My Kind of Country

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

Tag Archives: Faith Hill

Week ending 6/17/17: #1 singles this week in country music history

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

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

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

1967: All The Time — Jack Greene (Decca)

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

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

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

2007: Moments — Emerson Drive (Midas Nashville)

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

2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)

Week ending 6/10/17: #1 singles this week in country music history

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

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

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

1967: It’s Such a Pretty World Today — Wynn Stewart (Capitol)

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

1987: I Will Be There — Dan Seals (EMI America)

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

2007: Good Directions — Billy Currington (Mercury)

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

2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)

Album Review: Faith Hill – The previously unreleased material on ‘Deep Tracks’

faith-hill-deep-tracks-cover-artWhen Faith Hill emerged after an eight-year hiatus to celebrate her twentieth wedding anniversary, announce a Soul2Soul revival tour and mentor contestants on The Voice, I figured she was banking on nostalgia to propel this new era of her career. Hill has smartly been riding on Tim McGraw’s coattails since 2006, knowing she can’t fill arenas, or Vegas casinos, to (near) capacity without him.

She also couldn’t launch a comeback with Illusion, a record Warner Bros. likely shelved after two embarrassing singles – “Come Home” and “American Heart” bombed at country radio when she desperately needed a hit to regain momentum within the industry. That was never going to happen anyways, as age and changing trends saw Carrie Underwood filling the space she once occupied.

With those statistics in mind, I was surprised when she quietly announced a new album to end the record contract she signed in 1993. But I was disheartened to learn it would exist as Deep Tracks, a project comprised of previously released album cuts the label probably wisely never saw fit to release as singles. The project is nothing more than a cash grab and an insult to Hill’s tenure with the label. I’m glad to see Hill on board, though, which is more than I can say for the umpteenth Greatest Hits projects Curb released to extend McGraw’s contract. If the marketing is to be believed, it seems she actually selected these songs herself.

Tagged onto the end of the album are three previously unreleased songs, of which I was anxious to hear. I’ve been a big fan of Hill’s since I began listening to country music in the mid-90s and always welcome anything new she chooses to give her fans. And with the infrequency of her releases, I haven’t cast Hill aside as I’ve done to Martina McBride.

The new material begins with the recently recorded “Boy,” written by Lee Brice, Rob Hatch and Lance Miller. The track is classic Hill, a love song, she freely admits reminds her of her man. While it doesn’t break any new ground, the plucky ballad deviates from her typical sonic playbook just enough to keep the feel of the song fresh.

Rob Mathes and Allen Shamblin’s “Why” follows. Hill recorded the track in 2004 for Fireflies and when it failed to make the cut, Dann Huff brought the song to Rascal Flatts, who brought it to #18 in 2009. The song explores a woman’s anguish in the wake of an unimaginable tragedy:

Oh why, that’s what I keep askin’

Was there anything I could have said or done

Oh I, had no clue you were masking a troubled soul, God only knows

What went wrong, and why you’d leave the stage in the middle of a song

 

Oh why there’s no comprehending

And who am I to try to judge or explain

Oh, but I do have one burning question

Who told you life wasn’t worth the fight

They were wrong

They lied

And now you’re gone

And we cried

‘Cause It’s not like you, to walk away in the middle of a song

The execution is extremely heavy-handed with Huff’s production and Hill’s vocal leaning far too piano-ballad pop for my tastes. The lyric itself is somewhat powerful, but it lacks the subtlety that made “Can’t Be Really Gone” and “On A Bus To St. Cloud” so magical.

In context, the final cut is arguably the saddest. Hill’s mother had long wished her daughter would record a gospel album, the only type of music she wanted to hear her sing. Such a project never came to fruition, so “Come to Jesus” is the closest Hill’s come to carrying out her mother’s wishes. Hill’s mom passed away just three weeks ago, right before the CMA Awards, but was able to hear this song in time.

Hill could obviously still make a gospel album, which could be a treat, if it sounds nothing like she does on this Mindy Smith tune. I appreciate and wholeheartedly welcome the use of fiddle throughout, but there’s just nothing delicate or interesting to hold my attention. This is not the soaring moment (think “There Will Come A Day”) I was hoping for.

With this new material Hill deserves full credit for covering her bases. “Boy” fits perfectly within her penchant for love songs while “Why” displays her knack for age-appropriate material tackling emotional subjects. “Come to Jesus” is the type of song she was teasing when gearing up for the ill-fated Illusion that supposedly nixed her country sound for ‘southern soul.’

While I didn’t find much here to be excited about (“Boy” is the best of the new stuff and worth checking out), I don’t want to suggest the ‘deep tracks’ themselves are of poor quality. If you’ve never heard her take on Lori McKenna’s stunning “If You Ask,” do yourself a favor and check it out.

