5 questions with Dakota Bradley

Dakota Bradley has already caught the attention of talk-show host Ellen DeGeneres, country star Tim McGraw and hit-making producer Byron Gallimore, who were all instrumental in the eighteen-year old’s eventual signing to Streamsound Records.  In a quick phone chat before his show at Toby Keith’s I Love This Bar & Grill in Phoenix last week, we talked about his first single, “Somethin’ Like Somethin’” and the celebrity connection to his claim to fame.

J.R. Journey: You first appeared on the Ellen show as a duo. Now you’re a solo artist. How did that come about?

Dakota Bradley: Everything happened so fast after I was on that show. I literally just hit my eighty-fifth city on my radio tour. I just finished an album – produced by Byron Gallimore and Tim McGraw.

J.R.: How did that appearance lead to the Byron Gallimore/Tim McGraw connection? 

D.B.: Well, right after I was on Ellen, I got to meet some really cool people in Nashville. I got introduced to writers and everybody. And I got introduced to Byron. He gave me a publishing deal and a record deal right away, which was pretty unbelievable. And he introduced me to Tim. I played a couple songs for Tim and the next day we were cutting records. And I’ve been on a radio tour ever since then. It’s pretty wild out here.

J.R.: So, in addition to those guys producing your record, I see your first single was co-written by Shane McAnally (who is one of the hottest writers on Music Row right now) with Josh Kear and Mark Irwin. You’re keeping pretty good company for a teenage newcomer. Tell me about how came to record that song.

D.B.: Oh, I feel very lucky. Mr. Gallimore – Byron Gallimore – and Missy, Byron’s wife, have been instrumental in finding songs for Tim over the years, over his entire career. Missy found that song and brought it to the studio. Tim loved it, and we cut it. And Tim is actually the one who picked it for the first single.

J.R.: Anybody else you’d like to work with?

D.B.: Keith Urban. John Mayer. Taylor Swift. Just anybody who loves good music.

J.R.: Where do you see yourself in 5 years?

D.B.: Hopefully still touring and making music, if I can be that lucky. It’s hard to see where I’m gonna be tomorrow. I just hope I’m still making music.

Predictions for the 48th annual ACM Awards

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

Here are the nominees and predictions:

Entertainer of the Year

· Jason Aldean

· Luke Bryan

· Miranda Lambert

· Blake Shelton

· Taylor Swift - Jonathan Pappalardo 

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

Male Vocalist of the Year

· Jason Aldean

· Luke Bryan

· Eric Church

· Toby Keith

· Blake Shelton - Jonathan Pappalardo 

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

Female Vocalist of the Year

· Miranda Lambert - Jonathan Pappalardo 

· Martina McBride

· Kacey Musgraves

· Taylor Swift

· Carrie Underwood

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

Vocal Duo of the Year

· Big & Rich

· Florida Georgia Line

· Love and Theft

· Sugarland

· Thompson Square - Jonathan Pappalardo 

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

Vocal Group of the Year

· The Band Perry

· Eli Young Band

· Lady Antebellum

· Little Big Town - Jonathan Pappalardo 

· Zac Brown Band

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

New Artist of the Year

· Florida Georgia Line - Jonathan Pappalardo 

· Brantley Gilbert

· Jana Kramer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Songwriter of the Year

· Rodney Clawson

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

· Josh Kear

· Luke Laird

· Shane McAnally

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Week ending 12/22/12: #1 singles this week in country music history

1952: Jambalaya (On The Bayou) — Hank Williams (MGM)

1962: Mama Sang A Song — Bill Anderson (Decca)

1972: Got The All Overs For You (All Over Me) — Freddie Hart & the Heartbeats (Capitol)

1982: Somewhere Between Right and Wrong — Earl Thomas Conley (RCA)

1992: She’s Got The Rhythm (And I Got The Blues) — Alan Jackson (Arista)

2002: Who’s Your Daddy? — Toby Keith (DreamWorks)

