has left a desperate relationship in Dallas. Struggling to cope as she gets “A little past Little Rock, but a long way from over you”, Lee Ann delivers a fine vocal, but the track is somewhat weighed down by the swelling strings. Lee Ann’s ex-husband Jason Sellers is among the backing singers. Written by Tony Lane, Jess Brown and Brett Jones, it was the album’s first single and peaked at #2.

This performance was matched by a rare venture by the artist into comedy material which is one of my favourite LAW singles, written by Tony Martin and Tim Nichols. With tongue-in-cheek malice the protagonist vents her hatred of her successful romantic rival with the words ‘I’ll Think Of A Reason Later’ as

It may be my family’s redneck nature
Bringing out unladylike behavior
It sure ain’t Christian to judge a stranger
But I don’t like her

She maybe an angel who spends all winter
Bringing the homeless blankets and dinner
A regular Nobel Peace Prize winner
But I really hate her
I’ll think of a reason later

Album Review: Lee Ann Womack – ‘Lee Ann Womack’

For a brief time in 1997 it appeared that country music was finally about to re-embrace its roots. Two female artists made their major label debuts that year and appeared to be leading the trend back towards traditionalism: Lee Ann Womack with her self-titled debut in May, and Sara Evans with Three Chords and the Truth in July. As we now know, these albums were something of an anomaly; country music continued its drift popward and both both Evans and Womack would go on to experiment with more polished, pop-oriented sounds. Nevertheless, Lee Ann has earned a reputation as a primarily traditional artist, thanks in no small part to her platinum-selling debut.

Lee Ann’s vocal style has been compared to that of a young Dolly Parton, and late 60s-style sound of the album highlights the similarities. The fiddle and steel guitar are featured prominently throughout the album, and most of the ballads also feature tasteful and restrained string arrangements performed by The Nashville String Machine. The first single, “Never Again, Again” was released two months in advance of the album itself. Lee Ann had great hopes for the record and was reportedly disappointed when it peaked at #23, even though this is a perfectly respectable showing for a debut record. Another ballad, “The Fool”, was selected as the album’s next single. Lee Ann had been reluctant to record it, saying that it was “a good song, but it’s not ‘Never Again, Again’”. But ironically, “The Fool” surpassed “Never Again, Again” on the charts, just missing the top spot and earning Lee Ann her first bonafide hit. The uptempo “You’ve Got To Talk To Me”, written by Jamie O’Hara, was released as the third single, and like “The Fool”, it peaked at #2. Another uptempo number, “Buckaroo” peaked at #27.

Overall, the album highlights Lee Ann’s strength as a ballad singer. There are some truly beautiful moments on the album with songs such as “Am I The Only Thing You’ve Done Wrong”, which Lee Ann wrote with her ex-husband Jason Sellers and Billy Joe Foster, “Do You Feel For Me”, and “Make Memories With Me”, a gorgeous number performed as a duet with her Decca labelmate and fellow Mark Wright-produced act Mark Chesnutt. “Make Memories With Me” should have been released as a single, but Decca was most likely reluctant to send too many ballads to radio. It’s a shame that there haven’t been any subsequent Womack-Chesnutt duets because their voices work very well together.

The album’s weak spots tend to be the uptempo numbers. Though well performed, “Buckaroo” borders on hokey and it’s not difficult to see why it only reached #27 on the charts. The same is true, to a lesser extent, of the album cut “A Man With 18 Wheels”, although “Trouble’s Here” stands in stark contrast with these two numbers. It actually works quite well, as does the Gospel number “Get Up In Jesus’ Name”, the album’s closing track which features background vocals from Ricky Skaggs and Sharon White.

In retrospect, it’s a pity that Lee Ann didn’t debut four or five years earlier; if she had, she’d have likely enjoyed more consistent success at radio. By the late 90s, listeners appeared to be tiring of Faith Hill and Shania Twain, and Lee Ann seemed to be the perfect antidote, but her success was short-circuited by both her own pop ambitions and the emergence of other, younger country-pop divas such as Carrie Underwood and Taylor Swift. Nevertheless, Lee Ann Womack remains my favorite album in the singer’s discography. Cheap copies are readily available from Amazon. Buy one if you don’t already own a copy.

