My Kind of Country

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Tag Archives: Dixie Chicks

Album Review: Joy White – ‘Between Midnight And Hindsight’

between-midnight-and-hindsightBilled simply as Joy White (she incorporated Lynn later), the redhead from Arkansas and Indiana had a sound as striking as her appearance. Signing to Columbia Records in 1992, no doubt the label had great hopes for her debut album, filled as it was with great songs and Joy’s distinctive vocals, by turns fierce and vulnerable, in a way which presages the mainstream music of the Dixie Chicks with Natalie Maines half a decade later. It is unsurprising that they even covered songs Joy did first. Paul Worley and Blake Chancey produced the set, and would go on to work with the Chicks.

Unfortunately country radio was not quite ready for Joy’s intensity, and none of the album’s three singles reached the top 40. First up was ‘Little Tears’, an up-tempo tune about defying the pain of heartbreak written by Michael Henderson and Mark Irwin.

‘True Confessions’, the closest Joy came to a hit single, peaked at #45. Written by Marty Stuart with hitmaker Kostas, it is a very good song given a compelling performance. Stuart has been quoted saying Joy’s voice “could make time stand still”, and she commits to a passionate tale of falling in love despite the man initially not being in it for the long run:

He only wanted my shoulder to cry on
He only wanted my love for a while
I was lookin’ for someone to rely on
I traced his heart from his smile

The stars were fallin’ in every direction
The moon was rockin’ back and forth in the sky
Modern day lovers with true confessions
Written in their eyes

The last single from this album, ‘Cold Day In July’, which was also recorded around this time by Suzy Bogguss, and was later a hit for the Dixie Chicks, was written by Richard Leigh, known for his songs for last month’s Spotlight Artist Crystal Gayle. A graceful subdued ballad about the shock of a breakup, Joy’s version shows her vulnerable side.

Another song which may be familiar is ‘Wherever You Are’, which Highway 101 had included on their Paul Worley produced Bing Bang Boom – an album on which in turn they had recorded a Joy White penned tune, ‘Big City Bound’.

Joy continues the assertive dealing-with-heartbreak up-tempo theme with songs like ‘Wishful Thinking’, written by the team of Michael Henderson and Wally Wilson. The same pair contributed the more positive ‘Let’s Talk About Love Again’, a catchy number which might have been a good choice for a radio single. ‘Hey Hey Mama’ has a rockabilly feel.

Slow and intense, ‘Those Shoes’ (written by Kevin Welch and Harry Stinson) is an excellent song addressed to the woman her ex left her for, and who has now shared the same fate:

I’ll bet you don’t know what went wrong
Why has your darling gone with her
You’re half wild
You wanna track him down
You think you can bring him round again
There’s nothing that you’d love more
Than to tear her in two
I know how close I came
Coming after you
Yes, I’ve walked in those shoes

I know where you’re headed
There’s still time to turn around
Don’t follow in my footsteps
Cause it’s a long way down
I’ve come back here tonight
To give you the news
You might think you’ve lost it all
But there’s a lot more you can lose

My favorite song, and the one whose lyrics provide the album title, is the beautifully constructed story song ‘Why Do I Feel So Good’, written by the great Bobby Braddock. It relates the tale of a young girl persuaded to marry the boring rich guy rather than her working class true love, and regretting every second:

Mom and Dad didn’t like her boyfriend
Cause working in a factory
Just wasn’t satisfactory
They said he’s too rough and a little too wild
They knew all the reasons she should leave him
She just smiled

“If he’s so bad
Why do I feel so good?
Why am I walking on air
Dropping his name everywhere?
Tell me Mom and Dad
If he’s so bad
Why do I feel so good?”

Now she lives in a 40 room mansion
With a man so boring
That Mom and Dad adore him
She lost in the big bed where she lies
And somewhere between midnight and hindsight she cries

“If he’s so good
Why do I feel so bad?
Why am I chilled to the bone
Wishing I’d never left home
And if I should feel so good
Why do I feel so bad?”

Then she runs home to Mama
And she cries to her Dad
“Why did you talk me out me out of
The only chance for happiness I ever had?

If he’s so bad
Why did I feel so good?
Why was I walking on air
And dropping his name everywhere
Tell me Mom and Dad
If he’s so bad
Why did I feel so good?”

Joy wrote a couple of the songs herself, both ballads. ‘Bittersweet End’, a co-write with Sam Hogin and Jim McBride, is a reflective song about the aftermath of a relationship where “the taste of forever still lingers”. Some lovely fiddle augments it beautifully. The delicate ‘It’s Amazing’ is a gentle love song given a string arrangement to close out the set.

I was always sorry this album did not help Joy to break through. It is well worth checking out.

Grade: A

Classic Rewind: Dixie Chicks – ‘You Were Mine’

Single/Song Review: Sunny Sweeney – ‘Bottle By My Bed’

trophyThe first single from Sunny Sweeney’s much anticipated new album is something of a change of pace emotionally. Coming to the song cold I expected this to be about the alcoholic type of bottle, but it is something quite different. Drawing on her real life experience of infertility the song, which Sunny wrote with Lori McKenna, voices her and her husband’s longing for a baby.

She compares her life, apparently enviable, but empty, to that of friends already raising children, whereas she has “an empty room at the top of the stairs”. She says she would be happy to exchange worldly possessions for the baby bottle, and later the carpool.

Occasionally addressing the future child she dreams of, she declares,

“I don’t even know you yet but I know I love you”

There is a thread of hope saving the mood from one of self-pity, ending the song with “We wait”.

A fairly sparse string arrangement allows the song’s emotions to take center stage, with a somber cello performance from Jake Clayton standing out. Sunny’s incisive vocal sells the song effectively.

This is a subject rarely addressed in country music. There’s an obscure track by Kellie Coffey, ‘I Would Die For That’, and the Dixie Chicks’ more allusive ‘So Hard’ (from the post-controversy Taking The Long Way). But Sunny’s song is the best written of these three, and the one which speaks most strongly to me. It has a special resonance for me as my mother has talked about her own struggles with fertility, many years ago, putting strain on my parents’ marriage before eventually adopting me and my brother, a path less easily available nowadays.

I’m not sure I can hear this as a radio single, but it is the kind of song which gives country music its reputation as the reflection of true life in all its complexities.

Grade: A+

Listen here, and read an interview with Sunny about the background to the song.

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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Dixie Chicks Live: long time gone, but back once again

imageIf there was ever a time for Dixie Chicks to mount a comeback tour in the United States, it would be now, while we’re in the midst of the most decisive presidential election in our nation’s history. Dixie Chicks are a political band, for better or worse, and not just because they register folks to vote in the concession area before, during and after each show.

The election does play a role, albeit a small one, in this latest production. The MMXVI Tour, as it’s being called, exists to commemorate the watershed moment Natalie Maines replaced Laura Lynch as lead singer twenty years ago. The success that followed forever changed the trajectory of mainstream country music, although this show, fierce country-tinged rock, spends more time ignoring that legacy than honoring it.