2012: Cruise – Florida Georgia Line (Republic Nashville)

2012 (Airplay): Cruise – Florida Georgia Line (Republic Nashville)

Album Review: Toby Keith – ‘Hope On The Rocks’

The most prolific of today’s mainstream acts, and the only person around who seems able to release full length albums, with generally all self-written material, on an annual schedule, Toby Keith is back with his latest. The excellent title track is about the secret sorrows of a bar room crowd as imagined by the bartender who concludes, “I’m all they’ve got – hope on the rocks”. The melody is a bit limited, but the lyric is thoughtful and sympathetic. Although Toby wrote every song on the record, it is interesting that this, the only one he composed solo, is by far the best.

The catchy top 20 hit ‘I Like Girls That Drink Beer’ is surprisingly likeable, with its preference for ordinary girls over the wealthy country club lady he is leaving. Like the bulk of the album’s selections, it is a co-write by Toby with Bobby Pinson.

The best of these is ‘Haven’t Seen The Last Of You’, a reflective depiction of the aftermath of a failed relationship which also benefits from pretty harmonies from Mica Roberts. Set a bit further down the line, ‘Missed You Just Right’ is also pretty good, with the protagonist having finally moved on from an unsatisfactory ex, and found the real love of his life as a result.

‘Get Got’ offers some highly cliche’d life advice (although the warning not to “mix whiskey with decision” is certainly a good tip for anyone who hasn’t already figured that out), and the arrangement and production are too loud. The hard living trucker’s confession, ‘Haven’t Had A Drink All Day’ is also too loud although it isn’t a bad song with plenty of energy.

‘Cold Beer Country’, written by Keith, Pinson and Marc Fortney of Trailer Choir, is a cheerful paean to hot summer days drinking beer, with a Dixieland jazz opening reminiscent of some of Haggard’s work in that style. This might work as a summer single.

Scotty Emerick co-wrote the downbeat ‘You Ain’t Alone’, depicting a lonely man brooding over the departure of his loved one, which is not bad. ‘The Size I Wear’ (written with Rivers Rutherford) is one of Keith’s rather clumsy, sexist, barely post-adolescent attempts at humor, which probably works better for a male audience than it does for me. He and Rutherford also wrote the rather better ‘Scat Cat’. This is a fairly interesting tale of a family moonshine operation and escaping the law, with a bluesy groove which I enjoyed.

Grade: B

2012 CMA Awards: our predictions

The 46th annual Country Music Association annual awards ceremony will take place on November 1, 2012 at Nashville’s Bridgestone Arena. The show will air live on ABC television again this year and is presented by the pairing of Brad Paisley and Carrie Underwood, who will take over hosting duties for the fifth consecutive year. Eric Church and his massive hit “Springsteen” lead the list of nominees, with Miranda Lambert and Blake Shelton close behind him.

On awards night, look for a musical tribute to Willie Nelson and The Band Perry to debut the first taste of their Rick Rubin produced sophomore album. There’s also talk that Female Vocalist nominee Kelly Clarkson will debut “Don’t Rush” on the telecast, a duet with Vince Gill featured from her Greatest Hits, Chapter One album in stores Nov. 19. Also look forward to a duet from Tim McGraw and Faith Hill (which I’ve heard is during the Nelson tribute), and solo performances from each.

Entertainer of the Year

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift - Jonathan Pappalardo, J.R. Journey

The usual solid yet unspectacular group. Carrie Underwood fans are likely fuming at yet another snub, while everyone else will bark at the inclusion of Swift, a two-time winner and the incumbent, for her increasing lack of country credibility. But Aldean is the nominee to watch, as his recent stadium tour announcement will likely endear him to voters in the years to come.

Jonathan Pappalardo: I’ll bet on the safest choice this time around and say Taylor Swift is going to win. Chesney may have had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.

J.R. Journey: Taylor Swift now not only represents about one-fourth of the total United States GDP, she also hawks makeup, perfume, and shoes on the side. And she just had the #1 song in 12 countries. I say Swift is most likely to succeed on CMA night.