Grade: A

2011 CMA award predictions

The Country Music Association annual awards ceremony will take place on November 9th, 2011, presented by the pairing of Brad Paisley and Carrie Underwood, who have become something of a fixture in that role in the past few years. Last year Brad also triumphed by winning the Entertainer of the Year title for the first time. The show will feature performances from many of the nominees, plus American Idol Scotty McCreery and pop star Lionel Richie, who has been recording duets with country stars for release next spring.

Here are our thoughts about who will walk away smiling next Wednesday night, category by category:

Entertainer of the Year

Jason Aldean
Brad Paisley
Blake Shelton: Jonathan Pappalardo, Occasional Hope, Razor X, J.R. Journey
Taylor Swift
Keith Urban

Occasional Hope: I feel this is a genuinely open category this year. Brad Paisley is the reigning Entertainer, having finally won the long overdue title last year, and is clearly popular with voters. However, I think he has passed his peak both commercially and (more importantly) artistically, with relatively disappointing sales figures for recent albums, although he continues to do well at radio with a #2 and two #1 hits over the period. He is also one of the top earners in country music, alongside Taylor Swift. Teen favorite Swift won the title controversially in 2009, then was largely ignored last year, and is back again with a brace of nominations. She undoubtedly has the biggest international and pop profile of all the nominees, as well as the biggest sales, with over three million copies sold so far of Speak Now in the U.S. and platinum or multi-platinum status in a number of other countries, some (like the Philippines) with little exposure to country music. She has also toured successfully overseas this year. Of course, that makes her an international pop star as much or more than a country star who has gotten lucky with pop airplay; how far should that sway the CMA?

I have a sneaking suspicion that Jason Aldean could be a big winner this year overall. He’s had a good year, with one of the best-selling albums (over 1.5 million sales), and his brand of country-rock, while far heavier on the rock than the country, has carved out a niche in the market for himself. I’m not a fan myself, but he is undeniably one of the big names in country music at the moment, with two #1 and a #2 hit single from this album, and a crossover AC hit thanks to his duet with Kelly Clarkson. But my gut feeling is that it’s a bit soon to win the top award this year. Blake Shelton, despite his title as reigning Male Vocalist, is the other surprise nominee, and he could just swing it based on the impact he has had as an ambassador for the genre, with his TV role on The Voice. He has also had two #1 singles with ‘Who Are You When I’m Not Looking’ and ‘Honey Bee’, and the frankly baffling inclusion of his poorly selling EP among the Album nominees signals that the Association voters are keen to reward him.

Razor X: It’s hard for me to get very excited about any of these nominees, but Shelton seems to be on a hot streak so I think he will win. And if I have to root for one of these nominees, I’d probably go with him.

Jonathan: This is a case of the veterans versus the newcomers. Urban hasn’t won since 2005 and I don’t expect that drought to end this year. Paisley (who should win) and Swift are strong contenders, but their steady success isn’t enough to help them prevail. It comes down to Shelton versus Aldean, and in a battle between the country rocker and the TV star, Shelton walks away with his first Entertainer trophy.

J.R. Journey: I think Paisley and Urban are just slot-fillers at this point in their careers, so they’re out. Jason Aldean had a strong year and so did Taylor Swift, but neither exploded into the mainstream – Taylor’s been there for several years now – like Blake Shelton, with a major television and soundtrack push. He’s on a major upswing, and that ought to sway voters enough to give him the edge.

Single Review: Sara Evans – ‘My Heart Can’t Tell You No’

Two thoughts immediately spring to mind while listening to Sara Evans’ new single: this is a fairly weak lyric built around a mushy sentiment, but man, do I like the sound of it. Country artists don’t have the best track record for cherry-picking the pop and rock catalogs for songs worthy of reinterpretation. (See: Alabama’s arid remake of ‘N Sync’s “God Must Have Spent a Little More Time On You” or Lonestar’s “Walking In Memphis”, among countless others.) So, of all the 80s pop  hits Sara Evans could have wrapped her majestic pipes around, it’s discouraging she chose this 1988 Rod Stewart cut, but encouraging that she’s reworked it to more than resemble country music.

