My Kind of Country

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

Tag Archives: Brad Paisley

Week ending 2/24/18: #1 singles this week in country music history

1958 (Sales):  Ballad of a Teenage Queen — Johnny Cash (Sun)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: Don’t Break The Heart That Loves You — Margo Smith (Warner Bros.)

1988: Twinkle, Twinkle Lucky Star — Merle Haggard (Epic)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Legends — Kelsea Bellerini (Black River)

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Week ending 2/17/18: #1 singles this week in country music history

1958 (Sales):  Ballad of a Teenage Queen — Johnny Cash (Sun)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: Don’t Break The Heart That Loves You — Margo Smith (Warner Bros.)

1988: Tennessee Flat Top Box — Rosanne Cash (Columbia)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Written In The Sand — Old Dominion (RCA Nashville)

Week ending 2/10/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: I Just Wish You Were Someone I Loved — Larry Gatlin (Monument)

1988: Wheels — Restless Heart (RCA)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Losing Sleep — Chris Young (RCA)

Week ending 2/3/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: Out of My Head and Back in My Bed — Loretta Lynn (MCA)

1988: Goin’ Gone — Kathy Mattea (Mercury) 

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Yours — Russell Dickerson (Triple Tigers)

Christmas Rewind: Sheryl Crow and Brad Paisley – ‘Run Run Rudolph’

Week ending 10/14/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Fraulein — Bobby Helms (Decca)

1967: I Don’t Wanna Play House — Tammy Wynette (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: The Way We Make a Broken Heart — Rosanne Cash (Columbia)

1997: How Your Love Makes Me Feel — Diamond Rio (Arista)

2007: Online — Brad Paisley (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): All the Pretty Girls — Kenny Chesney (Blue Chair/Columbia)

Week ending 7/1/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)

1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Ticks — Brad Paisley (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): How Not To — Dan + Shay (Warner Bros.)

Album Review: Brad Paisley – ‘Love And War’

I basically like Brad Paisley. He writes good song lyrics, has a very individualistic sense of humor and is one heck of an instrumentalist. Even though he competes in the area of today’s mindless country music, he always makes sure to include a few tracks with lyrics to appeal to stone cold traditionalists like myself. He is fearless in his choice of material and never plays it safe, which means that each of his albums contains something unexpected, and occasionally he’ll try something that just doesn’t work, such as 2013’s “Accidental Racist”.

That said, there is one criticism I always have of his album, and that criticism is that the instrumental backing track is always too loud. It’s an easy fix – just keep the vocals at their current level and lower the instrumental accompaniment by about 40% or better yet, delete the electric lead guitar and replace it with acoustic guitar and/or mandolin. Fat chance of that ever happening, I know, but I’d thought I’d get it off my chest

Brad has at least co-writing credit on all of songs on this album; actually they are all co-writes (but see below).

The album opens with “Heaven South” a typical hometown ballad that has plenty of steel guitar and with a little tweaking, could have been played on country radio in the 1970s. Brent Anderson and Chris DuBois share the writing credits on this one.

Next up is “Last Time For Everything”, a passages of life song, describing the things that occur as one passes through life.

“One Beer Can” is a mid-tempo story about a party that almost, but not quite, got covered up.

Bobby threw a party
His parents left town
He told a few people who told a few people, word got around
It was a legendary evenin’
The whole place got trashed
It took all day Sunday, four his buddies and twelve Glad bags
They got it all cleaned up, hauled it off in the truck
Made ‘fore his parents got back
When they got home he gave them a hug
And almost a heart attack

‘Cause there was one beer can
Lying there on the floor
Right behind the sofa
You could see it from the door
His daddy threw a fit
And Bobby, he discovered it
There ain’t nothing in this world to ruin your summer
Like one beer can
One beer can

“Go To Bed Early” is a slow ballad that concerns a party that our protagonist chooses to skip a party or a concert he won’t attend in favor of a (perhaps) quiet evening with his girl. I would hope this is released as a single as it is a very strong song.