I’m just upset that after twenty-three years of enormous success, Hill and her fans aren’t being treated to a more heartfelt sendoff than Deep Tracks. Everyone involved deserves so much more than this.

Grades: 

Deep Tracks: D 

Boy:’ B+ 

Why:’ C 

Come To Jesus:’ C 

Album Review: Lorrie Morgan – ‘Letting Go … Slow’

51bUlVvWr7LI’ve been a fan of Lorrie Morgan ever since I first saw her video of “Trainwreck of Emotion” on TNN back in 1988. I’ve followed her career ever since, though admittedly not quite as closely since her days as a major label artist ended about 15 years ago. I’ve always felt that the true artists are the ones who continue to make music after they’ve peaked commercially. Morgan certainly falls into that category; she released three solo albums and one collaboration with Pam Tillis in the years since her tenure with BNA Records ended. But post- commercial peak projects are often a mixed bag, particularly for artists who don’t write a lot of their own material. Finding good songs is frequently a challenge – and then there is the added problem of declining vocal power, which often plagues aging artists.

Fortunately, Morgan has overcome both of those obstacles on her latest collection Letting Go … Slow, which was released by Shanachie Entertainment last week. In an interview with Country Universe she said that she spent a considerable amount of time working to get her voice back in shape. The effort has paid off in spades; she sounds better on Letting Go … Slow than she has in years. And although she relies heavily on cover material to compile an album’s worth of songs, she’s managed to dig a little deeper and come up with some gems that are deserving of another listen but have been largely overlooked by the plethora of artists releasing covers albums in recent years. Read more of this post

Album Review: Buddy Miller – ‘Midnight and Lonesome’

51BcEdcn+IL2002’s Midnight and Lonesome was Buddy Miller’s most successful solo album to date. It was the first to chart (reaching a modest #50), in no small part due to the success of the previous year’s duets project with wife Julie. He produced the album himself. He and Julie wrote some of the album’s songs, but separately and together but there are also a fair number of songs, including covers, provided by outside songwriters. Though mostly a country effort, it does find him delving into rock and blues, with somewhat mixed results. I was a bit worried after hearing the opening track, “The Price of Love”, a rock-leaning Everly Brothers tune with which I was previously unfamiliar. Fortunately, things get back on track with the second track “Wild Card”, which he and Julie wrote, which finds him turning up the twang. It sounds very much like a number Hank Williams might have recorded in the early 50s.

One of the album’s best moments is the third track “I Can’t Get Over You”, a beautiful steel-laced ballad written by Julie Miller, with delicately understated harmony vocals provided by Lee Ann Womack. It is topped only by another ballad – “A Showman’s Life”, written by Jesse Winchester. Previously recorded by Gary Allan with Willie Nelson and George Strait with Faith Hill, it describes the hardship and loneliness experienced by musicians on the road. Buddy is joined by Emmylou Harris and the result is nothing short of magic. It easily trumps both the Allan/Nelson and Strait/Hill versions (although both of those are also quite good).

The mournful lyrics and high-lonesome harmonies (provided by Julie) of the title track are at odds with its up-tempo pace but it works surprisingly well.

I wasn’t particularly impressed with “When It Comes To You”, a bluesy number written by Buddy and Julie with Jim Lauderdale. It sounds like something Conway Twitty might have scored a big hit with in the early 80s. It’s not a bad song but it is marred beyond redemption by the production. It has a decidedly low-fidelity sound; the vocals are muffled as though Buddy were singing through some sort of filter. I found it very distracting. Another bluesy number, a cover of Percy Mayfield’s “Please Send Me Someone to Love”, works much better. It’s a bit of an artistic stretch for Buddy, but one that pays off nicely. I’m not familiar with the original version and my first impression was that the melody was very similar to Ray Price’s “Night Life”.

The Cajun-flavored “Oh Fait Pitie D’Amour (Lord Have Mercy on Me)” provides another interesting change of pace, although it’s not particularly memorable.

Another highlight is the closing track “Quecreek”, an acoustic folk-leaning ballad which finds Buddy accompanied only by an acoustic guitar and Julie’s harmony vocals. Slightly reminiscent of Merle Travis’ classic “Dark as a Dungeon”, it tells the true story of a coal mining accident in Pennsylvania.. The nation waited with baited breath when nine miners were trapped for 77 hours between July 24 and July 28, 2002. Miraculously, all nine were rescued and Buddy’s emotional retelling of the ordeal likens their recovery to Christ’s Resurrection.

Midnight and Lonesome was nominated for Album of the Year in 2003 by the Americana Music Association. Though it did not win, it is a stellar collection (“The Price of Love” and “When It Comes to You” nothwithstanding). It is perhaps most accurately described as a roots album but country is the predominant influence.

