My Kind of Country

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

Tag Archives: Eric Paslay

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

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

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

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

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

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

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

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

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

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

Grade: B-

Album Review: Craig Morgan – ‘A Whole Lot More To Me’

CraigMorgan-AWholeLotMoretoMeFor his seventh album, A Whole Lot More To Me, Craig Morgan wanted to craft a record that broke down genre stereotypes and cast him in a new light. It’s his first album of original material in four years as well as his second album for Black River.

The first single, “When I’m Gone” was released back in September and peaked at #48. Written by Justin Ebach and Steven Dale Jones is an optimistic banjo-driven uptempo about wanting to be remembered as someone who lived life to the fullest.

The second single, released in May and yet to chart, is the power ballad “I’ll Be Home Soon” written by Ebach, Jones and John King. The lyric is typical of modern country love songs, but Morgan brings an emotional gravitas that elevates the song to just above generic.

Morgan had a hand in co-writing five of the album’s twelve tracks. “Living On The Memories” is a bombastic power ballad he collaborated on with Scott Stepakoff and Josh Osborne. Mike Rogers joined him for the title track, where he goes out of his way to debunk his country boy image with an interesting laundry list of illustrations emoted by a vocal that could’ve been toned down a few notches. “I’m That Country” walks everything back by devolving into Morgan’s typical style. “Remind Me Why I’m Crazy” is an excellent ballad about lost love with a cluttered treatment that intrudes on my overall enjoyment. Morgan’s final co-write, “I Can’t Wait to Stay,” is nothing more than a song about remaining in the town where your family has generational roots.

It feels as if a prerequisite of any modern day country album is having a song co-written by Shane McAnally. His contribution, a co-write with Eric Paslay and Dylan Altman is “Country Side of Heaven,” which is actually a great song. The overall track would’ve been better served with an acoustic arrangement, which would’ve brought fourth the interesting lyric a lot more.

“All Cried Out” is a bombastic power ballad ruined by atrocious wall-of-sound production that causes Morgan to over sing. “Nowhere Without You,” co-written by Michal McDonald and John Goodwin, is much better although I found the piano based production rather bland. Will Hoge and Gordie Sampson teamed with Altman on “Who Would It Be,” a name-check song about the legends you would spend time with if you could.

The final cut, “Hearts I Leave Behind,” features Christian Rock singer Mac Powell. The song was originally recorded by Pete Scobell Band Featuring Wynonna Judd, which I reviewed last year. It’s far and away the crowning achievement of A Whole Lot More To Me and a perfect song for Morgan.

The marketing materials for A Whole Lot More To Me describe the album as ‘sexy,’ which I most certainly would not. There is hardly anything here in that vein, unlike Dierks Bentley’s Black, which makes it an odd descriptor. Morgan does sing at full power, which showcases his range but unintentionally sound like Blake Shelton circa 2008. The album is bombastic and unremarkable on the whole, but I give Morgan credit for giving into mainstream pressures without selling his soul. A Whole Lot More To Me is nowhere near the upper echelon of albums for 2016, but it is far from the scrap heap. He could’ve done better, but it’s clear he is giving his all.

Grade: B

Single Review: Charles Kelley feat. Eric Paslay and Dierks Bentley – ‘The Driver’

Screen-Shot-2015-10-04-at-8.08.01-PMI’ll admit that seven years ago, I was a Lady Antebellum fan. Their debut album, co-produced by the illustrious Victoria Shaw, showcased a band with tremendous promise. While not earth shattering, “Love Don’t Live Here” had grit that proved they were a force to be reckoned with. “I Run To You” made good on their potential and deservedly won the CMA Single of the Year award. “Need You Now” and “American Honey” were also good, but the album that surrounded them marked the beginning of the end. After just five singles, Lady Antebellum devolved into a second-rate pop act.

When they announced their upcoming hiatus, I was thrilled. Would they use this time to reevaluate what had happened to their sound? Charge their depleted artistic batteries? Well, we got an answer this week when Charles Kelley announced a solo single and upcoming EP. As Lady Antebellum’s artistic prowess went south, Kelley’s rich baritone went along with it. He used to be the guy who let loose, a nice counterbalance to Hillary Scott’s softer soprano.

Now we have “The Driver” to contend with. Kelley’s first solo single is a piano drenched soft rock ballad that wouldn’t be out of place in Lady Antebellum’s repertoire. The track is listenable and while the lyric doesn’t have anything to say at all, it contains zero traces of bro, metro, or any other of the current trends turning mainstream country into the unrecognizable laughing stock it is today.