There’s a party going on tonight
And we can go if you want to
There’s a good band playing downtown
But looking at you right now
Tell you what I’d rather to do

Is go to bed early
Turn out the lights
It’s only eight thirty
But that’s alright
Know you ain’t tired
Neither am I
Let’s go to bed early
And stay up all night

Dinosaur rocker Mick Jagger gets co-writing credit with Brad on the duet “Drive of Shame”. The song’s instrumentation sounds like something that Jagger’s usual band might have recorded. Jagger plays electric guitar and tambourine on this track.

“Contact High” has an R&B groove to it but no, it’s not about drugs or alcohol.

“Love and War” features co-writer John Fogerty and is a melancholy rocker that reiterates the relative neglect of veterans, particularly those of the Vietnam era. It is less true now than it was during the 1960s and 1970s but still makes a point worth remembering.

He was nineteen
And landed at Bagram
Scared and all alone
He lost a leg and a girlfriend
Before he got home
And they say all is fair in Love and War
But that ain’t true, it’s wrong
They send you off to die for us
Forget about you when you’re done

“Today” is a love song about remembering his girl as she is today. This has a really traditional feel to it. I very much like the song and think it made a good single.

“Selfie #theinternetisforever” is very topical – whether it will be remembered ten years from now is questionable, but it is good for a smile in 2017. The tone is both funny and scolding at the same time.

I have no idea who is Timbaland, and after listening to his vocal contributions to “Grey Goose Chase”, I’m not sure I care. This is a prototypical song about drinking a woman off your mind – what used to be described as “the endless ballads of booze and broads” except this isn’t a ballad.

Brad generously gives Johnny Cash co-writing credit on “Gold All Over The Ground” although some stage comments are the extent of JC’s involvement. This is a nice country ballad with some excellent steel guitar.

“Whispering Bill” Anderson co-wrote “Dying To See Her”, a nostalgic slow ballad and provides a narration. In this song an older man looks forward to reuniting with his departed love.

Imagine her
Standing there
Young again
Long brown hair
As he crosses over
To the other side
She smiles at him
He runs at her
With arms open wide
She was his reason for living
She was his rock and his best friend

Timbaland is back on “Solar Powered Girl”; this track features some banjo. The song is essentially about breaking loose and starting over.

Paisley traverses into the muck of modern politics on “The Devil is Alive and Well”, where he comments that some of the worst things are done in the name of God, which occasionally has been true.

Surf the web
Turn on the news
Same old story
Everyday
Hateful words
That we all use
So much anger
So much pain
I don’t know
If you believe in Heaven
I don’t know
If you believe in Hell
But I bet we can agree that the Devil
Is alive and well
Alive and well

“Meaning Again” is a mid-tempo ballad about moments of defeat redeemed by love on a daily basis.

Sittin’ on the interstate
The end of another day
Feeling tired, feeling beat up, feeling small
Sick of running this rat race
And Coming last place

Feeling like I don’t matter at all
Then I walk through the door
She says “I missed you, where ya been?”
And just like that
My life has meaning again

The album closes out with a reprise of “Heaven South”

Lyrically, there is not a song on this album that I dislike. There are songs on which I would change the production and/or instrumentation. I give this a B+ and can imagine that many others will like it more than I do.