The balance skewed Taking The Long Way-heavy (although “Easy Silence, complete with a lyrical video, and the unexpected and rarely performed “Silent House” were fabulous), which allowed banjos, fiddles and dobros to act as accents opposed to centerpieces for the majority of the evening. But this being a Dixie Chicks show, they honored their past with fiery renditions of “Sin Wagon,” “Wide Open Spaces,” “Some Days You Gotta Dance,” “Mississippi” and “Not Ready To Make Nice.” Lush renditions of “Cowboy Take Me Away” and “Landslide” were also excellent, while the latter had a beautiful backdrop containing reflective images of the Chicks’ heads.

The rock theme was matched by the black and white set, minimal yet powerful, which hit you in the face with lights and sound as Dixie Chicks took the stage for the one-two punch of “The Long Way Around” and “Lubbock or Leave It.” They added significant muscle to the uptempos from Home, giving “Truth No. 2” and “Long Time Gone” a charge of energy unmatched by their humble acoustic beginnings.

The show is broken into two separate sections at the conclusion of highlight “Goodbye Earl,” and is bridged by a black-and-white car chase in which the ladies race to the sounds of Motörhead’s “Ace of Spades.” They returned with the night’s strongest segment, an acoustic set that hinted at their beginnings (“Traveling Soldier” and “White Trash Wedding”) while nicely showing where they could go with a cover of Beyoncé’s “Daddy’s Lessons,” from her recently released Lemonade. (They excluded their brilliant reading of Patty Griffin’s “Don’t Let Me Die In Florida,” for obvious reasons). They concluded this portion with an instrumental they concocted that had Maines banging a single drum framed in bluegrass beats.

FullSizeRenderThey skewed the presidential race jib-jab style on “Ready To Run,” my favorite moment of the whole show, which ended with red, white and blue confetti festively blanketing the audience. The eluded to Donald Trump just twice more; giving him devil horns during “Goodbye Earl” and when Maines said she’d protect a bug that had flown on stage by ‘building a wall’ around it.

It actually wasn’t Trump, but the recently deceased Prince that dominated the evening. They set the stage for the evening with him singing “Let’s Go Crazy” (after a video about wrongly incarcerated inmates, Dixie Chicks trivia questions and a random selections of Maines’ always colorful tweets) and treated the crowd to a stunning cover of “Nothing Compares 2 U” that brought fourth unforeseen colors in Maines’ voice soaked in a backdrop of his giant purple symbol. They ended the evening with Ben Harper’s “Better Way,” which they dedicated to the Pulse Nightclub victims in Orlando.

This Mansfield, MA stop on their tour was my fourth time seeing Dixie Chicks live. I saw them open for George Strait in 1999 and headline their own Top of The World (2003) and Accidents and Accusations (2006) tours. I was supposed to see them open for Eagles in 2010 at Gillette Stadium, but an unforeseen engagement got in the way. Each show has been dramatically different from the last, providing its own distinct flavors and textures.

While I’ll likely always regard their 2003 outing as their finest, this show wasn’t without considerable charms. The Chicks haven’t lost an ounce of the spunk they’ve cultivated over the past twenty years. They may have been pushing a bit too hard – the show was much louder than it needed to be – but the true essence of Dixie Chicks came through wonderfully. They’ve only gotten better, which is a testament to their incredible prowess. Ten years was a long time, but it was certainly worth the agonizing wait.

Jonathan Pappalardo’s favorite albums of 2015

I don’t have a full list of favorite albums this year. As I age, the bar is increasingly higher for what it takes to grab me. There have been so many albums I’ve admired this year, but these six are the ones that transfixed my attention and kept me coming back for more. These are the six that deserve to be highlighted.

Are there themes? Well, only one featured a single that topped the charts. I don’t even think combined sales would equal a million copies sold. As I get older, my tastes have increasingly drifted towards albums that eschew the mainstream. I want music that leaves an impression and these releases do it in spades. Take a look and let me know what you think.

kasey-chambers-bittersweet6. Kasey Chambers – Bittersweet

 I couldn’t put the spellbinding title track on my favorite singles list since it came out back in 2014. The emotion is palpable in the uniquely structured tale, in which Chambers gives voice to both sides of a disintegrating marriage. It sets the scene for the whole album, a primal scream in the wake of her divorce from Shane Nicholson. The roar is loudest on the final track, “I’m Alive,” as she proudly declares “And through all the blood and the sweat and the tears, things ain’t always what they appear, I made it through the hardest fucking year.”

Key Tracks: “Bittersweet (feat. Bernard Fanning),” “I’m Alive,” “Wheelbarrow”

kacey-musgraves-album-pageant-material-20155.  Kacey Musgraves – Pageant Material

 Pageant Material is a very uneven follow-up to Same Trailer Different Park. The majority of the songs sound like they’re outtakes from the first album that weren’t strong enough to make the cut on that set. But at its best, Pageant Material is sharp and biting. Cuts like “Good ‘Ol Boys Club” and the title track are ballsy declarations with clear messages. She also unapologetically turned up the steel and committed to recording in the throwback vibe that has become her trademark in live performances. She got a lot wrong but shined brighter than her competition with everything she got right.

Key Tracks: “Good ‘Ol Boys Club,” “Pageant Material,” “Late to the Party”

starte-here4. Maddie & Tae – Start Here

Mainstream country has been overdue for an artist with a unique sound and fresh perspective who is also firmly rooted in the traditions of the genre. Maddie and Tae aren’t saviors, but their blend of pop country hasn’t been this charming or welcomed since it died with the Dixie Chicks in 2003. Their perception could be sharper and even more biting, but Maddie & Tae are well on their way. Start Here is a promising first glimpse into what they bring to the table.

Key Tracks: “Shut Up and Fish,” “After the Storm Blows Through,” “Sierra”

jason-isbell-something-more-than-free-560x5603. Jason Isbell – Something More Than Free

Albums like Southeastern come along once in an artist’s career if at all. The follow-up record is an often-daunting task to tackle. For everyone except Jason Isbell, that is. Something More Than Free arrives just two years later and is every bit as artistically masterful as its predecessor. Isbell is fearless in the honest way he stays true to the authenticity of every moment he creates. His music is drenched in gritty reality. His way with a lyric is unparalleled to his peers, who can’t even come close to bringing as much sensitivity and nuance to the stories they construct. Jason Isbell is simply a master among armatures. Could we really ask for anything more?

Key Tracks: “Something More Than Free,” “24 Frames,” “Speed Trap Town”

CD400_out2. Nancy Beaudette – South Branch Road

Beaudette’s relatability, and the personal connections I’ve found within these songs, drew me in to fully appreciate the magic of South Branch Road, a window into her soul. She’s constructed an album from the inside out, using her own life to give the listener a deeply personal tour of her many winds and roads, reflecting on the lessons learned around each curve and bend. Beaudette is already a bright bulb on the independent music scene but the release of South Branch Road demands that light shine even brighter. (NOTE: I said it back and June and still mean it wholeheartedly six months later)

Key Tracks: “Something To Me,” “Till The Tomatoes Ripen,” “Shoot To Score,” “South Branch Road”

eric-church-mr-misunderstood1. Eric Church – Mr. Misunderstood

Eric Church shocked the music industry when he unleashed a surprise album on his fan club by sending out copies (CD, vinyl and digital downloads were distributed) without warning. Those fans got an early taste of the best album of Church’s career. Mr. Misunderstood is an artistic triumph and the first time Church has sustained his unique sound across an entire record without brazen experimentation clouding our listening experience. Here are ten exceptional reasons why Church is the strongest male artist in the mainstream sector of the genre right now.