Is this a step in the right direction? No, it’s not. What is this song even about? You have three acts, sung by Kelley, Eric Paslay, and Dierks Bentley respectively. Kelley portrays the driver, the one in charge of bringing the circus to town. Paslay is the dreamer sitting in the front row, enjoying the show. Bentley meanwhile is the singer, giving the audience all he has during his performance. While the characters are well thought out, they don’t go anywhere. There’s no reason to care about any of them, so we don’t. Why is this song even called “The Driver” (opposed to “The Dreamer” or “The Singer”)? Is he the glue that holds everyone together?

Like a lot of modern country songs that hint at substance, “The Driver” has good bones and a clever premise. It fails because it doesn’t take the story anywhere. All we have are descriptions of three characters – no depth or soul to make them more than constructs on a casting director’s call sheet. What’s missing is the actor brave enough to take what’s on the page and turn it into a multi-dimensional character worth caring about. Why is it so novel to actually develop a story into something worthwhile?

The only credit I can give to Kelley and Co is that they’ve presented us with a tune that doesn’t out rightly offend in any major way (except the fact IT’S NOT COUNTRY. AT ALL). They’re committed vocally. I don’t hear any noticeable use of computers in place of instruments. They appear to actually be singing. None of these things should ever be a cause for celebration, but in the current climate, we have to take what we can get. I’ll reserve the ‘F’ and ‘D’ grades for the pure dreck. In comparison, “The Driver” isn’t horrible, it’s just lazy in every noticeable way.

Grade: C-

Predictions for the 48th annual ACM Awards

Unknown-5Now that we’ve turned the clocks forward an hour and our calendars from March to April, it’s time to turn our attention to Las Vegas and the annual Academy of Country Music Awards telecast. CBS is carrying the show live Sunday Night (April 7) and it promises to be an eclectic mix of mainstream country music; hosted by Blake Shelton and Luke Bryan. Look for Tim McGraw to sing his latest “Highway Don’t Care” with Taylor Swift and Keith Urban, while Jason Aldean is rumored to be involving Joe Diffie in his performance of “1994.” Kelly Clarkson will be singing “Don’t Rush” and Bryan plans to debut a new single, “Crash My Party.” But I’m most excited to see what promises to be a buzzed about moment – Garth Brooks and George Strait collaborating for the first time to pay tribute to show producer Dick Clark.

Here are the nominees and predictions:

UnknownEntertainer of the Year

· Jason Aldean

· Luke Bryan

· Miranda Lambert

· Blake Shelton

· Taylor Swift – Jonathan Pappalardo 

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

Unknown-1Male Vocalist of the Year

· Jason Aldean

· Luke Bryan

· Eric Church

· Toby Keith

· Blake Shelton – Jonathan Pappalardo 

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

The 52nd Annual GRAMMY Awards - ArrivalsFemale Vocalist of the Year

· Miranda Lambert – Jonathan Pappalardo 

· Martina McBride

· Kacey Musgraves

· Taylor Swift

· Carrie Underwood

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

images-2Vocal Duo of the Year

· Big & Rich

· Florida Georgia Line

· Love and Theft

· Sugarland

· Thompson Square – Jonathan Pappalardo 

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

imagesVocal Group of the Year

· The Band Perry

· Eli Young Band

· Lady Antebellum

· Little Big Town – Jonathan Pappalardo 

· Zac Brown Band

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

Unknown-2New Artist of the Year

· Florida Georgia Line – Jonathan Pappalardo 

· Brantley Gilbert

· Jana Kramer

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

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

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

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

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

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

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

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

Unknown-6Single Record of the Year [Award to Artist(s)/Producer(s)/Record Company]

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

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

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

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

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

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

Unknown-7Song of the Year [Award to Composer(s)/Publisher(s)/Artist(s)]

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

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

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

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

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

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

Unknown-8Songwriter of the Year

· Rodney Clawson

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

· Josh Kear

· Luke Laird

· Shane McAnally

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

Unknown-3Video of the Year [Award to Producer(s)/Director(s)/Artist(s)] *(Off Camera Award) [TIE]

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

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

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

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

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

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

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

Unknown-9Vocal Event of the Year [Award to Artist(s)/Producer(s)/Record Company] *(Off Camera Award)

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

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

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

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

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

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

Predictions and analysis: The 55th Annual Grammy Awards

Grammy-AwardsIt’s that time of year again, to celebrate music’s biggest night. The 55th Grammy Awards are set to air this Sunday on CBS. In a rather surprising move, it’s the females who’ll be representing our genre at the show. Carrie Underwood, Taylor Swift, and Miranda Lambert are all slated to perform, with Lambert teaming up with her ‘Locked and Reloaded’ tour partner Dierks Bentley for a special collaboration. The country nominees are below, and it turns out they’re much stronger than was expected. The Recording Academy seems to have found a happy medium between commercial and artistic popularity. We’ll have to see if any of the artistic nominees (Jamey Johnson, The Time Jumpers, and others) will prevail against their commercial contemporaries. Predictions are below:

