My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Andrew Dorff

Album Review: Kenny Rogers – ‘You Can’t Make Old Friends’

Kenny Rogers released his most recent album, You Can’t Make Old Friends, in October 2013. It was his inaugural release for Warner Bros. Nashville and first record of all new material in seven years.

The title track, co-written by Don Schlitz with Caitlyn Smith and Ryan Hanna King, reunited Rogers with Dolly Parton. The mostly acoustic ballad is a masterful look at two singers contemplating their advancing age, wondering how they’ll go on one day without each other. The song peaked at #57 as the album’s only single.

You Can’t Make Old Friends is peppered with contributions from some of the finest writers to emerge out of Nashville in the past thirty years. Schlitz appears again, alongside his longtime co-collaborator Paul Overstreet, on “Don’t Leave Me in the Nighttime,” which features accordionist Buckwheat Zydeco. The track is good but would’ve been a lot stronger had it been given a 1990s styled arrangement.

Allen Shamblin also has two cuts. He wrote the contented “All I Need Is One” with Marc Beeson and the reflective “Look At You” with Mike Reid. The latter is the stronger song by a mile, but pails in comparison to “I Can’t Make You Love Me,” which is the pair’s masterpiece.

The album closes with Dan Seals’ “It’s Gonna Be Easy Now,” which he recorded on On The Front Line in 1986. Rogers’ version is a terrible mix of raspy vocals and an overbearing arrangement that drowns the song in faux-rock.

“When You Love Someone” comes from the pen of Gretchen Peters and composer Michael Kaman. Peters originally recorded the tune as a duet with Bryan Adams for the animated film Spirit, Stallion of the Cimarron in 2002. The track, a tasteful ballad, is very good although it does get list-oriented.

Dave Loggins co-wrote “Neon Horses” with Ronnie Samoset. The song has good bones but flies off the rails when Rogers begins cooing “la la la” throughout. “Dreams of the San Joaquin,” co-written by Randy Sharp and Jack Wesley Roth is one of the album’s most well-written and strongest offerings.

A pair of tunes come from the minds of more contemporary songwriters. Casey Beathard co-wrote “You Had To Be There,” a dark ballad relaying a phone call between an absentee father visiting his son in prison. Power rocker “Turn This World Around,” which comes from Eric Paslay, Andrew Dorff and Jason Reeves, casts Rogers in a modern light that renders him unrecognizable. “‘Merica” is a national pride anthem that I found unappealing.

You Can’t Make Old Friends is far from a terrible album, but it is Rogers’ usual mixed bag of styles and sonic textures. He doesn’t make any wide sweeps but he does choose material that runs the gamut from great to good to awful. In other words, this is a typical Kenny Rogers album.

Grade: B-

Album Review: Tim McGraw – ‘Sundown Heaven Town’

Sundown_heaven_townTim McGraw got off to as bad a start as any could ever dream of when introducing his thirteenth album to the world this past winter. The first single, Mark Irwin, James T. Slater, and Chris Tompkins’ “Lookin’ For That Girl” was a smooth hip/hop meets R&B ballad with McGraw desperately pleading for relevance by pandering to trends in order to score airplay. Then came the album’s title, Sundown Heaven Town, which carries with it racial connotations so horrid, everyone in McGraw’s camp should’ve known better and avoided completely unnecessary controversy.

By the time “Meanwhile Back At Mama’s” dropped this spring, McGraw needed the course correction the single ultimately gave him. The elegantly sparse ballad, co-written by Tom Douglas, Jaren Johnson, and Jeffery Steele, is McGraw’s finest single in seven years thanks to an assist from Faith Hill and a charming tale about home. McGraw and Hill are deservedly vying for both Single and Musical Event of the Year at the upcoming CMA Awards.

Just this month Big Machine released the third single from the album, a Marv Green, Hillary Lindsey, and Troy Verges penned tune entitled “Shotgun Rider.” The track, while it sounds good with a shuffle beat, is middle of the road at best and hardly memorable. The problem is keen McGraw fans will remember a different tune with the same name appearing on his Let It Go album in 2007. That “Shotgun Rider,” a duet with Hill, was far more country and less wordy than this tune.

McGraw treated fans to another of the album’s tracks, Canadian country singer/songwriter Deric Ruttan’s “City Lights” when he performed on The Voice this spring. The track is excellent, and while louder, recalls the best of his 90s/00s work. Also classic McGraw is “Overrated,” a sonically progressive muscular ballad penned by Shane McAnally, Josh Osborne, and Rivers Rutherford. The chorus is strong and memorable and he gives a nicely commanding performance reminiscent of “Unbroken” from 2001. Big Machine would be smart to release this as a single.

Newcomer Catherine Dunn, who also happens to be McGraw’s cousin, joins him on “Diamond Rings and Old Barstools,” a pure country album highlight that has a bit too much electric guitar, but adds a nice helping of steel about halfway through. While she’s regulated to singing harmony, Dunn adds a nice texture to the track that helps balance McGraw’s gruffness. It’s just weird to me he isn’t singing with Hill, who also would’ve been perfect here.

I also like “Words are Medicine,” a good pop-country number that I might’ve loved had someone like Jennifer Nettles sang it. As it is McGraw does well with it, but his vocal lacks a subtly a better song interpreter would’ve brought to it. “Last Turn Home” is just too loud and McGraw gives an annoying vocal performance on it, which is unfortunate.

“Portland, Maine” finds McGraw with a smoothed processed vocal that does little to give him any credibility. The lyric, by Abe Stoklasa and Donovan Woods, is idiotic, with the laughable hook of “Portland, Maine I don’t know where that is.” The track is ripe for parody and completely beneath McGraw’s talents. “Still On The Line” isn’t any better, with an arrangement that leans far too pop for my tastes.

Also terrible is “Dust,” an embarrassing slice of bro-country dreck unsurprisingly co-written by two-thirds of the Peach Pickers. McGraw co-wrote “Keep On Truckin’” with The Warren Brothers and Bill Daly. Like most of the dreck in mainstream country music, it’s another laundry list number that spends a lot of time saying next to nothing. Andrew Dorff’s “Sick of Me” isn’t awful, but McGraw’s vocal is grating and the song’s structure is annoying.

A deluxe edition of Sundown Heaven Town gives the listener an additional five tracks. McGraw gives a tender vocal on the piano ballad turned overproduced social conscious track “Kids Today,” he turns the volume up to eleven on “I’m Feeling You,” mixes organic country with too much rock on “The View” and ventures into Lady Antebellum territory with “Black Jacket.” I wanted to love the Kid Rock assisted “Lincoln Continentals and Cadillacs,” but the lyric was embarrassingly juvenile and the production far too progressive for my tastes.

As a whole, Sundown Heaven Town is a mixed bag, with McGraw getting a few things right, but still taking a lot of wrong turns along the way. I was a rabid fan of his from 1996-2007, but as the trends in mainstream country have changed, and he along with them, I’ve lost interest. He’s nicely evened out with Sundown Heaven Town, though, with the McGraw of “Truck Yeah” thankfully not showing up here. While he does need a new, far less rockified sound, this is his best album since Let It Go, which is saying a lot these days.

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-