My Kind of Country

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Tag Archives: Frank Liddell

Album Review: Kellie Pickler – ‘The Woman I Am’

picklerI wasn’t terribly impressed with Kellie Pickler when she first arrived on the scene and quickly wrote her off as a marginal talent without a lot of staying power. I was forced to reassess my opinion of her with the release of last year’s surprisingly good 100 Proof, which found her eschewing the trappings of contemporary country in favor of a more traditional sound. Predictably, 100 Proof’s singles received little support from radio and the album sold poorly. Pickler’s contract with BNA Records was terminated shortly thereafter, and I figured that the artistic growth she showed on 100 Proof was just a one-off. But once again Pickler proved me wrong. She signed with Black River Entertainment last fall, and The Woman I Am, her first album for the indie imprint, was released just this month.

Like 100 Proof, The Woman I Am was produced by Frank Liddell and Luke Wooten. Unlike 100 Proof, it is aimed squarely at a mainstream audience, serving notice that though Kellie may no longer be a major label artist, she still has her eye on the charts. I’ve made no secret of the fact that I consider most of today’s mainstream releases unlistenable, but I was pleasantly surprised at how much I enjoyed this album. It has a couple of weak songs and some questionable production choices at times, but from beginning to end it maintains a semblance to actual country music and never dissolves into the lackluster Lite-FM sound that mars so much of today’s country music.

Two singles have been released so far. “Someone Somewhere Tonight” is a decent ballad that I probably would have liked a lot more if I’d never heard Pam Tillis’ version. The uptempo “Little Bit Gypsy” is Kellie’s current single. I quite enjoyed this one, despite the slightly cluttered nature of the production towards the end. Sadly, neither single has garnered much attention from radio. I don’t know how aggressively Black River will continue to promote this project, but there are several other worthy contenders for future single release.

Hell hath no fury like a woman scorned, and Pickler is no exception as she opts to hock her engagement ring rather than return it to her two-timing ex-fiance in “Ring For Sale”, which was written by Jim Beavers and Chris Stapleton. “Bonnie and Clyde”, on which Kellie shares a co-writing credit with Kyle Jacobs and Liz Rose, is also quite good, despite a somewhat heavy-handed “Indian Outlaw” like arrangement. It is the ballads, however, on which Pickler truly shines, particularly on the lovely title track, which she also co-wrote, and “Tough All Over”, a Gary Nicholson and Leslie Satcher composition and not the 1990 Shelby Lynne song of the same name. “Buzzin’” is pleasant but lyrically shallow, and “No Cure For Crazy” quickly disintegrates into a too loud and too cluttered sonic mess.

The Woman I Am isn’t an outstanding album, but it is a very good one that proves that 100 Proof wasn’t just a fluke and that there is more substance to Kellie Pickler than one might have guessed based upon her first two albums and the dumb blonde shtick she engaged in at the time. The Woman I Am deserves a listen, even if like me, you weren’t a huge fan of Kellie’s early efforts.

Grade: B+

Album Review: Pistol Annies – ‘Annie Up’

pistolannies2011′s Hell on Heels, the first Pistol Annies effort, was a surprise hit despite receiving little promotion from either radio or its label. The title track and non-charting single earned gold certification and the album itself sold over 400,000 units. So it was perhaps inevitable that a sequel would follow what once seemed like a one-off project. Producer Frank Liddell is back on board, joined this time by Chuck Ainlay and Glenn Worf. The Annies themselves — Miranda Lambert, Ashley Monroe and Angaleena Presley wrote all of the album’s songs.

Like the first album, Annie Up is full of tell-it-like-it-is, redneck attitude, and while this was a breath of fresh air amongst the bland and soulless music dominating the airwaves in 2011, it occasionally comes across as a bit contrived this time around. The trio seems at times to be at risk of becoming a caricature of itself, a la Gretchen Wilson, which would be a shame because collectively and individually, the members of Pistol Annies are far too talented to be written off as a one trick pony.