Week ending 1/21/17: #1 singles this week in country music history

7137e5hgb2l-_sl290_1957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: You Never Miss a Real Good Thing (Till He Says Goodbye) — Crystal Gayle (United Artists)

1987: What Am I Gonna Do About You — Reba McEntire (MCA)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Blue Ain’t Your Color — Keith Urban (Capitol)

Week ending 1/14/17: #1 singles this week in country music history

6783f6fc5a09f16f8986e4aeb6f3c5781957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Broken Down In Tiny Pieces — Billy “Crash” Craddock (ABC/Dot)

1987: Give Me Wings — Michael Johnson (RCA)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Blue Ain’t Your Color — Keith Urban (Capitol)

Week ending 1/7/17: #1 singles this week in country music history

173c7278b3ebcb9810a7b1c17440cf121957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Sweet Dreams — Emmylou Harris (Reprise)

1987: Mind Your Own Business — Hank Williams Jr. ft. Reba McEntire, Tom Petty, Reverend Ike, & Willie Nelson (Warner Bros./Curb)

1997: One Way Ticket (Because I Can) — LeAnn Rimes (Curb)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Wanna Be That Song — Brett Eldredge (Atlantic)

Christmas Album Review: Chris Young – ‘It Must Be Christmas’

it-must-be-christmasChris Young has arguably the best voice of any male country singer currently signed to a major label. It’s a shame that of late years his musical choices have been disappointing as he chases commercial success at the expense of artistry. Happily, while his new Christmas album isn’t particularly country, it leans in the direction of, well, traditional Christmas music, rather than the bro-country he has been led astray by before.

Chris’s warm baritone voice is perfectly showcased tenderly crooning ‘The Christmas Song’ and ‘Have Yourself A Merry Little Christmas’. ‘I’ll Be Home For Christmas’ shoots for the same territory, but I found it just a little dull.

The Phil Spector-penned (i.e. 60s pop) ‘Christmas Baby (Please Come Home)’ is cheery and Christmassy with an arrangement dominated by bells, and surprisingly enjoyable. Chris’s vocal commitment also lifts the lightweight ‘Holy Jolly Christmas’; this gets a brassy arrangement.

The outstanding moment comes with a gorgeous duet with Alan Jackson on the Keith Whitley Christmas classic ‘There’s A New Kid In Town’, which is just lovely. Brad Paisley guests on a nice sincere take on ‘The First Noel’. ‘Silent Night’ has one of the most beautiful melodies of any carol/Christmas tune, and is almost impossible to mess up. Chris sings it beautifully, with 90s R&B boyband Boyz II Men used sparingly to provide ethereal harmonies on the chorus. The end result is extremely effective.

There are two new songs, both co-written by Chris, but frankly neither is particularly memorable. ‘Under The Weather’ is quite a pleasant love song set at Christmas time, but the title track is chock full of clichés.

Production is mostly nicely understated, supporting Young’s excellent vocals. This is an excellent choice to play while entertaining your non-country loving family members this Christmas.

Grade: A

50th CMA Awards: Grading the Twenty Performances

Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:

20.

imrs-phpBeyoncé Feat. Dixie Chicks – Daddy’s Lessons

The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.

Grade: F

19.

Kelsea Ballerini – Peter Pan

I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.

Grade: F 

 18.

362x204-q100_121d9e867599857df2132b3b6c77e0c8Luke Bryan – Move

Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.

Grade: F 

 17.

Florida Georgia Line feat. Tim McGraw – May We All 

Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.

Grade: F  

16.

gettyimages-620669440-43407842-8b2a-437b-a6e4-f643a1b5b104Carrie Underwood – Dirty Laundry

The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.

Grade: D+

15.

Thomas Rhett – Die A Happy Man

The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.

Grade: B- 

14.

362x204-q100_b63432d74b677e29d35917efd7490170Keith Urban – Blue Ain’t Your Color

A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.

Grade: B

13.

Dierks Bentley feat. Elle King – Different for Girls 

At least Bentley wasn’t showcasing the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.

Grade: B

 12.

landscape-1478192054-gettyimages-620693852Martina McBride, Reba McEntire, Kacey Musgraves, Jennifer Nettles and Carrie Underwood – Dolly Parton Tribute 

I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.