Key Tracks: “Three Year Old,” “Round Here Buzz,” “Record Year”

 

Jonathan Pappalardo’s Top 10 Singles of 2015

What does it say about me that the highest charting single on my list took eight months to peak at #9? I’ve continued to broaden my tastes as I’ve aged while continuing to closely follow the artists I’ve always admired. There was some stunning music this year and these ten selections are only the tip of the iceberg. Leave a comment and let me know what you think.

cdca72c7ec5625f0f1f483fb_440x44010. I’m With Her – ‘Crossing Muddy Waters’

I’m With Her (Sara Watkins, Sarah Jarosz, and Aoife O’Donovan) is one of the more unique collaborations of the year and their cover of the fifteen year old John Hiatt song is the amuse-bouche to a main course full-length album that may come within the next few years. This track is too faithful to be a doozy but it more than proves they have the potential to be an artistic force should they go down that road. I really hope they do.

Trisha-Yearwood-I-remember-You9. Trisha Yearwood – ‘I Remember You’

Every Trisha Yearwood album has its own personality and PrizeFighter: Hit After Hit lies on the more Adult Contemporary side of the country spectrum. “I Remember You,” a tribute to her mom, is far from the most dynamic ballad she’s ever recorded. But it shows off a tender side of her voice we’ve never heard before. Yearwood is a vocal chameleon able to adapt to any style and work within any parameters. She’s still a master after twenty-five years. I cannot wait to see what she has in store for us next.

Traveller8. Chris Stapleton – ‘Traveller’

“Tennessee Whiskey,” the early 1980s George Jones hit he sang on the CMA Awards, is the standout showcase for his gifts as a vocalist. “Traveller,” showcases his talents as a songwriter. This autobiographical mid-tempo ballad casts Stapleton as a vagabond who knows his path but cannot see his destination. Like any great artist he’s spent his time paying his dues and working the system until he could shine in his own light. He may always be a “Traveller,” but I bet he has a much clearer picture of where he’s headed now that the world finally knows his name.

Screen-Shot-2015-05-05-at-10.39.03-AM7. Jason Isbell – ’24 Frames’

“24 Frames” is a 1990s inspired gem that owes more to R.E.M. than Alan Jackson, bringing the same addictive quality (minus the mandolins) that made “Losing My Religion” so intoxicating. “24 Frames” is a fantastic meditation on relationships, cumulating with a chorus that compares God to an architect and declares, “he’s something like a pipe bomb ready to blow.”

Thile & PB6. Punch Brothers – ‘I Blew It Off’

The coolest track from The Phosphorescent Blues is this plucky slice of bluegrass-pop, a style Chris Thile and the boys have perfected over the course of their four albums. They returned after a three-year hiatus to find Thile with a ‘bad case of twenty-first century stress,’ which is about the only thing he can’t shrug off. He’s furious yet knows he isn’t alone, declaring by the end that modern technology is having an effect on everyone, not just him. “I Blew It Off” is as simple as any song could be saying a lot in a very tiny space. That’s often where the most valuable riches can be found.

Fly5. Maddie & Tae – ‘Fly’

Not since “Cowboy Take Me Away” has a fiddle driven pop-country ballad reached these artistic heights. At a moment when Maddie & Tae had to show the world what else they could do, they blew away the competition with their exquisite harmonies and pitch perfect lyric. They aren’t the Dixie Chicks by any means, but they’re pretty darn close.


Dierks-Bentley-Riser-Album-Art-CountryMusicIsLove4. Dierks Bentley – ‘Riser’

Even in the face of commercial pressures, Dierks Bentley sticks to his convictions. “Riser” is a sweeping tale of overcoming odds and one of his finest singles. I have no clue why he hasn’t risen (no pun intended) to the upper echelon of country greats at a time when he’s bucking trends and releasing worthy songs to country radio. He’s one of the best we have and deserves to be compensated as such.

2647969113. Jana Kramer – ‘I Got The Boy’

Leave it to Jamie Lynn Spears, of all people, to write the strongest hook of the year: ‘I got the boy, you got the man.’ Leave it to Jana Kramer to sell the pain and conviction felt by the scorned ex who is seeing the boy she loved transformed into the man she always wanted him to be.

Eric-Church-Like-a-Wrecking-Ball2. Eric Church – ‘Like A Wrecking Ball’

When Eric Church brought the idea for this song to co-writer Casey Beathard he balked. At the time, Miley Cyrus was hitting big with her similarly titled smash. Church, who cannot be under estimated, knew exactly what he was doing. This tour de force is the most original song about making love to hit any radio format in recent memory. It’s also the coolest one-off artistic statement since Dwight Yoakam hit with “Nothing” twenty years ago. Eric Church is the strongest male country singer in the mainstream right now.

lee-ann-womack_9601. Lee Ann Womack – ‘Chances Are’

What needs to be said about Lee Ann Womack wrapping her exquisite voice around a pure country weeper? She came into her own on The Way I’m Livin’ and finally found the space to create the music in her soul. The album’s third single is a shining example of the perfect song matched with the only artist who has enough nuance to drive it home. Lee Ann Womack is simply one of the greatest female country singers ever to walk the earth.

 

Predictions for the 49th Annual CMA Awards

CMA Awards 2015 graphicThe leaves are changing colors, the days are shorter and the weather is getting progressively colder by the day. When autumn rolls around, so do the annual Country Music Association Awards. The telecast, airing next Wednesday (November 4) on ABC, is the 49th in the show’s history.

The blending of ‘country’ with outside influences continues with scheduled duets between John Mellencamp & Keith Urban as well as Thomas Rhett & Fall Out Boy. Sam Hunt, Kelsea Ballerini and Maddie & Tae will take the stage for the first time. In an exciting twist, Hank Williams Jr will open the show with his brand new single “Are You Ready For The Country.” His cover of the Waylon Jennings tune will be presented as a duet with Eric Church.

Carrie Underwood and Brad Paisley will return to host. You can check out the nominees, here.

ec_0184crop_300cmyk_webEntertainer of the Year

Garth Brooks has had more embarrassing gaffs in the last year than any artist should have in their whole career. His tour has been massive, but he’s more than botched his comeback. By falling short, he’s made a win here feel a bit disingenuous.

Should Win: Eric Church – In his first headlining tour he struck out on his own and invited a slew of Americana based acts to open for him. He doesn’t give a damn about the establishment and refuses to be anyone other than himself. 

Will Win: Luke Bryan – There isn’t a single artist in mainstream country who’s bigger than him right now. He’s got his second consecutive win in the bag.