The opening track “I Feel A Sin Comin’ On” gets the album off to a good start. The song begins with an a cappella arrangement, and my initial reaction was one of relief that this wasn’t another one of those overly-loud numbers that seem so popular these days. Then, about two thirds into the song, a very loud and intrusive electric guitar enters into the mix, almost drowning out the vocals. The loudness continues into the second track and current single, ironically titled “Hush, Hush”. This is my least favorite track on the album, but it is also its most commercial, making it a wise choice for a single. It is currently on the verge of becoming the group’s first Top 40 hit. Also plagued by cluttered and too-loud production is “Loved By A Workin’ Man”, a decent song that would have been better served by a quieter arrangement.

Much more to my liking were the quieter numbers, particularly “Being Pretty Ain’t Pretty”, a nice steel guitar-laden lament about the tedious and sometimes labor-intensive effort the female sex must make in the name of beauty and “Unhappily Married”, a bleak and tongue-in-cheek (I think) look at the downsides of marriage. “Don’t Talk About Him, Tina”, a Lambert-led number advising a friend that she’s better off without her unreliable love interest, sounds like it has hit single potential. “Dear Sobriety”, one of the collection’s more serious efforts, is told from the point of view of an addict struggling to overcome her dependence on pills and alcohol. It is an excellent song but it is probably too politically incorrect in today’s environment to be considered for a single release. It is followed by the light-hearted “Damn Thing”, which provides a much-needed change of pace.

The album closes with “I Hope You’re The End Of My Story”, which is my favorite track. It is a quiet acoustic guitar-led affair that allows the trio’s beautiful harmonies to shine. I’d like to hear more of this side of Pistol Annies and a little less redneck woman the next time around.

Overall, Annie Up is a very solid album, despite a few production missteps, but it doesn’t quite rise to the level of Pistol Annies’ debut effort. Nevertheless, fans of the first album will find much to enjoy here and it is definitely worth checking out.

Grade: B+

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.

Album Review: Kellie Pickler – ’100 Proof’

For some years, former American idol contestant Kellie Pickler has been saying encouraging things about her interpretation of country music, but not backing them up with her music, with her first two albums being somewhat over-produced pop-country efforts with average material and processed vocals. At last she has come through with something really worth hearing. She has obviously worked on her singing as well, and makes the most of a voice which is nice enough but not outstanding. Frank Liddell and Luke Wooten support her vocals infinitely better than her previous producers. There is a lot of variety in tempos and styles here, ranging from very traditional to more contemporary but recognisably country.

The voice and artistry of one of my favourite current songwriters, Leslie Satcher, underpin the vision of this record. She wrote or co-wrote five of the eleven tracks, including the first two singles, and anyone familiar with her own excellent records will recognise the style here. Underperforming lead single ‘Tough’, written especially for Kellie, about a rough-edged girl, has an energetic beat and I would have expected it to do better than a #30 peak, which is an ominous sign for the commercial prospects of this project, but despite its pedigree it is one of the less stellar songs. The title track and current single ‘100 Proof’ is a tender love ballad with a pretty tune, written by Satcher with James T Slater. The protagonist compares her own experience of true happiness with those she sees in a bad relationship.

The best of Satcher’s compositions here is ‘Where’s Tammy Wynette’ which opens the set. It is an excellent, pure country song, written by Satcher with Jimmy Ritchey and Don Poythress, from the point of view of the lonely wife of a man “torn between neon lights and home”, and searching for wisdom in Tammy’s music. On this track in particular Kellie’s vocal inflections are highly reminiscent of writer Leslie Satcher’s stylings. Leslie co-wrote a couple of the songs with Kellie. The rhythmic banjo-led ‘Unlock That Honky Tonk’ is pretty good, and sung with aggressive attack once more reminiscent of Satcher, with ex-SteelDriver Chris Stapleton’s backing vocals evident. However, the ballad ‘Turn On The Radio And Dance’, while not unpleasant, is forgettable filler.