Grade: A –

Week ending 1/30/16: #1 singles this week in country music history

hqdefault-41956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Jukebox): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Disc Jockeys): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1966: Giddyup Go — Red Sovine (Starday)

1976: Convoy — C.W. McCall (MGM)

1986: Never Be You — Rosanne Cash (Columbia)

1996: It Matters to Me — Faith Hill (Warner Bros.)

2006: Jesus, Take The Wheel — Carrie Underwood (Arista)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Die a Happy Man — Thomas Rhett (Valory)

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

220px-Danseals1956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Jukebox): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Disc Jockeys): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1966: Giddyup Go — Red Sovine (Starday)

1976: Convoy — C.W. McCall (MGM)

1986: Bop — Dan Seals (EMI America)

1996: It Matters to Me — Faith Hill (Warner Bros.)

2006: Jesus, Take The Wheel — Carrie Underwood (Arista)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Die a Happy Man — Thomas Rhett (Valory)

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

faith_hill_2010_01956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Jukebox): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Disc Jockeys): <Love, Love, Love — Webb Pierce (Decca)

1966: Giddyup Go — Red Sovine (Starday)

1976: Convoy — C.W. McCall (MGM)

1986: Morning Desire — Kenny Rogers (RCA)

1996: It Matters to Me — Faith Hill (Warner Bros.)

2006: She Let Herself Go — George Strait (MCA)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Die a Happy Man — Thomas Rhett (Valory)

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.

Week ending 9/19/15: #1 singles this week in country music history

MTIwNjA4NjM0MDUyNTc2Nzgw1955 (Sales): I Don’t Care — Webb Pierce (Decca)

1955 (Jukebox): I Don’t Care/Your Good For Nothing Heart — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Is It Really Over — Jim Reeves (RCA)

1975: Rhinestone Cowboy — Glen Campbell (Capitol)

1985: Modern Day Romance — The Nitty Gritty Dirt Band (Warner Bros.)

1995: I Like It, I Love It — Tim McGraw (Curb)

2005: Mississippi Girl — Faith Hill (Warner Bros.)

2015: House Party — Sam Hunt (MCA)

2015 (Airplay): Hell of a Night — Dustin Lynch (Broken Bow)

Week ending 9/12/15: #1 singles this week in country music history

Bryan-White-300x2671955 (Sales): I Don’t Care — Webb Pierce (Decca)

1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Is It Really Over — Jim Reeves (RCA)

1975: Feelin’s — Loretta Lynn & Conway Twitty (MCA)

1985: I Don’t Know Why You Don’t Want Me — Rosanne Cash (Columbia)

1995: Someone Else’s Star — Bryan White (Asylum)

2005: Mississippi Girl — Faith Hill (Warner Bros.)

2015: House Party — Sam Hunt (MCA)

2015 (Airplay): House Party — Sam Hunt (MCA)

Week ending 9/5/15: #1 singles this week in country music history

Warner_Mack1955 (Sales): I Don’t Care — Webb Pierce (Decca)

1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: The Bridge Washed Out — Warner Mack (Decca)

1975: Rhinestone Cowboy — Glen Campbell (Capitol)

1985: Love Is Alive — The Judds (RCA/Curb)

1995: Not On Your Love — Jeff Carson (Curb)

2005: Mississippi Girl — Faith Hill (Warner Bros.)

2015: House Party — Sam Hunt (MCA)

2015 (Airplay): Young & Crazy — Frankie Ballard (Warner Bros.)

Classic Rewind: George Strait ft Faith Hill – ‘A Showman’s Life’

Album Review: Allison Moorer – ‘The Hardest Part’

412ARG3SR7LOne could easily be forgiven for confusing Allison Moorer for Shelby Lynne because their voices are remarkably similar. However, Moorer’s early music is a lot more rootsy than her older sister’s work at the same stage in her career. And while Lynne has mostly avoided discussing the violent murder-suicide that claimed the lives of their parents, Moorer tackled the issue head-on with her sophomore album.

Released in 2000 by MCA, The Hardest Part is an album of all original material written by Moorer and her then-husband Doyle Lee Primm, who co–produced the project with Kenny Greenberg. According to Moorer, it is not a factual recounting of her parents’ tragic story, rather it is a concept album about a disintegrating relationship and was inspired by what she saw her mother endure after she left Moorer’s alcoholic father. Surprisingly, this is not the downer of an album one might be expecting. While the songs are not lighthearted fare, they are, for the most part, typical break-up songs that have long been a staple of country music. Listeners who aren’t familiar with Moorer’s backstory won’t consider the album anything out of the ordinary.

Not surprisingly, the album’s more traditional tracks are my favorites, from the title track that opens the album, to “Is It Worth It” and “Feeling That Feeling Again”, which is the best song on the album. The more contemporary tracks, while enjoyable and still containing plenty of fiddle and steel, are a bit heavy on the strings and electric guitar for my liking.