Male Vocalist of the Year

Dierks_Bentley-514x336The endless debate rages on. How many times does one person have to win a single award? Blake Shelton hasn’t done anything in 2015 extraordinarily special. He’s been on tour, had a few chart toppers, and continued as a coach on The Voice. Yawn. This is a battle between Dierks Bentley and Eric Church. Both equally deserve it, but sonority should win in the end.

Should Win: Dierks Bentley – He’s been topping the charts and going to battle for authentic country music going on thirteen years now. It’s time the CMA take his career to the next level.

Will Win: Eric Church  – Bentley is on his second consecutive nomination for the first time, but Church has more nominations overall in a year he didn’t even release an album. That kind of recognition should mean he’s the favorite to win his first trophy in this category.

Female Vocalist of the Year

hc-lee-ann-womack-performs-at-ridgefield-playhouse-0416-20150416Miranda Lambert’s reception at country radio has significantly cooled since this time last year and Kelsea Ballerini  is so new her debut album hasn’t even been released. This is Carrie Underwood’s award to loose, with two massive hits under her belt all the while laying low after giving birth.

Should Win: Lee Ann Womack – no other nominee has shown as much nuance in his or her vocal delivery over the past year than Womack. Her gifts are astonishing and shockingly undervalued. She should win on principle, collecting her second trophy in fifteen years.

Will Win: Kacey Musgraves – Underwood’s overall lack of nominations is a strong indicator that Musgraves will finally be the one to dethrone Lambert.

littlebigtown30-1423681046Vocal Group of the Year

 Both The Band Perry and Zac Brown Band spent 2015 selling their souls to the devil. Rascal Flatts and Lady Antebellum are just more category filler.

Should Win: Little Big Town – None of the other nominees combined had a song as impactful as “Girl Crush” this year. They deserve this.

Will Win: Little Big Town – Songs like “Girl Crush” only happens once in a career. They won on the strength of far weaker material in the past few years. They’ll win in a landslide.

0515-maddie-new-1Vocal Duo of the Year

Competition in the CMA’s dullest category doesn’t happen very often. Florida Georgia Line find themselves in the commercial verses artistic battle once again, a contest they lost to Musgraves in round one two years ago.

Should Win: Maddie & Tae – They’re a fresh force on the scene, calling out clichés and stereotypes with gusto. They could be ballsier still, but they’re on the right track.

Will Win: Florida Georgia Line – Maddie & Tae are very new, which could hurt them. That’ll leave the category open for the establishment to swoop in for a third consecutive win. (Since M&T and FGL are both on Scott Borchetta’s label group, it’ll be interesting to see whom he puts his influence behind).

New Artist of the Year

0115weberiverbendhunt1798024130_t755_he05f79007e18b2a270e2a6ff224d41a8e296151bThomas Rhett’s appeal has only grown since his first nomination last year. He isn’t quite a superstar yet, but he’s well on his hip-hop, Bruno Mars influenced way. Also on his way is Drake influenced Sam Hunt, who has risen twice as fast as Rhett. Then there’s Maddie & Tae, the duo who openly admires Dixie Chicks and has taken down Bro-Country.

Should Win: Chris Stapleton – I’m not jumping up and down, but I do recognize quality when I hear it. He’s easily the most articulate artist of this bunch.

Will Win: Sam Hunt  – There’s talk Montavello could score an Album of the Year Grammy Nomination. The industry has been bending over backwards to give him one of the flashiest launches in country music history. A win here is likely part of that plan.

815sIYbfiAL._SL1500_Album of the Year

Jason Aldean is the most overrated artist in commercial country right now, with one empty single after another. Broken Bow deserves a lot of credit for manipulating the CMA to give him a nomination. Pain Killer is Little Big Town’s weakest album to date. Traveller is the strongest overall album, by a wide margin.

Should Win: Pageant Material – Musgraves’ uneven sophomore set isn’t a tour-de-force, but it is the most interesting album of this bunch. 

Will Win: Pageant Material – Consider it an apology trophy for being the only organization that didn’t give this honor to Same Trailer Different Park. The CMA rarely acknowledges debut albums, but they see fit to celebrate their follow-up sets.

little-big-town-single-art-girl-crush-2015-03Single of the Year and Song of the Year

The battle here is between “Girl Crush” and “Take Your Time,” the two biggest singles of the past year. The only distinction between the two is that “Girl Crush” made waves for its content. Is it about lesbians? Are Little Big Town pushing a gay agenda? In that context, I see a very real and significant split.

(As an aside: overlooking “Something In The Water” is a major snub. Had Underwood’s single been nominated, I doubt we’d even be discussing even a remote chance of Hunt walking away a winner).

Will Win (Single): “Take Your Time” – The CMA have a history of awarding one-off singles such as “Cruise,” “Hurt,” “Man of Constant Sorrow,” “Achy Breaky Heart” and “Elvira,” which are flavors of the moment. The flavor right now is Hunt.

Will Win (Song): “Girl Crush”  – Ten years after Faith Hill brought her national attention, Lori McKenna will walk away with her first CMA Award for co-writing a song she thought no one would ever record.

Musical Event of the Year

Willie_Nelson_&_Merle_Haggard_-_Django_and_JimmieA full-length album goes up against four typical mainstream duets. It’s the second straight year the CMA has opted to nominate an LP, and like Bakersfield last year, the project deserves to compete in the Album of the Year category instead.

Should Win: Django and Jimmie – It’s been thirty-two years since Willie Nelson and Merle Haggard have come together for a collaborative effort. I wish Emmylou Harris and Rodney Crowell had been nominated instead, but it’s Nelson and Haggard.

Will Win: “Lonely Tonight” – Blake Shelton will win as a consolation prize when he hopefully looses his sixth straight Male Vocalist of the Year trophy. Then again, this is a duet with Ashley Monroe. Much like the country music community as a whole, the CMA have been criminally cool towards her. Hopefully Shelton can pull the pair over the top.

Music Video of the Year

carrie-underwood-something-in-the-waterIt should be a celebration that all five nominees are videos by female artists. But the CMA has regulated this as an off camera award, which dampens the progressiveness of the category this year. It’s always interesting to see who wins since this is often used as a consolation prize when the CMA overlooks artists in other categories.

Should Win: Something In The Water – Underwood is often overlooked, especially since her Female Vocalist run ended in 2009. She deserves this.

Will Win: “Something In The Water” was criminally overlooked for both Single and Song of the Year. It’s exclusion in those races only helps Underwood here. This is a consolation prize if there ever was one.

1885141596Musician Event of the Year

Mac McAnally has been nominated in this category for the past eight years. He’s won for the past seven years straight. He’s all but a lock to take it again.

Should Win: Dann Huff – It won’t count until next year, but he did a bang up job producing Maddie & Tae’s Start Here. I’d like to see him take this home.

Will Win: Mac McAnally – Betting against the status quo? Not this year.