Female Vocalist of the Year

Kelly Clarkson
Miranda Lambert - Jonathan Pappalardo
Martina McBride
Taylor Swift - J.R. Journey
Carrie Underwood

Kelly Clarkson, really? She did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally, justified. She has yet to fully embrace a career in country music. McBride is a snoozer scoring her 14th consecutive nomination and 15th overall as her career takes a downward spiral. See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.

Jonathan Pappalardo: While I’d love to see this award go to Clarkson (to tick off the industry if nothing else), she’s a pop singer who’s done a bang up job covering country songs in concert. That’s about it. Miranda Lambert, meanwhile, is the biggest star in country music right now that actually looks and sounds country. And her intuition to form the Pistol Annies proves she’s not afraid to take creative risks. Its her award to lose, and I don’t foresee that happening.

J.R. Journey: Taylor Swift is the likely winner here for pretty much the same reasons she’ll win Entertainer of the year. Miranda Lambert’s new solo music is way below her usual standards this year and I think Carrie Underwood’s dog already had its day in this category, so I don’t see voters leaning toward either of them. 

Male Vocalist of the Year

Jason Aldean
Luke Bryan
Eric Church
Blake Shelton - Jonathan Pappalardo, J.R. Journey
Keith Urban

Another somewhat standard list until you take into account Urban is here in place of red-hot Dierks Bentley. Bentley’s exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should be joining Brad Paisley and been made to sit this one out this year.

Jonathan Pappalardo:  There’s seemingly no stopping Blake Shelton right now despite one mediocre single after another. He’s the biggest star here next to Jason Aldean and the all around better vocalist. He’ll sail to his third straight win no problem.

J.R. Journey: Blake Shelton is coming off two consecutive wins here and his visibility remains higher than Aldean’s, the next closest competitor. Long shots for the win Luke Bryan and Eric Church are still newcomers and first time nominees leaving Keith Urban the longest shot “veteran” slot. For my money, Shelton will repeat a third time here.

Week ending 9/8/12: #1 albums this week in country music history

1967: Wynn Stewart – It’s Such A Pretty World Today (Capitol)

1972: Donna Fargo – Happiest Girl In The Whole U.S.A. (Dot)

1977: Elvis Presley – Moody Blue (RCA)

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

1987: Hank Williams Jr. – Born To Boogie (Warner Brothers)

1992: Billy Ray Cyrus – Some Gave All (Mercury)

1997: LeAnn Rimes – Blue (Curb)

2002: Toby Keith- Unleashed (Dreamworks)

2007: Taylor Swift – Taylor Swift (Big Machine)

2012: Dustin Lynch – Dustin Lynch (Broken Bow)

Week ending 9/1/12: #1 albums this week in country music history

1967: Wynn Stewart – It’s Such A Pretty World Today (Capitol)

1972: Donna Fargo – Happiest Girl In The Whole U.S.A. (Dot)

1977: Waylon Jennings – Ol’ Waylon (RCA)

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

1987: Hank Williams Jr. – Born To Boogie (Warner Brothers)

1992: Billy Ray Cyrus – Some Gave All (Mercury)

1997: Tim McGraw – Everywhere (Curb)

2002: Toby Keith- Unleashed (Dreamworks)

2007: Taylor Swift – Taylor Swift (Big Machine)

2012: Zac Brown Band – Uncaged (Atlantic)

Week ending 8/25/12: #1 albums this week in country music history

1967: Jack Greene – All The Time (Decca)

1972: Donna Fargo – Happiest Girl In The Whole U.S.A. (Dot)

1977: Waylon Jennings – Ol’ Waylon (RCA)

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

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

1992: Billy Ray Cyrus – Some Gave All (Mercury)

1997: Tim McGraw – Everywhere (Curb)

2002: Toby Keith- Unleashed (Dreamworks)

2007: Taylor Swift – Taylor Swift (Big Machine)