The most moving song on the album is the one that directly addresses the night Moorer’s parents died. “Cold, Cold Earth”, a hidden track at the end of the album, is an acoustic murder ballad that is surprisingly sympathetic to her father. At times it comes close to excusing his actions. Attempting to reconcile with his family, Moorer’s father becomes despondent and “drunk with grief and loneliness, he wasn’t thinking straight”, and shoots his ex-wife and then himself when it becomes clear she isn’t interested in reconciling. Even as a work of fiction, it would be a sad story, but it’s absolutely tragic to think that the singer is recounting a personal experience.

The Hardest Part produced two radio singles, “Send Down An Angel” and “Think It Over” which charted at #66 and #57, respectively, but despite its lack of hits the album itself reached #26 on the albums chart. It’s a very good album that might have fared better if it had been released a few years earlier. In 2000 when Shania Twain and Faith Hill were having huge crossover hits, it wasn’t what country radio wanted. It is, however, well worth checking out.

Grade: A-

Predictions for the 50th annual ACM Awards

To celebrate their 50th anniversary, The Academy of Country Music Awards is being held at AT&T Stadium in Dallas, TX  this Sunday on CBS. Blake Shelton is returning for his fifth year as host while Luke Bryan will co-host for the third consecutive time. Notable performers include George Strait, Reba McEntire, Garth Brooks, and Dierks Bentley along with the usual mainstream country suspects. Nick Jonas and Christina Aguilera will also take the stage as part of unique duets.

Along with the regular awards, the ACM will also be handing out specially designed 50th anniversary Milestone Awards to Taylor Swift, Kenny Chesney, Miranda Lambert, Brooks & Dunn, Reba McEntire, Garth Brooks and George Strait. (Swift is expected to accept in person despite distancing herself from the genre).

Check out the nominations, here.

UnknownEntertainer of the Year

Garth Brooks, who has six previous wins, is nominated for the first time since 2001 in a year that saw him break ticket sale records, but underwhelm with his Man Against Machine album. The absence of Taylor Swift, George Strait and Tim McGraw left the category open for some fresh blood, resulting in Florida Georgia Line’s first nomination.

Should Win: Garth Brooks – he continues to show how it’s done, twenty-five years after his debut.

Will Win: Luke Bryan – he’ll ride his CMA momentum all the way to the finish line, scoring his second win in three nominations.

4e35192a48a8e1409d2f92873a0dbab7Male Vocalist of the Year

Despite eight previous nominations with five wins, it’s not shocking to see Brad Paisley included here. But after such an underwhelming year, it’s still surprising to see him included in a six-way tie. Dierks Bentley scores his second nomination in ten years, while half of the remaining four consist of previous winners. Jason Aldean has taken home this award for the past two years.

Should Win: Dierks Bentley – His only previous nomination came in 2005, while he was still in the promotional cycle for his sophomore album. His stature has only risen in the years since, with critical acclaim and consistent support from country radio, making him long overdue for his turn in the spotlight.   

Will Win: Luke Bryan – He’s arguably the biggest male artist in country music right now, eclipsing Aldean, Eric Church, and Blake Shelton with his stadium show, fast rising singles, and immense popularity. There’s little chance he’ll walk away empty handed, taking home his first win on his third consecutive nomination.

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Favorite Country Songs Of The 80s: Part 7

It seems to me that I never did finish off this series, the last installment being posted on February 11, 2014 (and the installment before that appeared April 9,2013). Here are some more songs from the 1980s that I liked. This is an expanded and revised version of the February 11, 2014 article which was a rush job :

Shame On The Moon” – Bob Seger
Bob’s 1982 recording of a Rodney Crowell song charted on the country charts in early 1983, reaching #15 in the process. The song was a bigger hit on the pop charts, reaching #2 for four weeks.

Finally” – T. G. Sheppard
He worked for Elvis, sang background for Travis Wammack, and eventually emerged with a solo career worth noting, racking up 42 chart singles from 1974-1991. This 1982 single was one of fourteen #1 record racked up by Sheppard, eleven of them reaching #1 during the 1980s.

Doesn’t Anybody Get High On Love Anymore” – The Shoppe
The Shoppe was a Dallas based band that hung around for years after their 1968 formation. In the early 1980s they had eight chart records, but this was the only one to crack the top forty, reaching #33. They had a record deal with MTM Records in 1985, but that label vanished, taking the Shoppe with them.