Classic Rewind: Dixie Chicks – ‘I Hope’

Hurricane Katrina devistated the Gulf Coast ten years ago today. Dixie Chicks provided Country Music’s most powerful response, via one of their greatest singles:

Classic Rewind: Dixie Chicks – ‘Long Time Gone’

Album Review: Kelly Willis – ‘Easy’

KellyWillisEasyMy first exposure to Kelly Willis came around 2002 when the video for “I Left You” was featured on CMT’s fantastic TRL inspired Most Wanted Live video countdown program. The single led Easy, Willis’ second album for Rykodisc Records and first batch of new material in three years. Gary Paczosa, who’s gone on to produce Joey + Rory and Kathy Mattea among others, co-produced with Willis.

The two singles from the album, neither of which charted, remain a couple of my favorite songs from the 2000s still today. Willis wrote “If I Left You,” an acoustic guitar soaked masterpiece about a woman running through how she’d act if she left her man, in the wake of him actually leaving her. Her gorgeous cover of UK singer-songwriter Kirsty MacColl’s “Don’t Come The Cowboy With Me, Sunny Jim!” is even better; a stunning waltz about a woman’s stern warning to a man that she’s done being taken advantage of by players. Her vocal on the Spanish-flavored tune is perfection, a great example of Willis’ ability to wrap her distinct twang around a song.

Beyond “If I Left You,” Willis had a hand in writing three more tracks solo. “Not What I Had In Mind” is a mournful ballad about a woman “loving you now, though you’re no longer mine.” It’s a great lyric, but the production is lacking in steel guitar, an oversight leaving the track feeling unfinished. “Reason To Believe” is lush lullaby equating a woman’s ability to let go and live with the start of a romantic relationship. Willis’ vocal is the star here, a master class of control. The track forces her to whisper more than belt and she mostly pulls off the restraint with little difficulty. The title track, the final number Willis penned solo, is excellent, even though the melody could’ve stood for a bit more distinction.

Willis co-wrote two more tracks on Easy. “Getting to Know Me” “Getting to Me” is a mid-tempo mandolin drenched number penned alongside Gary Louris, a founding member of The Jayhawks, and a prominent co-writer on Dixie Chicks’ Taking The Long Way album. It’s a good song, but feels like a second-rate “If I Left You” sonically. “Wait Until Dark” found Willis collaborating with Rosanne Cash’s husband John Leventhal. The ballad is excellent, with Willis and Paczosa dressing it in a fabulous mandolin and acoustic guitar driven arraignment reminiscent of the work Cash would come to produce later in the decade.

Willis turned to her husband Bruce Robison for “What Did You Think,” an excellent ballad, and one of the strongest tracks on Easy thanks to its full melody and strong lyric. Paul Kelly wrote “You Can’t Take It With You,” Willis’ sole detour into bluegrass, a shift that would’ve benefited from a more energized vocal, but is great nonetheless. Blues Pianist and singer Marcia Ball wrote “Find Another Fool,” a steel and fiddle centric ballad about a woman done with a no good man that allows Willis to soar vocally.

I actually downloaded the two singles from Easy long before I went back and purchased the whole album. They remain my favorite of the tracks, likely due to their more commercial bent. The remainder of Easy is a mixed bag, more ballad driven than I was expecting with far less interesting arrangements than I thought would be here given how great the singles sounded. But Easy isn’t a bad album by any means and well worth revisiting if you’ve never heard it or haven’t given it a listen in a while.

Grade: B

Album Review – Jennifer Nettles – ‘That Girl’

ThatGirlCDIn the four years since Sugarland graced us with The Incredible Machine it’s become abundantly clear that the project was the inaugural example of country music’s changing tide from a genre of integrity to one corrupted by an 80s rock mentality. As the first instance of the paradigm shift the results were shocking, but in context they make a little more sense.

There’s no secret fans have been clamoring for a redo from the duo, but the fallout from still-pending lawsuits relating to the collapse of their stage at the Indiana State Fair in August 2011, where seven people died, have prevented their collective return to music.

In the meantime, we have That Girl, the first solo offering from Jennifer Nettles; a project she says she’s been writing for the past three years. When the album was announced last summer I was excited, mostly because Rick Rubin was at the helm. Rubin, the man behind Johnny Cash’s American Recordings and Dixie Chicks’ spellbinding Taking The Long Way, knows how to craft complete albums better than almost anyone. So to say my expectations were unbelievably high would be an understatement.

By all accounts, That Girl is a solidly above average album. Nettles’ songwriting skills are sharper than ever and she delivers one stunning vocal after another. But the ingredients just don’t add up, leaving the bulk of That Girl feeling lost and cold.

More than nine years ago I fell in love with Nettles’ voice when “Just Might (Make Me Believe)” was climbing the charts and became obsessed with “Want To” when it led their second album two years later. There was a beautiful intimacy to those tracks that coupled with decidedly country production (fiddles, dobros, and mandolins) created an indelible magic that only got stronger with each passing album.

That Girl retains the intimacy but is completely void of the country production elements from Sugarland’s best work. Seeing that this is a solo project, it’s unfair for Nettles to be expected to carry over the Sugarland sound. But Rubin has presided over an album that can hardly be called country at all, even by today’s standards. That wouldn’t normally be a problem but it aids in helping That Girl loose focus, and without a big standout track, the CD (as a whole) falls into a sea of sameness the renders the proceedings kind of boring.

But I do like and appreciate some of the tracks on their own merits. I love the sentiment of “Thank You,” her co-write with Little Big Town’s Phillip Sweet. The acoustic guitar backdrop is sleepy, but the pair managed to craft a wonderful lyric about appreciation that’s both beautiful and endearing. “Good Time To Cry,” co-written with Mike Reid, is an outstanding R&B flavored number and one of Nettles’ best vocals ever committed to record. She also hits “Falling,” a number about loosing one’s virginity, out of the park. It’s also the closet vocally to the Nettles’ we’ve come to know and love.

The sea of sameness is broken up a few times by some uptempo tracks, although none are overwhelmingly exciting. There’s a Caribbean feel to Kevin Griffin co-write “Jealousy” and somewhat of a hook, but the song gets a tad annoying with repeated listenings. Richard Marx co-write “Know You Wanna Know” succeeds on wordplay, and “Moneyball” displays the most personality from Nettles. The problem with the upbeat material isn’t the lyrical content but rather Rubin’s decision to make them feel too serious. Nettles has shown in the past she does better when she can be more playful (think “Settlin’” or “Steve Earle”).

I really wanted to love That Girl a lot more than I do, as I’ve been unhealthily obsessed with Nettles’ voice over the years and have seen Sugarland live three times. This solo effort would’ve been a stronger listening experience if it had been more varied in tempo, with a few more hook-laden songs and less sameness balladry. If these songs were sprinkled over the course of a few albums, I bet we would’ve been able to appreciate them more. That Girl is by no means a bad album, but it’s not the transcendent project it could and should’ve been.

Grade: B- 

Album Review – Robert Plant & Alison Krauss – ‘Raising Sand’

raising_sandI remember the instance where I logged onto CMT.com in August 2007 and saw a story about Alison Krauss teaming up with Robert Plant for a duets project. Having immersed myself in country music since I was a kid, I had no idea who Plant was, although I had heard of Led Zeppelin. Like everything Krauss does, I eagerly anticipated the album knowing it would result in a musical journey worth taking.