2012: Colt Ford – Declaration of Independence (Average Joe’s)

Week ending 8/18/12: #1 albums this week in country music history

1967: Jack Greene – All The Time (Decca)

1972: Donna Fargo – Happiest Girl In The Whole U.S.A. (Dot)

1977: Waylon Jennings – Ol’ Waylon (RCA)

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

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

1992: Billy Ray Cyrus – Some Gave All (Mercury)

1997: Tim McGraw – Everywhere (Curb)

2002: Toby Keith- Unleashed (Dreamworks)

2007: Taylor Swift – Taylor Swift (Big Machine)

2012: Zac Brown Band – Uncaged (Atlantic)

Week ending 8/11/12: #1 albums this week in country music history

1967: Jack Greene – All The Time (Decca)

1972: Charley Pride – The Best of Charley Pride, Vol. 2 (RCA)

1977: Waylon Jennings – Ol’ Waylon (RCA)

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

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

1992: Billy Ray Cyrus – Some Gave All (Mercury)

1997: Tim McGraw – Everywhere (Curb)

2002: Toby Keith- Unleashed (Dreamworks)

2007: Taylor Swift – Taylor Swift (Big Machine)

2012: Zac Brown Band – Uncaged (Atlantic)

Single Review: Toby Keith – ‘I Like Girls That Drink Beer’

Toby Keith’s last single “Beers Ago” went off the charts as quickly as it came, and he’s back again singing about the suds with his latest “I Like Girls That Drink Beer”.  But it’s not what you’d expect from the title, especially given Keith’s recent string of throw-away party anthems fueled by booze. He’s singing here about your genial aw-shucks country boy shedding the “high-rise life” for a “little down home lovin”, and using the “girls that drink beer” to personify the kind of woman who will be the antithesis to his current love affair. The song’s lyrics, co-written with regular Keith collaborator Bobby Pinson, are little more than another twist on a reliable country music theme. Yet it still works very well here.

“Beer” kicks off with its freewheeling chorus, and proves why Toby Keith is country music’s reigning king of honky tonk melodies. Keith’s confident swagger carries his vocal performance; gone are the growls, harrumphs and spitted lyrics that have plagued his singles lately. The singer’s winning vocal comes backed by a dyed-in-the-wool country sound where audible steel guitar flourishes are paired with a pair of hoedown-worthy fiddles to frame the track. The men in Keith’s target audience will surely be relating and singing along, and even the ladies don’t have to shed any dignity to enjoy this one.

Grade: B+

Listen here.

Week ending 7/21/12: #1 singles this week in country music history

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

1962: Wolverton Mountain — Claude King (Columbia)

1972: Made In Japan — Buck Owens (Capitol)

1982: Till You’re Gone — Barbara Mandrell (MCA)

1992: I Saw The Light — Wynonna (MCA/Curb)

2002: Courtesy of the Red, White and Blue (The Angry American) — Toby Keith (DreamWorks Nashville)

2012: You Don’t Know Her Like I Do — Brantley Gilbert (Valory)

Week ending 5/19/12: #1 singles this week in country music history

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

1962: She Thinks I Still Care — George Jones (United Artists)

1972: Grandma Harp — Merle Haggard (Capitol)

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

1992: Neon Moon — Brooks & Dunn (Arista)

2002: My List — Toby Keith (DreamWorks Nashville)

2012: Over You — Miranda Lambert (RCA)

Week ending 5/12/12: #1 singles this week in country music history

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

1962: Charlie’s Shoes — Billy Walker (Columbia)

1972: Chantilly Lace — Jerry Lee Lewis (Mercury)

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

1992: Neon Moon — Brooks & Dunn (Arista)

2002: My List — Toby Keith (DreamWorks Nashville)

2012: Banjo – Rascal Flatts (Big Machine)

Week ending 5/5/12: #1 singles this week in country music history

1952: Easy on the Eyes — Eddy Arnold (RCA)

1962: She’s Got You — Patsy Cline (Decca)

1972: Chantilly Lace — Jerry Lee Lewis (Mercury)

1982: Mountain Music — Alabama (RCA)

1992: There Ain’t Nothin’ Wrong With The Radio — Aaron Tippin (RCA)

2002: My List — Toby Keith (DreamWorks Nashville)

2012: Drink On It — Blake Shelton (Warner Bros.)