Grade: B

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Single Review: Brad Paisley – ‘Today’

bp_today_webWhen Brad Paisley first arrived on the scene back in 1999, I thought he was destined to be the leader of an overdue shift back towards traditional country music. That shift never really materialized but Brad remained one of the few bright spots in an otherwise bland mainstream. In the next decade and a half things would only become worse, until an all-time nadir otherwise known as bro-country was reached. During that time even some of the genre’s more reliable artists made some questionable choices (2013’s Wheelhouse in Paisley’s case). Thankfully the bro-country fad finally seems to be over, with artists such as Sturgill Simpson and Chris Stapleton helping to end the quagmire.

Paisley’s latest effort “Today” has been lauded in some circles as a return to form for him, but to my ears it doesn’t quite live up to the hype. Perhaps my expectations were too high, but I was hoping for another “He Didn’t Have to Be” or “Whiskey Lullaby”. “Today” is neither. That’s not to say that it’s a bad song; on the contrary it’s a fairly sizable step in the right direction. It actually contains some country instrumentation, and more importantly, it’s not a mindless, hip-hop infested party song about tailgating in a cornfield. It does actually say something. It’s a bit slicker than I would like, though with equal parts country and pop power ballad. Paisley seems to be playing it safe; he’s aiming for an adult audience but he seems a little afraid of alienating anyone by going full country. It’s not the bold step towards traditionalism that I’d hoped for and it tries a little too hard to make an emotional connection with the listener, but all in all it’s not bad. It took several years for the genre to be dismantled so I suppose it will take some time to rebuild it to where it should be. As long as things are moving in the right direction, I’ll try not to complain too much.

Grade: B

Retro Album Reviews: Joe Nichols – ‘Real Things’, and Tracy Lawrence – ‘For The Love’

for the loveBack in the days writing for the 9513 Blog, I would post occasional reviews on Amazon. We are republishing updated versions of some of those reviews here.

REAL THINGS – JOE NICHOLS (2007)

Other than Brad Paisley, I cannot think of another of the current Nashville acts that has as good a grasp on what is or isn’t country music than Joe Nichols. This album simply is a delight from start to finish.

The opening track “Real Things” sets a nice placemat for the current single “Another Side of You” (currently a top 25 and rising). For this album Nichols has tapped the cream of Nashville’s songwriting community for good songs. Only one old song was selected for the album and that is the late Blaze Foley’s classic “If I Could Only Fly” performed here as a duet with Lee Ann Womack and with the legendary John Hughey on steel guitar (Paul Franklin plays steel on the remaining tracks where steel is used). All of the material is top-flight and my only fear was that it may prove “too country” for today’s wimpy country radio.

The copy of the CD I purchased has a 14th track on it, a wry song titled “When I’m Hurtin'” in which a country singer apologizes to the audience that the only time he really sings well is you know when. This song is easily a 5 star effort and should have been released as a single.

Grade: A

FOR THE LOVE – TRACY LAWRENCE (2007)

Among the younger singers, Tracy Lawrence has the best pure country voice this side of John Anderson and Randy Travis. Like previous efforts, this CD has two or three cuts that are merely okay, and the rest are terrific. My favorite songs is “Til I Was a Daddy Too” , as meaningful a song as you will ever encounter. “You Can’t Hide Redneck” is a fun romp and “Rock and A Soft Place is another highlight. Such is the vocal prowess of Tracy Lawrence that his solo cut of “Find out Who Your Friends Are” is considerably better than the cut on which he is joined by Kenny Chesney and Tim McGraw, both lesser vocal talents. I love this disc, an early nominee for CD of The Year honors.