Kellie also had the opportunity to co-write with Dean Dillon (another of my favourite writers) and Dale Dodson; this threeway partnership produced a bruised reflection on the end of a love affair , where she says she’ll be alright ‘Long As I Never See You Again’. This is a fine, downbeat song which grows on repeat listening. They also worked together on the therapeutic In ‘The Letter (To Daddy)’, an incredibly personal open letter to Kellie’s father, whose addiction-fueled crimes led him to spend most of his daughter’s childhood in prison, but, according to this song, has found sobriety. This is rather touching and definitely a highlight.

She has addressed her difficult family background before, with her early single ‘I Wonder’, addressed to the mother who, unable to cope, abandoned her to the care of her grandparents, and those emotions are revisited here. ‘Mother’s Day’, written by Kellie with her husband, Kyle Jacobs, is gentle and rueful as she broods on the absence of her mother from her childhood, and speculates about becoming a mother herself. To be perfectly honest, although this is a more mature reflection, delivered with a delicate vulnerability which shows the pain of that early abandonment has still not left Kellie, the song is not as emotionally immediate as the emotionally rawer ‘I Wonder’ on her debut album.

She also contemplates babies in the not-too-distant future in ‘Rockaway (The Rockin’ Chair Song)’, a pleasant and more contemporary sounding song about domestic happiness which she wrote with Brent Cobb and Barry Dean, and which one assumes is addressed to Jacobs. It’s quite a slight song, but is soothing and attractively melodic.

My favourite song by far is the fantastic and very traditional country ‘Stop Cheatin’ On Me’, written by Chris Stapleton, his wife Morgane Hayes, and Liz Rose. Paul Franklin’s steel slides under Kellie’s deceptively sweet vocal, as the lyric pays off with an ultimatum:

Stop cheatin’ on me – or I’ll start cheatin’ on you

This would have been a smash hit in the 70s. Today’s country radio wouldn’t touch it, which is a sad indictment.

I also enjoyed the upbeat ‘Little House On The Highway’, written by Rodney Clawson and Natalie Hemby, about the traveling life.

Overall, this was a surprisingly enjoyable release from an artist for whom my expectations were limited. I hope it does well for her.

Grade: A-

Spotlight Artist: Lee Ann Womack

Lee Ann Womack was born in Jacksonville, Texas, in 1966. Her part-time DJ father encouraged her interest in country music as she grew up. After attending South Plains Community College for a year, where she studied singing country music and sang in the college’s band Country Caravan, she moved on to Belmont College in Nashville where she studied music business and made her first contacts with MCA as an intern, whilst honing her skills as a singer and songwriter. She dropped out of college to marry fellow singer/songwriter Jason Sellers in 1990 and give birth to their daughter Aubrie Lee a year later. This marriage did not last, ending in divorce in 1997, and in 1999 Lee Ann married producer Frank Liddell, with whom she had another daughter.

In 1995 she signed a publishing deal with Tree as a songwriter, and a year later got a recording deal with Decca Records. Her debut album was an immediate success, and launched her as one of the artists most rooted in traditional country music at a time when more pop-influenced artists were dominating the airwaves. She was named the Academy of Country Music’s Best New Female Vocalist. Ex-husband Jason also got a record deal (with BNA) at roughly the same time, but his career failed to take off.

Lee Ann transferred to sister label MCA when Decca closed its door in 1999. Her music was to become more contemporary over the next few years, particularly after she enjoyed a monster hit in the form of the inspirational ‘I Hope You Dance’ in 2000, which swept the wards, winning the CMA and ACM Single and Song of the Year awards, and a Grammy for Best country Song. The song’s crossover success introduced her to a new audience, and brought opportunities including the chance to sing at the award of the Nobel Peace Prize. In 2001 she was CMA Female Vocalist of the Year. However, her fans were disappointed with the direction her music was taking, and her career began to decline.