The genesis of Raising Sand came during a Lead Belly tribute at the Rock and Roll Hall of Fame in which the two singers performed together for the first time. O, Brother Where Art Thou mastermind T-Bone Burnett produced the sessions, taking place in both Los Angeles and Nashville. The album consists mostly of cover tunes, with Plant and Krauss acting out a role reversal – he tackles her trademark bluegrass while she embraces the bluesy style that penetrates his solo work.

A faithful to the original cover of the Everly Brothers “Gone, Gone, Gone (Done Moved On)” preceded the project, allowing Plant to lead with his signature wail. The version is excellent, with some gorgeous lead guitar riffs and drumbeats to give the track a distinctively lively yet retro feel. The pair won The Best Pop Collaboration with Vocals Grammy for the track in 2008.

The second single was “Please Read The Letter,” an original tune that Plant released as a collaboration with Jimmy Page in 1998. This version is wonderful, with Plant once again taking lead, and Krauss turning in an intoxicating fiddle solo reminiscent of Martie Maguire’s work with Dixie Chicks. Plant’s vocal is a bit shaky so Burnett was smart to employ a minimal production that allowed the pair’s harmonies to take center stage. The track was named Record of the Year at the 2009 Grammy Awards.

The third and final single was “Rich Woman,” a nice enough track but my least favorite of the three thanks to a rocking beat and choral refrain that grows grating after repeated listenings. It isn’t a bad song at all, just not to my personal taste. Like it’s predecessors, “Rich Woman” also won a Grammy, taking home Best Pop Collaboration with Vocals in 2009.

“Killing The Blues,” written by Rowland Salley of Chris Issak’s band Sivertone is my favorite track on the project, a rootsy country masterpiece drenched in steel guitar. The track is simply gorgeous, and very much deserving of the Best Country Collaboration with Vocals Grammy it won in 2009. Possibly even better then “Killing The Blues” is the Tim Burton-esque “Sister Rosetta Goes Before Us,” a Krauss-led number with a fabulous banjo driven arrangement written by female singer-songwriter Sam Phillips. I love the twisty Halloween-esque vibe of the track, creepy and strange, anchored by Krauss’ crystal-clear vocal. Both songs are worth the price of the album, hands down.

Doc Watson and Rosa Lee Watson co-wrote “The Long Journey,” the project’s lone spiritual number that has a surprisingly sing-song-y feel. The track closes the album, which makes sense, because it feels more produced than the other numbers and has more of a shimmer to it. Come from nowhere is a cover of Townes Van Zandt’s “Nothin’” which shakes up the pace of the project with a loud electric guitar driven sound that helps it stand out, for the wrong reasons. It’s a good song lyrically, which a more understated arrangement would’ve made clearer. Mel Tillis wrote “Stick With Me Baby,” another track christened by The Everly Brothers in the 1960s. Plant and Krauss’ version is mellow and slow, almost a bit sleepy.

Unfortunately, nothing else from Raising Sand stood out to me. As a whole the project is kind of uneven but that’s likely do to my need to hear more steel and banjo to appreciate what everyone involved was going for here. But the best tracks (which I highlighted) are near incredible, making Raising Sand a unique album on the musical landscape and a bright spot when it first came out six years ago. In addition to the Grammys for individual tracks, the record itself won Best Contemporary Folk/Americana Album and the overall Album of The Year (a first for Rounder Records) categories in 2009. All involved reunited for a follow-up shortly after their Grammy Sweep, but those sessions proved unsuccessful. It’s too bad, because I would like to hear more from this duo. I saw them when they toured off the record and it proved they still had more up their sleeve (the live show was much better then the album). But if Raising Sand is all we get, this is a fine collaboration from two worthy talents.

Grade: B

A Separation of Church and State: How the Country Music Association mostly got their nominations right this year

as13-dateIn 2006, the Country Music Association sent Faith Hill a clear message when Carrie Underwood was awarded Female Vocalist of the Year, only two singles removed from winning American Idol. They were ushering in a changing of the guard that sent ripple effects through country’s core women, making way for new talent at the helm.

Underwood has received a similar message this year with Taylor Swift being nominated for Entertainer of the Year in her place. Swift may be a bigger celebrity with a broader reach, but Underwood’s no slouch – a sold out tour, four #1 singles, ambassadorship for country music, and she’s been hosting the ceremony going on five consecutive years. Heck she just took over Sunday Night Football theme song duties.

In recent history all the top solo female artists (Reba McEntire, Shania Twain, and Faith Hill) have been nominated and won (Hill lost to Dixie Chicks in 2000) while her contemporaries Swift has won twice and Miranda Lambert received her only nod to date in 2010. That Underwood is being snubbed yet again is one of the biggest injustices in the 47-year history of the award show. Underwood and Swift should be competing in the category together – they both have rightfully earned their place in the category.

Underwood aside, it’s nice to see the Country Music Association mostly get it right this year. The major theme of the nominations is artistic quality, as evidenced by Kacey Musgraves receiving six nominations, a move I didn’t see coming. She’s been building a lot of buzz this year but with little support from country radio, I hardly gave her a chance. Her nominations prove the CMA is still looking for quality contemporary music and actually care about maintaining at least one shred of dignity. They should’ve gone further and showered Ashley Monroe with praise, too, but her outsider-looking-in status likely left her a square peg in a round hole and she was deemed too Americana for this mostly mainstream affair.

There was once a time when you could count the number of females who’ve taken home Album of the Year on one hand. That list has grown in the past few years thanks to wins by Lee Ann Womack (2005), Taylor Swift (2008) and Miranda Lambert (2010). This year Blake Shelton stands alone as the only solo male artist in the category, proving that airplay on country radio isn’t the only factor in scoring a nomination.

I believe whole heartedly that you cannot deny an artist success once they’ve achieved it, no matter how much you may dislike the singer or their song. The world may cry foul over Florida Georgia Line and “Cruise,” but they clearly earned the Single of the Year, Musical Event of the Year, Duo Of The Year, and New Artist nods. The song is a behemoth and is clearly being rewarded as such. Swift’s showering of affection is more puzzling, since the success of Red came in the pop market, but “Begin Again” and “Highway Don’t Care” did keep her relevant in her home genre this year.

Where the Country Music Association deserve the most credit is with the separation of church and state – if you notice, “Cruise” isn’t in the Song of the Year race nor is Here For The Good Times up for Album. In fact, none of the genre’s biggest names (Luke Bryan, Jason Aldean, or Shelton) have a Single or Song of the year nod, something I never thought I’d see. Absence by ‘bro-country’ powerhouses leaves the likes of “Merry Go ‘Round” and “Mama’s Broken Heart” to battle it out for the win.

It’s nice to see Nashville songwriters back in the Song of The Year race, too. Even more impressive is the CMA’s distinction in excellence, seeing that the best of commercial Nashville scored big, while the laundry list lovers are left to voyage down dirt roads with beer kegs, country girls, and pickup trucks. Brandy Clark and Shane McAnally are two of the best writers around right now and combined with Musgraves, they’re killer. What other writing team can claim two nominations in the same year?