Crying My Heart Out Over You” – Ricky Skaggs
Ricky Skaggs was one of the dominant artists of the first half of the 1980s with his bluegrass/country hybrid. Starting with 1981’s “You May See Me Walking” and ending with 1986’s “Love’s Gonna Get You Some Day“, Skaggs ran off sixteen consecutive top ten singles with ten of them reaching number one, This 1982 classic was the first chart topper. Eventually Ricky returned to straight bluegrass, but I like the hybrid recordings better. In my original article I spotlighted “Honey (Open That Door)“, a straight forward country Mel Tillis song recorded by Webb Pierce.

Don’t Stay If You Don’t Love Me” – Patsy Sledd
Stardom never really happened for Patsy, who was a good singer marooned early in her career on a bad label. She was part of the George Jones-Tammy Wynette show in the early 1970s. This song reached #79 in 1987.

“Nice To Be With You” – Slewfoot
This band replaced Alabama as the feature band at the Bowery Club in Myrtle Beach. This was their only chart single, a cover of Gallery’s #4 pop hit from 1972 that reached #85 in 1986.

King Lear” – Cal Smith
The last chart hit for the former Texas Troubadour. This song reached #75 in 1986.

“A Far Cry From You” – Connie Smith
After a six year recording hiatus, the greatest female country recording artist of all time returned with this one-shot single on the Epic label. It’s a great song but received no promotional push at all from the label landing at #71 in 1985. Unfortunately, this single has never appeared on an album.

“The Shuffle Song” – Margo Smith
Exactly as described – a shuffle song that reached #13 for Margo in early 1980. Margo had a brief run of top ten hits in the middle and late 1970s but the string was about over. In my prior article I featured “He Gives Me Diamonds, You Give Me Chills” but The Shuffle song is actually my favorite 80s hit from Margo. She lives in The Villages in Florida and still performs occasionally.

Cheatin’s A Two Way Street” – Sammi Smith
Her last top twenty song from 1981. Sammi only had three top ten hits but made many fine records. This was one of them.

Hasn’t It Been good Together” – Hank Snow and Kelly Foxton
The last chart record for the ‘Singing Ranger’. The record only got to #78 for the 65 year old Snow in 1980 but I couldn’t let pass the opportunity to acknowledge the great career of the most successful Canadian country artist. By any legitimate means of chart tracking, his 1950 hit “I’m Moving On” is still the number one country hit of all time. Hank had perfect diction and was a great guitar player.

Tear-Stained Letter” – Jo-El Sonnier
A late bloomer, this was the forty-two year old Jo-El’s second of two top ten records and my favorite. It reached #8 in 1988. There were brief periods in the past when Cajun music could break through for a hit or two. Eddy Raven was the most successful Cajun artist but most of his material was straight-ahead country.

Sometimes You Just Can’t Win” – J.D. Souther and Linda Ronstadt
George Jones charted this record twice, but it’s such a good song it was worth covering. This version went to #27 in 1982. J.D had a big pop hit in 1980 with “You’re Only Lonely” which reached #7.

Honey I Dare You” – Southern Pacific
Southern Pacific was a bunch of guys who previously played with other bands such as Creedence Clearwater Revival, the Doobie Brothers and Pablo Cruise, making some real good country music in the process. This was one of their four top ten hits of the 1980s. “A Girl Like Emmylou” from 1986 only reached #17 but the song tells you where this band’s heart was located.

Lonely But Only For You” – Sissy Spacek
Loretta Lynn wanted to Spacek to portray her in the movie Coal Miner’s Daughter, and it turns out that Sissy can really can sing. This song reached #15 in 1983.

Standing Tall” – Billie Jo Spears
Billie Jo Spears, from Beaumont, Texas, was incredibly popular in England and Ireland, where “Blanket On The Ground” and “What I’ve Got In Mind” were top five pop hits in the mid 1970s and she had many more lesser successes. Many of her later albums were not released in the US but she had a substantial US career with thirty-four charted records, including two #1 hits. “Standing Tall” reached #15 in 1980.

Chain Gang” – Bobby Lee Springfield
More successful as a songwriter than as a performer, Springfield had two chart sings in 1987 with “Hank Drank” (#75) and “Chain Gang” (#66) which was NOT the Sam Cooke hit. Bobby Lee was both too country and too rockabilly for what was charting at the time. I really liked All Fired Up, the one album Epic released on him.

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Single Review: Jana Kramer – ‘I Got The Boy’

i got the boyI was thoroughly underwhelmed by actress Jana Kramer’s first foray into country music. But her latest single is much more like it.

While she isn’t the greatest of vocalists, she is perfectly adequate on this understated song, which she delivers convincingly with a throaty almost bluesy quality which reminds me a little of Julie Roberts or the early work of Faith Hill. The emotion of the song rings true. The tasteful production (thanks to Scott Hendricks) is as understated as the song is simply yet perfectly constructed (with the exception of slightly awkward scansion in the first verse).