In 2005 she made a triumphant return to traditional country music with the deliberately retro sound (and artwork) of There’s More Where That Came From, harking back to the glory days of Tammy Wynette in the 1970s, with a selection of material heavy on the cheating songs which had fallen out of favour with country radio in recent years as the industry concentrated on more ‘family friendly’ content and the positive up-tempo numbers ironically decried by Alan Jackson. The album was named the CMA Album of the Year. Three years later she released her most recent album, 2008’s critically acclaimed Call Me Crazy. Her fans have been waiting too long for new music, with the exception of odd tracks like 2009’s rather disappointing single ‘There Is A God’ and the superb ‘Liars Lie’ on the Country Strong soundtrack. However, rumor has it she has been back in the studio and is looking to make a comeback in 2012.

Although she has only released six studio albums and one Christmas album, with patchy singles success of recent years, Lee Ann Womack has had a remarkable impact on the genre. She is widely regarded as the standard bearer for traditional country among female singers on major labels, and as one of the finest singers in country music regardless of sub-genre. She is in demand to duet with or sing harmony on records by artists of the caliber of George Strait (CMA Vocal Event of the Year ‘Good News, Bad News’) and Alan Jackson (‘Til The End’).

Although she is a favorite of the MKOC writers, we haven’t picked Lee Ann as a Spotlight Artist before now because we’d been hoping that we could tie it in with a new album release. Although I understand she should have a new album released next year, we just couldn’t wait any longer. So over this month we’ll be mixing up our end-of-year coverage with a look at the music of Lee Ann Womack.

Some hidden treasures of 2010

I restricted my top 10 singles list for the year to tracks which were formally released as singles, but a lot of the best music of the year was hidden away on albums. So to finish up our review of the year in country music, here are my favorite tracks from albums released this year. I’ve restricted the selection to one per artist (not counting duets), and I’ve excluded the albums which made it to my top 10 albums list to avoid too much duplication and to prevent the list being too long.

20. Trace Adkins – ‘Still Love You’ (Cowboy’s Back In Town)
Moving to Toby Keith’s label seems to have encouraged the talented but often artistically misguided Trace Adkins to give in to his worst instincts, but there is still some decent material on his latest album. This ballad swearing enduring love (written by love song specialist Jeff Bates with Robert Arthur and Kirk Roth) is a little heavily orchestrated, but has a great, understated vocal from one of the best voices around. It’s a shame the rest of the album wasn’t up to the same standard.

19. Gretchen Wilson – ‘I’m Only Human’ (I Got Your Country Right Here)
Gretchen has just scored an unexpected Grammy nomination for ‘I’d Love To Be Your Last’ from her self-released I Got Your Country Right Here, prompting general bewilderment from country fans online. But while that track isn’t bad, this song is rather better, a plaintive bar-room tale of a woman trying to resist the temptation of dalliance with a married man, which Gretchen wrote with Vicky McGehee, Dave Berg and Rivers Rutherford.

18. Jon Wolfe – ‘Play Me Something I Can Drink To’ (It All Happened In A Honky Tonk)
If you think Easton Corbin sounds like George Strait, you need to check out the Strait stylings of Jon Wolfe on his strong independent debut album. I particularly liked this classic country style bar room song (written by Kevin Brandt and Bobby Terry) about a guy seeking to get his broken heart temporarily cured by whiskey and a jukebox stocked with Hank and Jones.

17. Jamie Richards – ‘Half Drunk’ (Sideways)
A great song from a Texas-based artist about trying to get over an ex by drinking, but running out of money halfway through.

16. Miss Leslie – ‘Turn Around’ (Wrong Is What I Do Best)
A lovely steel-led heartbreak ballad written by honky tonker Miss Leslie herself, but sounding as though it could be a forgotten classic from the 60s.

15. Shawn Camp – ‘Clear As A Bell’ (1994)
This lovely song was my favorite from Shawn’s “lost” album which was resurrected from the Warner Bros vaults this year.