In sizing up the New Artist competition, I was about to show my denial of a mass extinction, until I looked at the Billboard Airplay Chart and noticed “Parking Lot Party” in the top 10, on it’s way to becoming Lee Brice’s fourth consecutive number one. Like fellow nominee Kip Moore, he’s becoming a force for the future, and with his single “I Drive Your Truck” up for Song of the Year (Brice doesn’t have a writing credit on it), he has a better chance of winning than I gave him credit for initially. This is a very strong category, although Musgraves is the only nominee with proven artistic potential, a necessary ingredient for longevity.

I’ll have my predictions closer to the November 9 telecast, with a breakdown per category, and thoughts on each individual race. But overall the Country Music Association deserves credit for getting more right than wrong this year, mostly opting for artistic integrity over commercial viability.

Check out all the nominations here.     

Single Review – Danielle Bradbery – ‘The Heart of Dixie’

Danielle-Bradbery-The-Heart-Of-Dixie-Cover-ArtOne of the biggest mysteries in contemporary country music has been the ongoing stagnation at the top for female artists. Not since Taylor Swift debuted with “Tim McGraw” in June 2006, has a woman been able to have consistent airplay for their singles. Some (Jana Kramer and Kacey Musgraves) have launched big but seemingly fizzled out while others (Kellie Pickler and Ashton Shepherd) have been dropped by major labels after multiple albums worth of singles couldn’t peak better than top 20. You have to look at duos and groups to find any other females (Jennifer Nettles, Hillary Scott, Kimberly Perry, Shawna Thompson, Joey Martin Feek) who are having success and even they have enough male energy to keep them commercially viable.

Let’s not forget that two summers ago, fourteen days went by without a single song by a solo female in the top 30 on the Billboard Country Singles Chart. With the demographics in country music skewing younger and the music-seeking public increasingly more and more female, is there any hope this pattern will change? Can anyone break through the muck and join the ranks of Swift, Miranda Lambert, and Carrie Underwood?

If anyone can, it’s Danielle Bradbery. She has three strikes in her favor already – at 17 she’s young enough to appeal to the genre’s core demographic audience, she’s signed to the Big Machine label Group run by master monopolizer Scott Borchetta, and as winner of The Voice, she has Blake Shelton firmly in her corner. Plus, she’s an adorable bumpkin from Texas who has enough charisma and girl next door appeal to last for days.

They also nailed it with her debut single. “The Heart of Dixie” isn’t a great song lyrically speaking. Bradbery is singing about a girl named Dixie who flees her dead-end life (job and husband) for a better existence down south. But that’s it. There’s nothing else in Troy Verges, Brett James, and Caitlyn Smith’s lyric except a woman who gets up and goes – no finishing the story. How Matraca Berg or Gretchen Peters would’ve written the life out of this song 20 years ago. Also, could they have found an even bigger cliché than to name her Dixie?

But the weak lyric isn’t as important here as the melody. It has been far too long since a debut single by a fresh talent has come drenched in this much charming fiddle since probably Dixie Chicks. The production is a throwback to the early 2000s – think Sara Evans’ “Backseat of a Greyhound Bus” – and I couldn’t be happier. So what if the arrangement is a tad too cluttered? Who cares if Bradbery needs a little polish in her phrasing? There isn’t a rock drum or hick-hop line to be found here, and in 2013 country music that’s a very refreshing change of pace.

Bradbery isn’t the savior for female artists in country music. Expect for her Voice audition of “Mean” and a performance of “A Little Bit Stronger,” we’ve yet to hear Bradbery the artist, although Bradbery the puppet has been compelling thus far. Her lack of a booming vocal range like Underwood’s may also hurt her, but isn’t it time someone understated turned everything down a notch?

With everything she has going in her favor, Bradbery may be our genre’s best hope for fresh estrogen. I don’t see her injecting anything new into country music, but redirecting the focus back to a time when “Born To Fly”-type songs were topping the charts, isn’t a bad thing in my book. Hers mostly likely won’t be that lyrically strong, but if she can keep the fiddle and mandolin front and center – I won’t be complaining.

Grade: B 

Listen

Album Review – Suzy Bogguss – ‘Voices In The Wind’

220px-SuzyBoggussVoicesintheWindSuzy Bogguss had a lot riding on her Voices of the Wind album. She was following up the platinum selling Aces, which contained her first string of top ten singles, and justifying her Horizon Award victory over genre heavyweights Brooks & Dunn, Trisha Yearwood, and Pam Tillis. While the record didn’t contain as many singles as Aces it was still a big success as her second consecutive gold record. Jimmy Bowen also returned as producer.

Bogguss was still riding the wave of her single “Letting Go” when time came to release the follow-up CD. Liberty/Capitol decided to tack that single on to the end of Voices in an effort to capitalize on the song’s success. It worked, and the track hit #6. The follow-up, a cover of John Hiatt’s “Drive South” fared even better, hitting #2. The high energy number, one of my favorite singles from her, was her biggest hit to date. The only other single, “Heartache” would break Bogguss’ hot streak, managing to stall at #23. The neo-traditional number was good, but probably a bit too slow for heavy rotation status on the radio.

Also included on the album is her version of Richard Leigh’s “Cold Day In July,” which Dixie Chicks took into the top 10 from their Fly album in Spring 2000. Bogguss turns in a wonderful version of the song but it’s a bit too adult contemporary. It works better with the electric guitars and Natalie Maines’ biting vocal on the Chicks’ version. Bogguss’ is a little too sweet. “Eat At Joes,” co-written by Matraca Berg and Gary Harrison, is a fabulous bluesy number about life at an all night diner, and one of the highlights. Trisha Yearwood’s voice may’ve been better suited for the song, her bluesy side is unmatched, but Bogguss turns in a very competent performance.

“Aces” writer Cheryl Wheeler contributes “Don’t Wanna,” an emotionally stunning ballad that Bogguss takes to new heights with her angelic voice. Bogguss has a subtle way of conveying a lyric and this is one example of where the production works in her favor in helping her tell the story. “Lovin’ A Hurricane” is the second track written by Hiatt and while it’s very good, her vocal almost seems too bland for the upbeat production. It tries but fails to repeat the magic of “Drive South.”

Bogguss had a hand in co-writing two of the album’s tracks, including one with husband Doug Crider (who co-wrote “Letting Go”). “How Come You Go To Her” (co-written with Michael Garvin and Anthony Smith) is an excellent mid-tempo ballad about a woman wondering why her man just isn’t into her. The Crider co-write is “In The Day,” another contemporary sounding ballad that succeeds on Bogguss’ ability to sell a story, this time of a burgeoning romance.

Crider also co-wrote “Love Goes Without Saying,” another similar sounding ballad, but another lyrically strong number. Chuck Pyle wrote “Other Side of the Hill,” a honky-tonk highlight. I love the rousing steel guitar and western themes, as well as Bogguss’ perfectly energetic vocal. If this track were a single, it would’ve likely been a huge hit.