On the surface about memories and a past relationship, this is really all about the experience of growing up. The protagonist reflects on a long-past, perhaps long-forgotten teenage romance when she sees the man he has grown into. There are no regrets or sense of loss for what has passed, as she compares the affectionate memories she has with the other woman’s present day experiences.

I got the first kiss
She’ll get the last
She’s got the future and I got the past
I got the class ring
She’s got the diamond and a wedding band
I got the boy
She got the man

It may be stretching the songwriters’ intentions a bit far to lay too much stress on this aspect, but it is interesting as part of the possible backlash against bro-country with its extended male adolescence, to see the comparison here between the young man as a teenage boy in a baseball cap, as so often sported by today’s male country stars well into their 30s (including Jana’s former fiance the dreadful Brantley Gilbert), and driving the ubiquitous pickup truck. The man in this song has laid these things aside as he grows up and commits to marriage. Can this be a complete coincidence?

The song was written by established songwriters Connie Harrington and Tim Nichols with Jamie Lynn Spears, another aspiring artist with an acting background. I really like both song and performance, and would be thrilled to see it do well. Of course it has several strikes against it as far as country radio is concerned – it’s sung by a woman, and one who is talking as an adult; it’s not loud or a party anthem, but the kind of song about real life which used to be at the heart of the genre; and it’s good. I hope it can beat those odds.

Listen to it here.

Grade: A

Album Review: Aaron Watson – ‘A Texas Cafe’

2001’s A Texas Cafe was released two years after Aaron Watson’s eponymous debut. A collection of Texas honky-tonk tunes, it is a stark contrast to the mainstream country music of the day, which was dominated by crossover artists such as Shania Twain and Faith Hill. While firmly entrenched in tradition, it is not a retro or throwback record; it is simply a collection of uncomplicated and unpretentious songs that ought to be a staple of country music in any era.

51GN5QJTwPL._SS500_In many ways, Watson is reminiscent of a young George Strait, and though it’s tempting to speculate that he might have been a superstar had he emerged a decade earlier, the songs on A Texas Cafe are probably not quite commercial enough even for Nashville’s New Traditionalist era. Watson writes most of his own material, and I believe the songs on this album are all originals, and though they are all very good, he album probably could have benefitted from some contributions by outside songwriters. With a few exceptions, the songs are not particularly memorable; their main appeal lies in their simple production, with plenty of prominent fiddle and steel, and Watson’s straightforward delivery.

The album did not chart, nor did it produce any radio hits, but there are a handful of standout tracks, mostly in the second half of the album. My favorite is the uptempo “Charlene Gene”, about unrequited love. Though it takes place in a trailer park among self-professed rednecks, it avoids most of the cliches of today’s redneck anthems. In fact, though the trailer park locale provides some humor and charm, the story could just as easily have been set elsewhere. “When All Those Aggies Move To Austin” is a variation on the well-worn “I’ll take you back when hell freezes over” theme, with plenty of references to the Lonestar state. It is also the one song on the album that has a slight Southern Rock feel, with plenty of electric guitar along with the fiddle and steel.

The Western-swing flavored “Amarillo Fair” is also quite good. The title track is a bit reminiscent of Alan Jackson’s “Little Man”, with its references to mom-and-pop businesses that could not compete with big box chain stores. It differs from Jackson’s song, though, in that the heart of the town — its local cafe — remains resistant to change. But as far as the ballads go, “Every Time I Hear Those Songs” is by far the best. It pays tribute to the late Conway Twitty; the protagonist reminisces about enjoying Twitty’s music with a loved one that is now gone. I assumed throughout most of the song that it was about a lost love, but in the song’s closing lines it is revealed that the loved one is the narrator’s late mother.

A Texas Cafe is a fine listen for anyone who is looking for an alternative to bro-country or any of the other dreck currently on county radio.

Grade: A

Predictions for the 57th Annual Grammy Awards

It’s early February, which means it’s time for the annual Grammy Awards telecast, airing this Sunday at 8pm on CBS. Look for performances from Eric Church and Miranda Lambert, plus winners in the Country and American Roots categories.

GiveMeBackMyHometownBest Country Solo Performance

Consisting of four former winners, who have proven perennial Grammy favorites, this couldn’t be a more predicable group of nominees. Miranda Lambert won the CMA Award so she has less of a chance of winning here, but really everyone has a very good chance of walking away with the trophy.

Should Win: “Give Me Back My Hometown” – The buzz surrounding The Outsiders coupled with the fact he’s never won a Grammy, should be enough to push him over the top.

Will Win: “Something In The Water” – With a win for “Last Name,” the Grammy voters proved they would award Carrie Underwood for just opening her mouth. She made quite a splash this year, so look for her winning streak to continue.