14. Zac Brown Band – ‘Martin’ (You Get What You Give)
Jamey Johnson personified a guitar in the title track of The Guitar Song, but Zac Brown sang a love song about one on their latest release. Charming and unusual.

13. Gary Allan – ‘No Regrets’ (Get Off On The Pain)
I’ve been disappointed by Gary’s musical direction over the past couple of albums, but the heartbreaking honesty of this touching song expressing his feelings about his late wife (which he wrote with the help of Jon Randall and Jaime Hanna) was a reminder of his excellent early work.

12. Jolie Holliday – ‘I’ll Try Anything’ (Lucky Enough)
A gorgeous cover of a sad song previously recorded by its co-writer Amber Dotson about struggling to cope with lost love. I can’t find a link for you to listen to the studio version, but here she is singing it live (after a nice version of ‘San Antonio Rose’. And as a bonus, here she is singing ‘Golden Ring’ live with Randy Travis.

11. Curly Putman – ‘Green Green Grass Of Home’ (Write ‘Em Sad – Sing ‘Em Lonesome)
The songwriter’s own version of his classic prisoner’s dream is as convincing as any version I’ve herd of this celebrated song.

10. Toby Keith – ‘Sundown‘ (Bullets In The Gun, deluxe version)
Toby is always a bit hit and miss for me, but this surprisingly restrained live version of the sultry folk-country classic is a definite hit.

9. Darin & Brooke Aldridge – ‘The Last Thing On His Mind’ (Darin & Brooke Aldridge)
I loved this husband and wife team’s sweet bluegrass album and this somber Easter song (written by Dennis K Duff) was the highlight for me.

8. Teea Goans – ‘I Don’t Do Bridges Anymore’ (The Way I Remember It)
Teea Goans’ retro independent release featured this lovely classic-styled ballad, written by Jim McBride, Don Poythress and Jerry Salley. Her voice is sweet but not that distinctive, but this breakup song is definitely worth hearing.

7. Catherine Britt – ‘Sweet Emmylou’ (Catherine Britt)
The Australian singer’s latest album was a bit hit and miss for me, but there were some very strong moments, including Catherine’s lovely version of her tribute to the healing power of the music of Emmylou Harris, which she wrote some years ago with Rory Feek. It has been released as a single in Australia.

6. Bill Anderson – ‘The Songwriters’ (Songwriter)
My favorite comic song of the year is the legendary Bill Anderson’s celebration (more or less) of songwriters’ lives, complete with the protagonist’s mother’s preference for a career as drug dealer for her son. Bill isn’t much of a singer, but this song (co-written with Gordie Sampson)is irresistible.

5. Randy Kohrs – ‘Die On The Vine’ (Quicksand)
One of the first songs to grab my attention this year was this lovely song warning a son against taking refuges from trouble in alcohol, written by famed dobro player and songwriter Randy Kohrs with Dennis Goodwin.

4. James Dupre – ‘Ring On The Bar’ (It’s All Happening)
I loved this sensitively sung low-key mid-tempo Byron Hill/Brent Baxter song about a man trying to figure out what happened to his marriage from youtube discovery James’s independent debut album, produced by Kyle Lehning.

3. Lee Ann Womack – ‘Liars Lie’ (Country Strong soundtrack)
I’m beginning to get impatient for a new album from Lee Ann, and this soundtrack cut has really whetted my appetite. This excellent song, written by Sally Barris, Morgane Hayes and Liz Rose, and the combination of Lee Ann’s beautiful vocals and the harmony from Charlie Pate, a pure country production (thanks to Lee Ann’s husband Frank Liddell and Chuck Ainlay), and a fine song make this a sheer delight.

2. Chris Young – ‘Chiseled In Stone’ (Voices EP)
Song for song, this young neotraditionalist’s three song EP of covers was the most impressive release of the year, allowing Chris to exercise his outstanding baritone voice on really top quality material – something sadly missing on his two full length albums. This Vern Gosdin song was my favorite of the three, but his takes on Keith Whitley’s ‘I’m Over You’ and John Anderson’s ‘Swingin’ were also great.