Album Review: Jerry Kilgore – ‘Telephone, TX’

Jerry Kilgore enjoyed a short major label career just over a decade ago with the top 40 hit ‘Love Trip’ but is probably better known as co-writer of Tracy Byrd’s hit ‘Love Lessons’. His excellent 2007 self-release Loaded & Empty got him some attention, and has now been followed up with another fine record.

The steel-drenched production (by the artist with James Mitchell) has only fiddle missing from the pure country mix and is an aural delight with a relaxed Strait-style feel on much of the material. Jerry’s voice isn’t the most distinctive, but it is nice and he has mature, lovely phrasing. The songs were all written or co-written by Jerry, and are all pretty solid lyrically, while he has a great knack for writing melodies, and there is a good mix of moods and tempos.

It opens well with ‘Can’t Hide A Heartache’, an excellent song offering sympathy and hope for the future to a heartbroken woman. The advice is backed up by the personal experience given in the ensuing song, the mellow ‘Life Goes On’, about getting over someone, with time having done its healing job and the worst now well in the past.

‘Places To Go’ has a similar slow laid back and faintly melancholic feel and insidiously attractive melody, portraying a restless drifter not quite sure what he is ultimately looking for, as he admits he “might be looking for something that just can’t be found”. But he’s moving on anyway,

Cause I got places to go and people to leave
The highway is callin’ my name as we speak
I’m not one to quiet the call of the road, don’t you know?

Brother and sister duo Nicole and Jonathan Broussard sing backing vocals.

Randy Kohrs provides backing vocals on ‘Leavin’ Feelin’’, another tale of a serial leaver who gets a “cold lonesome feeling” whenever permanency is on offer, set to a lovely tune with plenty of steel guitar. Elsewhere, we learn the perils of sticking around after breaking someone’s heart, especially living in a small town where ‘Everybody Knows Me’, not to mention the girl. The mournful ‘The Truth’ looks at the reasons behind a breakup:

People will believe what they want to
No matter what you say or do
There’s three sides to every story
Your side, my side and the truth

‘If Ya Wanna Keep Your Beer Cold’ is a sardonic honky tonker, warning against a beautiful woman in a bar:

She’s the coolest woman that I’ve ever seen
That good looking woman’s only good for one thing
You shoulda kept your distance
Cause she tore you all apart
If ya wanna keep your beer cold
Put it next to her heart

Don’t need no cooler
Don’t need no Frigidaire
No ice is necessary long as she’s near

A similar jaundiced mood appears in the amusing irony of ‘Born Rich’:

How in the world did he get her?
A strange little dude with a beautiful girl
Bet his daddy’s got money
Bought him the car that he drives
Bank account the size of Texas gets ‘em every time

Here’s a guy like me sittin’ here all alone
Hell, I can barely pay my bar tab
Got nobody I’m takin’ home
But I caught her lookin’ at me
While she’s a-hangin’ all over him
Who’s she tryin to fool?
We all know what it is
Wish I had been born rich
Instead of so damn good lookin’

I keep holding out hope that some day I will find
A looker of my own looking for a leading man type
Somebody who’ll want me for my body and not my billfold
Until she comes along I’ll feed my own ego

Someone like Toby Keith could have a big hit with this song.

The enjoyable self-confident swingy ‘Do My Own Thing’ is about being comfortable with yourself even if it isn’t “the in thing”. ‘Ain’t On the Menu’ is a cute love letter to a waitress the bashful protagonist has had a crush on for the past year. ‘Right Where You Belong’ is a mellow love ballad set just after the couple have spent their first night together.