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2012 CMA Awards: our predictions

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

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

Entertainer of the Year

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

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

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

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

Female Vocalist of the Year

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

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

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

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

Male Vocalist of the Year

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

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

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

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

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Album Review: JT Hodges – ‘JT Hodges’

A Texan in his early 30s, JT Hodges has been trying to break through on Show Dog Universal Records for a year or two with a couple of singles skirting the top 40 cutoff line. Now his debut album gives us a better idea of him as an artist.

The answer is a decidedly contemporary country-rock one with roots more obviously on the rock side than the country one (notwithstanding a mother who once had ambitions of her own to be a country star, and apparently had the first cut on Highway 101’s big hit ‘The Bed You Made For Me’ before rejecting a major label deal to concentrate on family). However, this is definitely an artist with something to say. The singer-songwriter co-wrote most of the material here, generally with his producers, the experienced Don Cook and Mark Wright and minor 90s star Mark Collie, whose own rocking style is not far removed from what Hodges is doing. The sometimes growly voice is nothing special and would be hard to pick out from a number of his contemporaries, but he attacks the songs with energy and commitment and puts them across convincingly. Production is punchy but not so loud as to overwhelm the actual songs as is so often the case with today’s artists.

His debut single ‘Hunt You Down’, written by Hodges with Collie and Rivers Rutherford, just squeezed into the top 40 last year. It is a richly detailed but rather implausible story song about a fling with a rich girl which the protagonist wants to extend, with inventive production, nonchalant whistling and sometimes annoying backing vocals. The follow-up, ‘Goodbyes Made You Mine’, did slightly less well. Almost spoken in the verses, it doesn’t have much of a melody in the verses and gets a bit yelly at times, but a catchy chorus hook and decent lyric with a man presenting himself as a woman’s last and true love give it some interest. These two singles so far rather underwhelmed me, but they are probably the poorest tracks on the album.

I like opener ‘I’d Rather Be Wrong Than Lonely’, a punchy country rock number about a potential hookup with a girl who might be “a little bit dangerous” for him. Hodges wrote the song with Collie and Cook, and together they provide a competently constructed song with a relentless beat, which is one of the best tracks.

This trio also wrote ‘When I Stop Crying’, a very good pained guilt-ridden ballad about redemption and recovery which allows Hodges to venture into the upper reaches of his vocal range. Vince Gill’s backing vocals on this track are proudly vaunted in the liner notes, but are not particularly prominent; Gill also plays a wailing electric guitar solo.

Joined by Mark Wright, they wrote the mid-tempo ‘Leaving Me Later, which is pretty good. Like a calmer sequel to ‘I’d Rather Be Wrong Than Lonely’, it deals with a relationship with a woman not planning to stay around. “Loving me now” is good enough for the protagonist, even if it he knows she is lying and will hurt him when she goes. ‘Give It One More Night’, written with all three producers, is not bad, but too repetitive.

‘Green Eyes, Red Sunglasses’ is a collaboration of Hodges, Collie and Chris Stapleton, and is typical of the latter’s blues-edged material. Cook and Hodges wrote ‘Right About Now’ with Lynn Hutton, a ballad brooding about a two-timing woman’s infidelity with a nice little double meaning in the lyrics.

There are a couple of outside cuts. ‘Sleepy Little Town’ is a compelling if dark semi-story song written by Chris Stapleton and Lee Thomas Miller. It is about the secrets and crimes coming to light in a small town, ranging from an FBI takedown of the local high school coach to a preacher’s wife who finally cracks and fights her husband’s domestic violence. It’s been selected as the latest single, and seems made for a video treatment to help flesh out the stories a bit. ‘Rhythm Of The Radio’ was written by Eric Paslay (another up-and-coming artist) and Dylan Altman, and is a pleasant but slight love song with attractive instrumentation; the Irish flute in particular gives it a fresh summery feel – a single for summer 2013 perhaps?

Overall, J T Hodges comes across as a kind of amalgam of Eric Church, Eric Heatherly and Mark Collie. He has had limited success so far, even with the support of label Show Dog Universal, but it sounds commercial enough while possessing real substance and ambition. He’s a long way from traditional, but definitely one of the better contemporary artists, and this is a very promising start.

Grade: B+