1. Alan Jackson ft Lee Ann Womack – ‘Til The End’ (Freight Train)
This particular treasure is not very well hidden, as although it hasn’t been released as a single it gained sufficient attention to get a well-deserved nomination as Musical Event of the Year at the recent CMA awards. This exquisite reading of another Vern Gosdin classic was by far the best thing on Alan’s latest (and possibly last) album for Arista.

Do you have any special favorite album tracks from this year which haven’t gained the attention they deserve?

Album Review: ‘Country Strong’ soundtrack

The newest country-themed film, Country Strong is due out next January, with an early release just before Christmas in Nashville and LA. The music is much more mainstream than it was in Crazy Heart, the last such movie, and indeed two singles are currently in the lower reaches of the country charts. The tracks are all new recordings, some from actors in the film, others from a selection of country artists. A variety of producers have been used, and the music ranges from traditional to pop country.

Actress Gwyneth Paltrow, who plays a successful country singer in the movie, sings four of the songs. Her singing is perfectly competent, if a little colorless; it’s hard to say without seeing the film whether this is in character with the part she’s playing. The theme tune is one of the two radio singles. It’s a pleasant enough generic contemporary song, produced by Byron Gallimore, which makes it perfectly convincing as a hit single. Vince Gill and Patty Loveless sing backing vocals but are too far back in the mix to be heard. ‘Coming Home’ is a rather boring and awkwardly phrased pop-country ballad written by Bob DiPiero, Tom Douglas, Hillary Lindsey and Troy Verges, and drowned in strings. Gwyneth rocks out Gretchen Wilson-style in ‘Shake That Thing’ (written by Mark Irwin, Josh Kear and Chris Tompkins), and while this is yelled and tuneless, it should be pretty convincing in the context of the movie. She duets with Tim McGraw (who also has a role in the film) on the breakup-themed rock ballad ‘Me And Tennessee’, written by Paltrow’s real-life rock star husband Chris Martin, who also plays acoustic guitar on the track.

Oddly, McGraw does not get any solo cuts here; maybe Curb wouldn’t allow it. Starlet Leighton Meester (best known for her TV role in Gossip Girl) covers a Rascal Flatts song, ‘Words I Couldn’t Say’, which is less histrionic than the original, but not particularly interesting, and Leighton’s vocals sound rather processed and like a slightly more tuneful Taylor Swift. The best of the actors’ songs is the gruff-voiced Garrett Hedlund who is very effective on ‘Chances Are’, a very good song written by Nathan Chapman, Lori McKenna and Liz Rose, and produced by Frank Liddell and Luke Wooten. I understand Hedlund’s role is as a singer-songwriter, and he certainly sounds the part here on this drawled, half-rueful confession of a man’s inadequacies:

I used to give a damn
I used to try real hard but I’ll give in tonight, chances are
One foot on the narrow way and one foot on the ledge
Sifting through the devil’s lies for what the Good Book says
If I’m going anywhere
I’ll probably go too far
Probably away from you, chances are

This track was the real surprise package on this record.

Country fans will be most interested in the new tracks from established artists. We’ve already heard Sara Evans’ latest single, ‘A Little Bit Stronger’, a pleasant but rather bland positive ballad about coping with adversity, which has grown on me since it was first released as the lead single for both this album and Sara’s long-awaited next solo album (said to be entitled Stronger and possibly now due early next year). Her voice at least sounds lovely on this Tony Brown-produced and Luke Laird/Hillary Lindsey/Hillary Scott-penned number. Like Sara, Faith Hill has been silent for some time, and returns here with a forgettable AC-leaning ballad, ‘Give In To Me’, produced by Jay Joyce, which is soothing and sounds as though it will be background music for a love scene, and goes on a bit too long.