In ‘Cinnamon Bay’ the protagonist is ready for a change of scenery and invites his sweetheart along to a beach trip. It’s pleasant with a pretty melody, and while the lyric is nothing special, it’s nice to hear a beach song that actually sounds country.

The memorable title track is quite different from the rest of the record, a sexy southern gothic story song about an illicit affair with a married woman. Jerry growls it out, using the lowest part of his vocal register, and giving ist a sense of urgency and impending doom, although the secret is still in the bag as we end the song.

Gonna Telephone, Texas, just as fast I can
There’s a woman who’s down there with too much time on her hands
Sure as death and taxes she’s in need of a man
I only know I gotta get there
Before she gets out of hand…

Leavin’ Telephone, TX, just as fast as I can
Keepin’ love under cover
Feelin’ guilty as sin
Leavin Telephone, TX, as she’s sneakin back in
Never know just how long til she’s callin’ again

I enjoyed this record a lot, and it’s worth checking out. You can sample it via Youtube.

Grade: B+

Week ending 4/28/12: #1 singles this week in country music history

1952: (When You Feel Like You’re In Love) Don’t Just Stand There — Carl Smith (Columbia)

1962: Charlie’s Shoes — Billy Walker (Columbia)

1972: Chantilly Lace — Jerry Lee Lewis (Mercury)

1982: Crying My Heart Out Over You — Ricky Skaggs (Epic)

1992: There Ain’t Nothin’ Wrong With The Radio — Aaron Tippin (RCA)

2002: My List — Toby Keith (DreamWorks Nashville)

2012: Drink On It — Blake Shelton (Warner Bros.)

Week ending 4/21/12: #1 singles this week in country music history

1952: (When You Feel Like You’re In Love) Don’t Just Stand There — Carl Smith (Columbia)

1962: She’s Got You — Patsy Cline (Decca)

1972: My Hang-up Is You — Freddie Hart (Capitol)

1982: The Clown — Conway Twitty (Elektra)

1992: There Ain’t Nothin’ Wrong With The Radio — Aaron Tippin (RCA)

2002: My List — Toby Keith (DreamWorks Nashville)

2012: A Woman Like You — Lee Brice (Curb)

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.

Single Review: Easton Corbin – ‘Lovin’ You Is Fun’

It seems like a long time since we’ve heard anything new from Easton Corbin. After arriving on the scene in a big way with two consecutive #1 hits two and a half years ago, he faltered with his third single “I Can’t Love You Back”, which stalled at #14. Since then he’s been relatively quiet, but he is finally back with a new single, with a new album slated for release later this year.

From the very beginning, Corbin’s vocal style was compared to that of a young George Strait, and though the similarities are still there, the first thing I thought of upon hearing the opening notes of “Lovin’ You Is Fun” was that it sounded very much like the kind of song that Clint Black used to do early in his career — fast paced, high energy and not taking itself too seriously, a throwback to the good old days in the 90s. It’s an upbeat, positive song that should appeal to country radio, if they can overlook the prominent pedal steel and lack of pop pretensions. It was written by Bob DiPiero and Jim Beavers. DiPiero has penned countless hits for the likes of The Oak Ridge Boys, Charly McClain, Reba McEntire, Pam Tillis, Brooks & Dunn, Sammy Kershaw and Sunny Sweeney, while Beavers co-wrote “Felt Good On My Lips” for Tim McGraw, “Red Solo Cup” for Toby Keith and a few of Dierks Bentley’s poorer efforts.

February seems like an odd time to release a light-hearted, beat-driven record like this one, but records take so long to climb the charts these days, summer will be just around the corner by the time this one peaks. I hope that does well for two reasons: (1) because Corbin needs a hit; in today’s climate he can’t afford to miss the Top 10 with two consecutive singles, and (2) because country music desperately needs more artists like Easton Corbin.

“Lovin’ You Is Fun” is not yet available for purchase, but it has been released to country radio and can be heard here.

Grade: A