Gone is the 80s synth-pop sound of the original, replaced instead with tasteful country flavor where steel guitar flourishes and warm harmonies frame Evans’ pitch-perfect vocal performance.  Her tendency to wring the highest notes for more than they’re worth has always been a flaw in her singing, no matter how accurately she nails them; fortunately, those moments here are short.  Judged only on its sound, this is Evan’s finest single release since “Cheatin’”.  But listen closely to the lyrics, and you’ll see that’s not the case.

The first verse finds her begging her lover for mercy, leading up to half a good chorus – the first 3 lines are pretty strong – before finally declaring she wants him to stay away in the song’s shouted second verse.  But that leads her right back to the catchy, but confusing, chorus where she again decides she can’t tell this guy no.  Talk about your mixed messages. Slathering an obvious pop melody with country instruments often makes for a pleasing sound effect, which is the case here, but as Alan Jackson might say “this song’s got a broken hook, and I know they’ve been using a cut-rate thesaurus ’cause the adverbs have backed up into the chorus. Now the verses are runnin’ on verbs that are way too weak.”

Grade: C-

Listen here.

Week ending 5/21/11: #1 singles this week in country music history

1951: Kentucky Waltz — Eddy Arnold (RCA)

1961: Hello Walls — Faron Young (Capitol)

1971: I Won’t Mention It Again — Ray Price (Columbia)

1981: I Loved ‘Em Every One — T. G. Sheppard (Warner Bros./Curb)

1991: If I Know Me — George Strait (MCA)

2001: Ain’t Nothing ‘Bout You — Brooks & Dunn (Arista)

2011:A Little Bit Stronger — Sara Evans (RCA)

Week ending 5/14/11: #1 singles this week in country music history

1951: Cold, Cold Heart — Hank Williams (MGM)

1961: Hello Walls — Faron Young (Capitol)

1971: How Much More Can She Stand — Conway Twitty (Decca)

1981: Am I Losing You — Ronnie Milsap (RCA)

1991: If I Know Me — George Strait (MCA)

2001: Ain’t Nothing ‘Bout You — Brooks & Dunn (Arista)

2011:A Little Bit Stronger — Sara Evans (RCA)

Week ending 4/2/11: #1 albums this week in country music history

1966: Ssgt. Barry Sadler – Ballad of the Green Berets (RCA Victor)

1971: Lynn Anderson – Rose Garden (Columbia)

1976: Various Artists – Wanted: The Outlaws (RCA)

1981: Dolly Parton – 9 to 5 And Odd Jobs (RCA Victor)

1986: Ricky Skaggs – Live In London (Epic)

1991: Garth Brooks – No Fences (Capitol)

1996: Shania Twain – The Woman In Me (Mercury)

2001: Various Artists – O Brother Where Art Thou (Soundtrack) (Lost Highway)

2006: Carrie Underwood – Some Hearts (Arista)

2011: Sara Evans – Stronger (RCA)

Week ending 3/26/11: #1 albums this week in country music history

1966: Eddy Arnold – My World (RCA Victor)

1971: Lynn Anderson – Rose Garden (Columbia)

1976: Various Artists – Wanted: The Outlaws (RCA)

1981: Dolly Parton – 9 to 5 And Odd Jobs (RCA Victor)

1986: Earl Thomas Conley – Greatest Hits (RCA)

1991: Garth Brooks – No Fences (Capitol)

1996: Shania Twain – The Woman In Me (Mercury)

2001: Various Artists – O Brother Where Art Thou (Soundtrack) (Lost Highway)

2006: Carrie Underwood – Some Hearts (Arista)

2011: Sara Evans – Stronger (RCA)

Album Review: Sara Evans – ‘Stronger’

In the nearly six years since her last full-length studio release, Sara Evans has been divorced and remarried, appeared on Dancing With The Stars, written a novel, and struggled to stay alive commercially, in a radio environment that has been increasingly indifferent to female artists, particularly ones who are not blonde and under 30. Her career finally seems to be getting back on track, thanks to the success of her current single “A Little Bit Stronger”, which, thanks to its inclusion on the Country Strong soundtrack, has provided Sara with her first Top 20 hit since 2007′s “As If.”