Chris Young and Patty Loveless team up on a duet written by Marv Green and Troy Olsen, and was produced by James Stroud, which must have been the original theme song. ‘Love Don’t Let Me Down’ was the original title for the movie, and it is a decent song, but not a particularly memorable one. It feels like a waste of this pairing of two of the best voices in country music. Trace Adkins reminds us he really can sing well on the reflective Natalie Hemby/Troy Jones song ‘Timing Is Everything’. Nicely produced by Kenny Beard with some lovely fiddle from Larry Franklin, this fine song about the role of chance in our lives is sensitively interpreted by Trace, and rather better than most of the material on his current album.

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CMA award nominees, 2010: setting the stage

It’s awards time again, with this year’s CMA awards being announced next week. We’ll share our predictions on Monday, but meanwhile here’s a reminder of who is nominated and why. The nominations this year have a few new faces showing up in unexpected places. The big questions of this year’s show will be whether Miranda Lambert will dominate the night as she has the nominations list. Whatever happens, outraged fans are likely to complain that their favorite has been “snubbed”, or someone else has won undeservedly.

Entertainer of the Year
Lady Antebellum
Miranda Lambert
Brad Paisley
Keith Urban
Zac Brown Band

Last year’s controversial winner Taylor Swift was snubbed altogether in this category this year – perhaps partly because of the backlash after her clean sweep last time, but also because she released little during the nomination period. Instead, the category sees no less than three first-time nominees: critical flavor of the month Miranda Lambert (who leads nominations overall), and the two hottest bands of recent years, Lady Antebellum and the Zac Brown Band, who are among the few current artists to be selling in the millions. They join Keith Urban (the only former winner to be in the running this time) and our own current Spotlight Artist Brad Paisley, who has been nominated every year since 2005 but is so far without the trophy.

Male Vocalist
Dierks Bentley
Brad Paisley
Blake Shelton
George Strait
Keith Urban

Brad Paisley has won this award for the past three years, and Keith Urban took it home for the three years prior to that. Both men are still scoring regular #1 hit singles and selling well, but is it time for another change at the top? There are two first-time nominees, Dierks Bentley, rewarded by the CMA for his artistic ambition even though country radio has been reluctant to embrace the singles from his bluegrass-inspired Up On The Ridge, and Blake Shelton, who is becoming a regular fixture at the top of the charts. The evergreen George Strait, meanwhile, seems to be nominated virtually every year, but hasn’t won since 1998 (his third year in a row – he also has a couple of trophies from the 80s).

Female Vocalist
Miranda Lambert
Martina McBride
Reba McEntire
Taylor Swift
Carrie Underwood

Last year’s winner Taylor Swift gets another nod, recognizing her commercial preeminence despite a series of woeful live TV performances – including at last year’s CMA awards show. She faces pop-country queen Carrie Underwood and Miranda Lambert, who had a massive breakthrough this year, and is the only one of these ladies to be nominated in the Entertainer category. Reba McEntire, the oldest nominee, is still contending on the charts, but the fifth nominee, Martina McBride, seems to be merely filling out the category, as she has not had a good year commercially or critically.

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When is a singer-songwriter not really a singer-songwriter?

These days we often see singers signed to a major label getting credit on a high proportion of songs they record, usually credited alongside one or more full-time songwriters. While some of these are no doubt genuine contributions, it appears that in some cases the artist’s contribution is minimal.

In a fascinating recent article (linked to on Wednesday by the 9513) on the decline of solo-written songs in Nashville, the songwriter Craig Wiseman is quoted saying:

“There are a lot of artists co-writing now with professional writers, and in some ways I applaud that. Sometimes, though, the motivations aren’t quite so pristine. As the business has been decimated, money and how to get money has permeated every aspect of it. Most of the time — not all of the time — when you have three people or more in a room, one of them is an artist who is there to ensure the cut.”

Peter Cooper, author of the article in question, goes on to say,

There are times in Nashville when an artist sits in such a room, says, “I had a bad date last week” or “I get sad when it rains,” and then watches as the two professionals do the bulk of the work on a song that will, when released, be credited to all three.