Little-Big-Town-Day-DrinkingBest Country duo/group performance

A banal group of mainstream fare, these nominees are far more flash than artistry. The Band Perry has the best song, but Kimberly’s feathery vocal, likely from screaming too much during the Pioneer era, hinders their Glen Campbell cover.

Should Win: “Meanwhile Back At Mama’s” – Although it wasn’t much of a duet, Tim & Faith should be rewarded solely for McGraw’s artistic comeback.

 Will Win: “Day Drinking” – Miranda and Carrie won the CMA, which dramatically hurts their chances here. That’ll leave room for Little Big Town to swoop in and claim victory with their anathematic earworm.

10523141_295010450688997_7271262647762240217_nBest Country Song

A sentimental nod for Glen Campbell gives these nominees, which are otherwise tethered to mainstream fare, a bit more variety. He could very easily win on principal, which would be a wonderful thing to see.

Should Win: “I’m Not Gonna Miss You” – a win now for Campbell would indeed be wonderful, especially after all he’s been through.

Will Win: “American Kids” – Grammy song categories are always surprising, as the substantive ballad doesn’t always emerge victorious. Kenny Chesney’s hit is an offbeat choice, but crazier things have happened. If Chesney doesn’t win, I could see Eric Church easily taking this home.

12 storiesBest Country Album

The strongest of the country categories, with five worthy nominees, including two that should be duking it out to the finish.

Should Win: It’s a statistical dead heat between 12 Stories and The Way I’m Livin.’ Brandy Clark and Lee Ann Womack turned in stellar recordings that, in their own right, each deserve this award.

Will Win: The Outsiders – Eric Church’s wildly uneven fourth album has a buzz that cannot be ignored. It’s a good project, but nowhere near the artistic caliber of Clark and Womack’s sets.

UnknownBest American Roots Performance

I’m not as well versed here, but Rosanne Cash and Nickel Creek turned in valiant efforts and Alison Krauss is featured on a track.

Should Win: “Destination” – Nickel Creek came back together after nine years, bringing with them their artistic gains from solo and side projects. Their astounding growth shouldn’t be ignored. 

Will Win: “And When I Die” – I never bet against the obvious, Alison Krauss is featured here, but I could easily see Rosanne Cash taking this home as well. 

rosannecashBest American Roots Song

I’ve only heard Rosanne Cash’s track, and while good, it isn’t “When The Master Calls The Roll.”

Should Win: “A Feather’s Not A Bird” – I’d still give this one to Cash

Will Win: “Pretty Little One” – Steve Martin wins without even trying, so he has the edge here. Jesse Winchester, who passed away last year, could also claim the sentimental vote.

Rosanne CashBest Americana Album

All hail the might God that is Sturgill Simpson. Most were furious he wasn’t in the Best Country Album category, since his album has Country Music in its title, but its experimental nature makes it a perfect fit here. I haven’t been able to get into him (sacrilege of the highest order) but I can appreciate his artistry.

Should Win: The River & The Thread – Rosanne Cash’s impeccable ode to her family legacy is one of the year’s true masterworks 

Will Win: The River & The Thread – Cash has the name recognition to pull this off and it couldn’t be more deserved. But she isn’t Simpson, and that could hurt her, and everyone else in this category.

81Yyaq+5nDL._SL1500_Best Bluegrass Album

This is quite the substantive category, with at least three nominees that could emerge victorious.

Should Win: I honestly don’t have any idea

 Will Win: Only Me – Rhonda Vincent is the biggest name here, a fact that usually secures a win

Jonathan Pappalardo’s Favorite Singles of 2014

When looking back, 2014 will be remembered as the year country music morphed into the biggest radio format in the land while pondering to never ending bro-country schlock and diminishing the efforts of solo female artists not named Miranda or Carrie. The genre also lost its biggest star, Taylor Swift, to world domination.

But I’ll remember a statistic far more puzzling. In the eighteen years I’ve been following the genre, I’ve never witnessed this big a turnover at the top of the Billboard Country Singles chart. How is it that seemingly every new male artist, either solo or in a group/duo, seems to be notching number one hits out of the gate? Everyone from Cole Swindell, Thomas Rhett, Sam Hunt, Parmalee, and Maddie & Tae are routinely racking up chart topping singles without having to fight for their chance to land on playlists. Watching the Billboard Country Airplay chart these days has become more than ridiculous.

My choices, as usual, prove radio doesn’t even begin to scratch the surface in the story of quality country music in 2014. I’ll say this until I’m blue in the face, but if you know where to look (Americana) the goods are definitely there.

Nickel-Creek-Destination10. Destination – Nickel Creek

After nine years of flexing their individual creative muscles, Sara Watkins, Sean Watkins, and Chris Thile reunited to celebrate Nickel Creek’s twenty-fifth anniversary. The time apart has only made them a stronger unit together, which boosts well for this plucky romp led by Sara’s wailing lead vocal. She’s done with her man and leaves no doubt she’s moving on to bigger and better things.