Most of Sara’s recent singles have underperformed on the charts, and in her search for a style that radio would accept, her music seemed to be a bit unfocused. Regular readers will recall that I wasn’t terribly impressed with “A Little Bit Stronger” when I reviewed it back in September. As a result, I had some misgivings about her album. Originally slated for release in 2009, the album was delayed twice, and finally saw the light of day this week. Unfortunately, my misgivings have proven to have been well founded.

To a large extent, Stronger is the victim of poor production choices. Four tracks were produced by Sara with Nathan Chapman, another five were produced by Tony Brown, and one (“Wildfire”) was produced by Marti Fredericksen. Many of the songs such as “Desperately”, “Wildfire”, and “Life Without Losing” start out promising, but by the end of the first verse each falls prey to generic, occasionally bombastic production and over-processed vocals with too much reverb. None of the songs on the album are strong enough to overcome the production missteps. Particularly disappointing is “What That Drink Cost Me”, a beautifully written and performed song that I’ve been looking forward to hearing ever since a live version appeared on YouTube a year or so ago. Based on the live performance, I was expecting a traditional country weeper, but Evans’ and Nathan Chapman’s slick production drains most of the heart and soul out of it. That being said, it is the best song on the album, along with “Alone”, which is a standout ballad that deserves to be released as a single.

Closing out the album is an unnecessary remake of Sara’s 2001 hit “Born To Fly”. Billed as a bluegrass version, it doesn’t differ very much from the original other than being entirely acoustic. Though I usually like stripped-down versions, this one sounds too much like a demo recording and only serves to underscore how much better Evans’ music was a decade ago. Considering the length of time that fans have had to wait for a new album from Evans, they deserve more than the meager ten tracks offered up here. The fact that one is a remake of a prior hit is bound to make them feel cheated. The iTunes version does contain a bonus track “Cabana Boy” which is quite good, and should have been swapped with “Born To Fly” for a slot on the physical CD.

Even though my expectations were modest, it’s difficult not be disappointed in this album. Evans and her producers had nearly six years to get it right, and that should have been more than sufficient time to find some more interesting material than they came up with this time around.

Grade: C-

Stronger is available from major retailers such as Amazon and iTunes.

Random playlist 3

After all the mental inventory-taking of the end of the year lists was finally over, I began to cruise through my media library again. Ballads have been in higher rotation than anything else right now, and that’s partly because of that nostalgia feeling that comes from having a fresh snowfall each morning. But it’s also because ballads are usually my favorites anyway. Here’s a few I’ve really been enjoying lately.

Zac Brown Band – ‘Colder Weather’ … Wanderlust drives the narrator in the Zac Brown Band’s current single, and he readily admits it to this lady. ‘And I love you but I’ll leave you, I don’t want you but I need you‘, he confesses. Still, some relationships are too complicated to follow the rules. These two keep it together when he’s in town; otherwise, not so much. The swaying melody is brought to life here with the help of a gentle piano track and Alabama-ish harmonies from the group.

Sara Evans – ‘Three Chords And The Truth’ … Her first album was a lesson in 90s new traditionalism, and though none of the songs were hits, the title track to the set has taken on a life of its own. Evans’ Missouri drawl wrings out every ounce of emotion in this conflicted woman’s day of events, as she sings of the music doing just the same for the character in her own song.

Martina McBride – ‘Strangers’ … This track from Martina’s second album was included on her Greatest Hits album, listed as a fan favorite and concert staple; and for good reason. Songwriter Bobby Braddock penned a telling tale of two people and their journey from, and back to, being strangers to each other. Martina’s bigger-than-your-house voice hammers it home.