Grade: A+

Week ending 8/6/16: #1 singles this week in country music history

Rhett_Akins_185691956 (Sales): Crazy Arms/You Done Me Wrong — Ray Price (Columbia)

1956 (Jukebox): I Walk The Line/Get Rhythm — Johnny Cash (Sun)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Think of Me — Buck Owens (Capitol)

1976: Teddy Bear — Red Sovine (Starday)

1986: Nobody In His Right Mind Would’ve Left Her — George Strait (MCA)

1996: Don’t Get Me Started — Rhett Akins (Decca)

2006: The World — Brad Paisley (Arista)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): H.O.L.Y. — Florida Georgia Line (Republic Nashville)

Week ending 7/30/2016: #1 singles this week in country music history

images-101956 (Sales): Crazy Arms/You Done Me Wrong — Ray Price (Columbia)

1956 (Jukebox): Crazy Arms/You Done Me Wrong — Ray Price (Columbia)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Think of Me — Buck Owens (Capitol)

1976: Teddy Bear — Red Sovine (Starday)

1986: On The Other Hand — Randy Travis (Warner Bros.)

1996: Daddy’s Money — Ricochet (Columbia)

2006: The World — Brad Paisley (Arista)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Church Bells — Carrie Underwood (Arista)

Week ending 7/23/16: #1 singles this week in country music history

hqdefault-81956 (Sales): I Want You, I Need You, I Love You/My Baby Left Me — Elvis Presley (RCA)

1956 (Jukebox): I Walk The Line/Get Rhythm — Johnny Cash (Sun)

1956 (Disc Jockeys): Crazy Arms — Ray Price (Columbia)

1966: Think of Me — Buck Owens (Capitol)

1976: Teddy Bear — Red Sovine (Starday)

1986: Until I Met You — Judy Rodman (MTM)

1996: Daddy’s Money — Ricochet (Columbia)

2006: The World — Brad Paisley (Arista)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Lights Come On — Jason Aldean (Broken Bow)

Retro Album Review: Alison Krauss – ‘A Hundred Miles Or More: A Collection’

Back in the days writing for the 9513 Blog, I would post occasional reviews on Amazon. We are republishing updated versions of some of those reviews here.

A Hundred Miles Or More is Alison’s second solo effort, but her first since 1995’s Now That I’ve Found You. The album is similar to the 1995 release in that it is a hodge-podge of soundtrack recordings, recordings from tribute albums, songs from other artists’ albums and some previously unreleased tracks. The biggest difference is that this new collection seldom features her Union Station band mates in any meaningful role.

As an aside, Alison Krauss reminds me of Emmylou Harris in that she has a very pretty, shimmering voice that is rather thin (although not as thin as Emmylou’s voice) meaning that Ms Krauss is at her best when she either is playing off another voice or has background harmony singers such as Dan Tyminski and Ron Block behind her. As a solo artist Ms. Krauss loses me after a while.

Tracks 1-4 and 16 are previously unreleased material. Tracks 1-4 have Alison going it alone vocally. Track by Track:

1) “You’re Just A Country Boy” – this is the worst track on the album, a misguided cover of the Don Williams classic from 1977. The lyric does not survive the translation to the feminine perspective any more than singing “Your Squaw Is on The Warpath” would work from the masculine perspective – F

2) “Simple Love” C-

3) “Jacob’s Dream” C-

4) “Away Down on The River” C

These three are modern day Adult Contemporary.

5) “Sawing On The Strings” – this is the best track on the album, a joyous romp through that debuted on CMT’s 2004 Flame Worthy Video Awards Show. This is the only real bluegrass number of the album. Krauss and Stuart Duncan play fiddle with Sam Bush on Mandolin and Krauss’s idol Tony Rice on guitar – A

6) “Down To The River To Pray” – a nice gospel number with nice harmony provided by the First Baptist Church Choir of White House, TN (and others). This was the standout track from O Brother, Where Art Thou? – B+

7) “Baby Mine” was from the Best of Country Sings the Best of Disney album and is a nice number with Dan Tyminski adding vocal harmony. I believe this lullaby was in the film Dumbo – B

8) “Molly Ban (Bawn)” was from the Down The Old Plank Road album the Chieftains recorded about ten years ago in Nashville. Bela Fleck plays banjo on this nice ballad – A