Voices In The Wind is the perfect example of a catch 22. Lyrically, there isn’t a dud in the bunch. But Bogguss and Bowen spend a bit too much real estate on similar sounding ballads that bog the album down in a sea of slowness. She needs more songs like “Other Side of the Hill” to breakup the monotony, and showcase more diversity in what she can do as a singer and artist. That being said, it’s still a very strong album and although the 1992 era production is dated by today’s standards, Voices In The Wind is a worthy addition to any music collection.

Grade: B+ 

Week ending 4/27/13: #1 albums this week in country music history

george strait - if you ain't lovin1968: Eddy Arnold – The Everlovin’ World of Eddy Arnold (RCA)

1973: Elvis Presley – Aloha from Hawaii: Via Satellite (RCA)

1978: Kenny Rogers – Ten Years of Gold (United Artists)

1983: Alabama – The Closer You Get (RCA)

1988: George Strait – If You Aint Lovin’, You Ain’t Livin’ (MCA)

1993: Billy Ray Cyrus – Some Gave All (Mercury)

1998: Shania Twain – Come On Over (Mercury)

2003: Dixie Chicks – Home (Open Wide/Columbia)

2008: George Strait – Troubador (MCA)

2013: Brad Paisley – Wheelhouse (Arista)

Album Review – The Band Perry – ‘Pioneer’

“Daddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest” – Kimberly Perry

300999_laIt’s no secret that “If I Die Young” is one of my favorite singles of this decade, no matter how much airplay it receives. Nathan Chapman’s simple production combined with Kimberly’s sweet vocal is an irresistible combination, difficult for me to resist.

So about a year ago now, I was thrilled when The Band Perry announced they’d be working with Rick Rubin on their sophomore album. The veteran producer who famously resurrected Johnny Cash’s career in the final two decades of life, he also produced the final Dixie Chick record Taking The Long Way, possibly my favorite album from them. In addition, they expressed their intent to work with songwriting genius (and Semisonic front man) Dan Wilson based on his involvement with “Someone Like You” and “Don’t You Remember” from Adele’s 21 (He also had a lot to do with the genius of the Chicks’ album). The Perry siblings even spoke openly of their love for those two songs, which made me very excited, as I love them, too.

So, what the heck went so horribly wrong? Well, it seems like the their label had other ideas. Kimberly has explained that Rubin “in his current incarnation” is a minimalist, but “we also knew that to accommodate all of the goals that we had, the best producer was Dann Huff.” One can assume, reading between the PR fog, that Republic Nashville didn’t approve of Rubin’s artistry, and wanted the band to go with a producer that would keep them firmly within the good graces of country radio. In other words, an intelligently articulate record wouldn’t be supported in today’s Nashville in the same ways an overproduced Huff-led record would.

And is Pioneer ever overproduced. Huff works his usual magic, suffocating the songs until they are one click away from needing life support. The rock production has even affected Kimberly’s voice, the band’s crowning instrument, which is now sadly showing the wear of extreme overuse. I wasn’t expecting to hear such breathy vocals from her, and like Carrie Underwood’s newly acquired rasp, it’s kind of sad. What ever happened to simply singing?

Pioneer is what happens when country music becomes too commercial. Every aspect of the product is grossly overdone in an attempt to appeal to the arena and stadium crowd, and while the songs may work well live; they fail as a listening experience on an album. Luckily, though, this isn’t the atrocious mess it could’ve been and they did find (and write) some decent songs, even if nothing here lives up to the singles from their debut.

I quite like “Don’t Let Me Be Lonely,” despite the somewhat muffled production and “I Saw The Light” is possibly my favorite song on the whole project. The title track is as folksy as they seem to get, and “Back To Me Without You” is nicely restrained although it gets a bit power ballad-y by the end. I don’t have a huge issue with thick production at all when it’s done correctly (here’s looking at you, Eric Church). Huff’s style actually works well on “Forever Mine Nevermind,” which has noticeable country elements in the choral melody.

I’m also enjoying the tender “Mother Like Mine,” which the trio wrote as a declaration of what the world would look like if everyone had been raised by their mom:

So the wars would all be over

‘Cause she’d raise us all as friends

And no one would ever wonder if somebody wanted them

We’d walk on grass that’s greener

And our cares would all be freer

If the world had a mother like mine

The no wars line is a bit predictable, and Kimberly’s vocal shows the wear of shouting too much on stage, but overall it’s a very touching song that would work well as a single. Their southern gothic tribute “End of Time” isn’t as revelatory as I would’ve liked, but it’s probably closest to the sound on their debut. “Night Gone Wasted” is a mess in this form, but I can hear the honky-tonk elements beneath all the noise, especially on the chorus. If any song ever called for an acoustic makeover, this would be it.

The rest is just plain dreck. I do get why some would praise “Chainsaw” for being a country romp, but it sounds to me like something Huff would’ve done with Rascal Flatts circa 2004. There’s just nothing new in the production to peak my interest. The lyric is typical Band Perry but the melody sounds very dated. Even the Target exclusive tracks are marred by unintelligent choices in both vocals and production, and can hardly be appreciated for the quality songs they probably are.

To call me disappointed in Pioneer would be an understatement. I’m thankful this isn’t an obvious clichéd attempt at commercialism, but this record could’ve been and deserved to be so much more. The songs are there but you wouldn’t know it based on all the distracting elements hindering overall enjoyment. Pioneer will rightfully get The Band Perry to that next level they so deserve to ascend to, but it comes at far too big a price for the fans that loved the simplicity of their debut. Hopefully, they’ll be able to find a happy medium next time.

Grade: C+  

Week ending 4/13/13: #1 albums this week in country music history

merle haggard willie nelson - pancho and lefty1968: Buck Owens – It Takes People Like You (Capitol)

1973: Eric Weissberg and Steve Mandell – Dueling Banjos (Warner Brothers)

1978: Waylon Jennings & Willie Nelson – Waylon & Willie (RCA Victor)

1983: Merle Haggard & Willie Nelson – Pancho & Lefty (Epic)

1988: K.T. Oslin – 80’s Ladies (RCA)

1993: Billy Ray Cyrus – Some Gave All (Mercury)

1998: Shania Twain – Come On Over (Mercury)

2003: Dixie Chicks – Home (Open Wide/Columbia)

2008: Taylor Swift – Taylor Swift (Big Machine)

2013: Blake Shelton – Based on a True Story (Warner Brothers)

Week ending 3/23/13: #1 singles this week in country music history

barbara fairchild1953 (Sales): Kaw-Liga — Hank Williams (MGM)

1953 (Jukebox): Kaw-Liga — Hank Williams (MGM)

1953 (Disc Jockeys): Kaw-Liga — Hank Williams (MGM)

1963: Don’t Let Me Cross Me Over — Carl Butler & Pearl (Columbia)

1973: The Teddy Bear Song — Barbara Fairchild (Columbia)

1983: I Wouldn’t Change You If I Could — Ricky Skaggs (Epic)

1993: Heartland — George Strait (MCA)

2003: Travelin’ Soldier — Dixie Chicks (Open Wide/Columbia)

2013: Sure Be Cool If You Did — Blake Shelton (Warner Bros.)

2013 (Airplay): One Of Those Nights — Tim McGraw (Big Machine)