Mark McGuinn – ‘She Doesn’t Dance’ … This guy’s got the perfect gal at home. So what’s she doing in this smoky bar in that black dress, and in another man’s arms? But wait, that couldn’t be her. She doesn’t own a dress like that, and besides, she doesn’t even dance. Especially like that. McGuinn hit bigger with that infuriating ‘Mrs. Steven Rudy’ song. But not only was ‘She Doesn’t Dance’ tolerable, this 90s-style country ballad proved better at showcasing his dry wit without even trying.

Sunny Sweeney – ‘Amy’ … Just like her breakthrough single, Sweeney’s self-penned ‘Amy’ is a confessional from the other woman. This time it’s directed at the wife and she’s asking her to please stand aside, if that’s at all convenient. Tight and light, the acoustic-driven production is the perfect score for the story unfolding before us.

Johnny Cash – ‘Cry, Cry, Cry’ … Maybe it’s Cash’s deadpan delivery of these scathing lyrics, or maybe it’s the Signature Cash dominating back beat. Either way, I can’t get enough of Johnny’s first single.

Alan Jackson – ‘I’ll Try’ … Warm, traditional sounds complimenting Jackson’s crooning vocals make the song a real pleasure to the ears, but it’s the no-frills message in this song I like best. No promises of forever or of good times to come, this guy takes a realistic approach. Sweetly optimistic in all he does, he’s aiming for the long haul. Here’s hoping.

So, what’s your pleasure these days?  Are you spinning the ballads in the colder weather?  Share your current favorites with us in the comments.

Week ending 1/22/11: #1 singles this week in country music history

1951: The Shotgun Boogie — Tennessee Ernie Ford (Capitol)

1961: North To Alaska — Johnny Horton (Columbia)

1971: Rose Garden — Lynn Anderson (Columbia)

1981: I Love A Rainy Night — Eddie Rabbitt (Elektra)

1991: Unanswered Prayers — Garth Brooks (Capitol)

2001: Born To Fly — Sara Evans (RCA)

2011: Felt Good On My Lips — Tim McGraw (Curb)

Single Review: Faith Hill – ‘Give In To Me’

The Country Strong franchise may not make a country star out of Gwyneth Paltrow, who plays the embattled chanteuse in the film.  But it’s certainly bringing some of country music’s own leading ladies back to the charts.  Sara Evans had the first single from the movie’s soundtrack and that sits inside the top 30 this week – her first appearance there since 2008 – while Paltrow’s title song enters the top 30 as well.  Now, the soundtrack has given us the first Faith Hill chart appearance in over 3 years.

Hill has certainly kept her visibility high during her downtime from releasing new music: she launched her fragrance line in 2009 and is seen by millions every Sunday night on NBC.  She’s also currently said to be working with noted pop and rock producers for a new album due out this year.  But for now it’s back to the country airwaves.  ’Give In To Me’ isn’t going to draw the kind of rave reviews Fireflies garnered, nor should it.  Her most recent foray into country music found the singer reinventing herself completely, shedding almost all the illegitimate uptown image she had hung on herself.  Now, for this track at least, it seems that Faith Hill has picked up where she left off with Cry.  Fortunately, ‘Give In To Me’ follows the template of the best tracks on the mostly ill-fitting Cry.  It’s an acoustic pop ballad, the kind Faith Hill shines brightest with.

Slicy electric guitar licks fill up the space left by the elegant lead piano track on what is mostly a lyrically bare song.  All we really hear are the narrator’s desires – ‘My heart is set on you, I don’t want no one else‘ – while the chorus echoes her confidence that all she wants will happen. Meanwhile, Hill pours on her buttery vocals to the song’s lyrics as if it were a hot biscuit.  While it lacks the fiery passion of ‘Breathe’ and the emotional intensity of ‘Cry’, ‘Give In To Me’ succeeds in ably revisiting the sound Faith Hill has come to own.

Grade: B

‘Give In To Me’ doesn’t seem to be available as a digital download just yet, but can be purchased as part of the Country Strong Soundtrack.

Listen here.

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?