9) “How’s The World Treating You” – this duet with James Taylor was from a 2003 tribute to Charlie & Ira Louvin. It wasn’t the best track on the album, but it’s quite nice and was a successful video – B

10) “The Scarlet Tide” – this song appeared in a film I didn’t see Cold Mountain. It’s different, I’ll give it that – C+

11) “Whiskey Lullaby” – a recent hit duet with Brad Paisley. Alison and Brad play well off each other – this is a pairing I’d like to see again – B+

12) “You Will Be My Ain True Love” – another song from Cold Mountain. Alison sings well, Sting adds vocal (dis)harmony – D

13) “I Will Give You His Heart” from The Prince of Egypt: Nashville Soundtrack – Dan Tyminski provides vocal harmonies on this number – C+

14) “Get Me Through December” – This appeared on a Natalie MacMaster album. Alison sings, Natalie fiddles, and Alison’s brother Viktor plays bass – an enchanting track – B

15) “Missing You” appeared on one of John Waite’s albums. Waite isn’t a very good singer but the pairing works to some extent (Rock really isn’t Alison’s forte) on this song, which I think was a hit for Waite about twenty years ago – C

16) “Lay Down Beside Me”, also with John Waite, is the second Don Williams classic murdered on this album – D-

My chief criticism of this album is that it is again too ballad laden. It is a nice way for Alison’s fan to pick up tracks scattered across albums that her fans might not want to purchase.

Grade: C

Album Review: Jon Pardi – ‘California Sunrise’

71aFoU3QlUL._SX522_When reviewing new music, I always try to follow two basic rules: (1) not to expect too much and (2) not to read any other reviews until I’ve had a chance to listen to it myself, so as not to be influenced by anyone else’s opinion. I didn’t initially expect to review Jon Pardi’s California Sunrise, so I’d already inadvertently broken Rule #2 by the time I decided to do it. The generally favorable reviews I read caused me to break Rule #1 and raise my expectations — which set me up for a huge disappointment.

Hailed as an album that tries to steer country music back towards it roots, California Sunrise is the most uninspired collection of songs that I’ve heard so far this year. I do give Pardi and producer Bart Butler for avoiding the EDM elements that have infested country music in recent years and for mostly avoiding bro-country cliches. They also make more use of country instrumentation – i.e., fiddle and steel – than is usually the case these days and that is appreciated, but ultimately the country elements are drowned out by too-loud electric guitars and hick-hop rhythms. Pardi’s vocals, which remind me of a blend of Brad Paisley and early Gary Allan, are also drowned out by the too-loud production.

Pardi is credited as a co-writer on eight of the album’s twelve songs, which partially explains why listening to the album seems like playing the same song over and over. One exception is the lead single “Head Over Boots”, which he wrote with Luke Laird, which really isn’t bad but it’s not great either. Pardi did not the album’s two most noteworthy songs: “She Ain’t In It” and “Dirt On My Boots”, which are the album’s best and worst cuts respectively. The former, written by Clint Daniels and Wynn Varble is the only song on the album that I truly liked — the one bonafide country number about a protagonist trying to resume his social life after a bad break-up. The bro-countryish “Dirt On My Boots” comes to us courtesy of Rhett Akins, Jesse Frassure and Ashley Gorley is downright terrible (I’m guessing it will be the next single), but to be fair “All Time High” written by Pardi, Bart Butler and Brice Long isn’t a whole lot better.

The remaining songs are bland, lyrically light and tend to all bleed together and aren’t worthy of individual commentary.

Jon Pardi is a talented but not exceptional vocalist, who has a lot of potential if he can only find better material. California Sunrise is not a traditional album, though it certainly comes closer than most of today’s other mainstream releases. If Pardi can tone down the rock elements and volume, and lean a little more on those country roots, he may release a great album one day, but he’s not there yet. Download “She Ain’t In It” and skip the rest.

Grade: C-