I am sure this pernicious practice does not apply to all artists who write, and I am cautious about casting suspicion publicly on named individuals for the reasons stated above. It is certainly not new for songs’ true authorship to be concealed. In the 50s it was not uncommon for songs to be bought and sold outright. The unscrupulous publisher and label boss Bill McCall got his name (or, rather, that of a pseudonym) on a number of the songs he published – and then made his artists record them. As we saw during our coverage of Patsy Cline in January, that could be damaging to an artist’s career.

Frank Liddell, Miranda Lambert’s producer and Lee Ann Womack’s husband, is quoted in a follow-up piece saying,

I think perhaps the real problem we face today is the quality of the writing abilities of some of the people out there in these co-writes. There have always been politics in this business and there has always been bad music and marginal songwriting. This is nothing really new. But it does seem that there are a lot of great writers out there whose work is being overlooked because they really don’t know how to play the game. I also think a lot of artists are encouraged to write for financial reasons that would be better off recording outside songs.

Meanwhile another recent comment on the same lines came from veteran songwriter Bobby Braddock, noting,

“A lot of times when people co-write, one will often write more than the other”

It would be unfair to name names suspected of coasting on their “co-writers”’ coat tails (and depriving them of their full compensation) simply because if you aren’t there in the room, you don’t know what’s actually gone on. It would be wrong simply to tar all artists with the brush of suspicion, as many do actually turn out to be good songwriters. All those singer who turned to a songwriting career after putting their own dreams of stardom aside, who we looked at last week, obviously had the skills required, and the same must be the case for some of those still successfully performing.

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Album Review: David Nail – ‘I’m About To Come Alive’

I'm About To Come AliveMissouri’s David Nail has been on the fringes of success for a while. He first saw chart action back in 2002, when his Mercury single ‘Memphis’ failed to gain traction, faltering outside the top 50, and David was unceremoniously dropped, leaving an unreleased album (produced by Alan Jackson’s producer Keith Stegall) to languish in the vaults. David gave up music for a while, but unlike many artists in his position, he was lucky enough to get a second chance when MCA signed him.

Unfortunately, I don’t like I’m About To Come Alive at all, for two reasons: the production (by Frank Liddell and Mike Wrucke), which is surprisingly heavy-handed, and David’s voice, which has a slightly nasal tone I just can’t warm to, as well as sounding highly processed at times. The overall feel of the album is Rascal Flatts meets James Otto, a comparison underlined by the presence of a song co-written by Gary LeVox, ‘Summer Job Days’, which sounds like a Rascal Flatts reject. This probably means David has a genuine shot at radio and sales success. He is currently basking in the success of his very first top 30 hit, ‘Red Light’. This is not a bad song (co-written, incidentally, by another up and coming artist, Jonathan Singleton), and I would probably like it in the hands of a more compelling vocalist. Sadly, I don’t feel an emotional connection in David’s version, or believe him when he sings about his world crashing down.

The album was originally due to be released this time last year, but was delayed when the lead single, the title track, failed to catch on with radio programmers. It’s a cover of an alt-rock song, and not a very interesting one, with no country elements I could detect in either the music or the production. Indeed, it is evident from the opening track, the pretty piano-led homesick ode to ‘Mississippi’ (which has one of David’s better vocals), that this is far from a traditional country record, and it stays in much the same vaguely soulful groove throughout. ‘Mississippi’ is written by Scooter Carusoe, David Colehour and Chuck Leavall.

Carusoe seems to be a favorite writer for David, and the pair collaborated on two songs here, of which ‘Again’, a nostalgic look back at youth, is the better. ‘Clouds’ was less interesting. Carusoe also wrote ‘Turning Home’ with Kenny Chesney; this one starts out as a pleasant ballad with piano-dominated backing, with one of David’s more emotionally convincing vocals, but halfway through the production gets out of hand and completely overwhelms the song.

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