9. Frankie Please – Rodney Crowell

519z2FHhvCL._SL500_AA280_Leave it to Crowell to have the strongest opening line to any song in recent memory – ‘You tore through my life like a tornado looking for a trailer park.’ The blistering lead single from Tarpaper Sky only gets better from there, led by distinctive electric guitar and Crowell’s brilliant lyric. After 38 years in the business he proves he’s still on top of his game with no signs of slowing down.

8. I’ll Be There In The Morning – Don Williams

2468428_20140212162413_199149415The reason it’s so difficult to write an authentic love song is because the imagery has become so overdone, it borders on disingenuous parody. Simple sentiments like “You complete me” or the straightforward “I love you” have become so commonplace in our society, they mean almost nothing anymore.

Don Williams and producer Garth Fundis smartly avoid those trappings by looking forty-six years in the past and resurrecting Townes Van Zant’s elegant promise to his woman – no matter what trials and tribulations may arise on our journey, I’ll be next to you each time the sun rises to greet another day. A woman couldn’t ask more from her man and we couldn’t ask more from Williams, who imparts this wisdom as a man of seventy-five reflecting on the devotion of long-lasting love.

 7. Say You Do – Dierks Bentley

dierks-bentley-say-you-do-singleFinally back to form, Bentley leaves alcohol and frat parties in the dust for a melancholy ballad about a man pleading with the woman who won’t commit to their relationship, even after he begs her to ‘let those words roll off your tongue.’ He’s willing to do whatever it takes – buy her drinks, force her to lie, heck he wants her to lead him on – but she just won’t budge. Bentley hasn’t been this satisfying in years.

 6. Talladega – Eric Church

PrintAn epic ballad about the bonds of friendship set over a weekend at an empty NASCAR track, “Talladega” expertly illustrates Church’s storytelling prowess through Jay Joyce’s delicate production. When Church is on, there isn’t a more interesting or enjoyable male country singer scoring major hits today.

5. Meanwhile Back At Mama’s – Tim McGraw Featuring Faith Hill

 Tim-McGraw-Meanwhile-Back-At-MamasYou have to go back seven years to find Tim McGraw’s last truly outstanding single, the military-inspired “If You’re Reading This.” After years of screaming for relevancy he surrenders the fight and returns to form with a gracefully constructed lyric about home and the important role of family in our lives.

4. California – Radney Foster

RF.EISHS-11I couldn’t have willed this song to exist if I tried. ‘Can’t you hear California calling your name? A siren song, once you hear it, you’ll never be the same.’ Those nineteen words sum up exactly how I feel about the Golden State since visiting there repeatedly over the past few years. Foster has composed a stunner – part love story, part tourist battle cry.

600x600 3. The Trailer Song – Kacey Musgraves

 Kacey Musgraves’ genius lies in her ability to craft songs that on the surface seem littered with country clichés but are actually witty commentaries about the state of society as a whole. The two women depicted here may live in a trailer park, but they’re no different than any bickering neighbors setting up lives in suburbia. We all have that nosy neighbor, the one we wish would stay on their side of the fence and keep those damn mini-blinds closed.

2. What We Ain’t Got – Jake Owen

2522282_20140722163600_696746334Even as far back as six years ago, country singers abided by the cardinal rule – balance. For every uptempo ditty, artists would release a slice of substance to give themselves credibility. That concept, thank goodness, hasn’t been lost on Owen. “What We Ain’t Got” is a classic example of the kind of song that would’ve been all over 90s country radio.

Without a dousing of steel, it’s an almost perfect record about humans innate nature to always be searching for something that leaves us only wanting more. The almost non-existent production allows Owen to lay down a powerfully naked vocal that hits the listener like a sermon to the soul. Kudos to Travis Meadows and Travis Jerome Goff for pulling off the near impossible and Owen for driving it home like he should.

1. Automatic – Miranda Lambert

MirandaLambertAutomaticThe lead single from Platinum and CMA Single of the Year winner is without a doubt my favorite single of the year and easily a contender for one of the strongest country singles of the decade. Lambert, Nicolle Galyon, and Natalie Hemby have crafted a brilliant anthem capturing a shining testament to the days before social media, cell phones, and binge-watching overtook our lives.

There’s very little soul left in our modern world, a fact Lambert is thankfully self-aware enough to take to task. Even as a millennial, I’ll be 27 on Dec 31, I’m dying to get back to a time when media had half a brain and country music wasn’t run by rap influenced hooligans shamelessly flaunting their tatted up arms in tight wife beaters. The class is gone and without it, there’s nothing left. Lambert may have tamed her aggression, but she isn’t done standing up for what she believes in.