Mid-1990s hitmaker David Lee Murphy has finally shifted his attention back to his own music after a decade and a half focused on writing major hits for the likes of Kenny Chesney and Thompson Square. He produced No Zip Code, his first album since 2004, alongside Chesney and Buddy Cannon.
To ensure his comeback at radio, “Everything’s Gonna Be Alright,” a duet with Chesney, was issued as the album’s lead single. The track’s breezy escapism was cotton candy to radio programmers, who helped push the song to #1. I quite like it, although it is light, and a bit too processed. It won the pair Musical Event of the Year at the recent CMA Awards, giving Murphy his first nomination and win. They were also due to perform the song on the telecast, but a death in the family caused Chesney to have to miss the ceremony.
The album’s second single “I Won’t Be Sorry” is classic Murphy, recalling hits like “Every Time I Get Around You.” Unsurprisingly, the song is dressed for the modern era, with a blaze of electric guitars blending together to create a wall of noise that distracts from the defiant lyric.
“Way Gone” is a step in the right direction, taking the listener back to the days when the female protagonist in a song was more than an object of desire. In this case, she’s on the run, leaving her no-good man in a cloud of dust. The driving arrangement, while hideous, does give the track an adrenaline rush in keeping with the overall theme.
The title track is a pleasant ode to life so far out in the country the spot isn’t detectable on a map. The story has its appeal, but the overall mix leaves much to be desired. The cranked up loudness, do to compression of natural dynamics, gives the track an overall loudness that is unforgivable and unnecessary. But I do like the story and feel the song would benefit greatly from a softer arrangement.
When I was looking over the tracklist in preparation for writing this review, “As The Crow Flies” jumped out at me. Murphy co-wrote the song with Dean Dillon, Jamey Johnson, and Phil O’Donnell, and with that pedigree, it had better rise above the rest of the album. I’m sad to say, it doesn’t. The lyric, about a guy determined to follow his woman wherever she goes, is pedestrian and the overall mixing ensures the only thing the listener will focus on is the noise level of the song.
“Winnebago,” which Murphy wrote solo, is a left-over bro-country relic with all the usual tropes. “Haywire,” “Get Go,” and “That’s Alright” are just more heavily compressed uptempo rockers. “Voice of Reason” is much better, with a pleasing melody, that could’ve benefited greatly from a softer more acoustic arrangement. “Waylon and Willie (and a Bottle of Jack)” isn’t as good as its title suggests, unfortunately.
I’ve been a fan of Murphy’s since the beginning, so I was expecting great things from No Zip Code. Sure, I figured a number of the tracks would make concessions for modern commercial country, but I wasn’t expecting the whole album to have been ruined by cranked up loudness and compressed dynamics. There are some listenable songs throughout, but mostly this album is a throw-away missed opportunity. Murphy, and his longtime fans, deserve better than what’s presented here.