My Kind of Country

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

Tag Archives: Jamie Floyd

EP Review: Jamie Floyd – ‘Sunshine & Rainbows’

sunshine & rainbowsOne of my favourite songs last year was the wonderful ‘The Blade, as recorded by Ashley Monroe. I was intrigued to learn that Jamie Floyd, one of the song’s writers, was releasing her own version as part of a six track EP. Ms Floyd has a warm alto voice which is not as sweet or vulnerable as Ashley’s, but is still attractive. As a precocious child singer she had a record deal at the age of 11 which went nowhere, and now combines her songwriting career with waitressing.

Her version of ‘The Blade’ is hushed and emotional, and does justice to the song, although it doesn’t quite match the Monroe version, it’s still an excellent performance of one of the best songs of recent years, and well worth tracking down.

Almost as good is ‘The People You Knew’, which she wrote with Lori McKenna. This delicate piano-led ballad is wistfully sad about losing touch with a former best friend:

I can’t explain it but the world changed
You slipped away

The appealing title track, a co-write with Shannon Wright, has a gentle melody and a philosophical approach to life and loss. This is another lovely track, and eminently coverable – it would be ideal for Ashley Monroe.

Unfortunately I did not care for Jamie’s musical choices on the remaining tracks.

‘The Devil Don’t Live In Georgia’ has an arresting title and is a good song with a sultry Southern Gothic blues feel, but the production on Jamie’s vocal is electronically distorted in such a way that it is unlistenable for me. ‘Hey Love’ offers similar treatment to a boring pop song; I disliked this intensely. ‘Casino’ was written with former pop-country singer Jennifer Hanson and Lucie Silvas, a British born pop singer-songwriter who is now based in Nashville and married to a member of the contemporary country duo the Brothers Osborne. It is another pop/rock tune which isn’t my cup of tea but I found it less offensive to my ears than the other two.

So this album of two halves falls into the hard to grade territory: I’ll average it at B-.

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Occasional Hope’s top 10 singles of 2015

law 2015Country radio may be going from bad to worse with the arrival of the likes of the obviously non-country Sam Hunt, but there have been some superb singles released this year, particularly from female artists. A few of them have even made an impact on radio, proving there is still hope. Among the singles that just missed the cut for my top 10 were the charming first two singles from Kacey Musgraves’ second Mercury album – ‘Biscuits’ and ‘Dime Store Cowgirl’; Sunny Sweeney’s dead-marriage duet with Will Hoge, ‘My Bed’; and Chris Young’s sexy ‘I’m Comin’ Over’.

10. Jon Pardi – ‘Head Over Boots’
Sunny and catchy – this is country rock done exactly right. It’s currently working its way into the top 40.

9. Chris Stapleton‘Nobody To Blame’

Singer-songwriter Chris Stapleton’s unexpected triple victory at this year’s CMA Awards was the pleasantest surprise I’ve had at an awards ceremony in years. Showing why he deserved it, his November single release is an excellent song imbued with his bluesy soulful brand of country music.

burning house8. Cam – Burning House
I hear Camaron Ochs as more folky pop rather than a country singer at heart, but I’ve really liked her two 2015 singles, the upbeat ‘My Mistake’ (about embarking on a one night stand with no regrets), and the gentle melancholy of ‘Burning House’. The haunting melody makes this my favourite of the two, and for a change radio agrees with me, as this has proved to be her breakthrough, with the track at #11 on the country radio chart as of early November. Her debut album is due this month.

shut up and fish7. Maddie & Tae – ‘Shut Up And Fish’
An irresistibly catchy tune from the effervescent duo, which uses its comic trappings to dress up a serious message about sexual harassment.

6. Jason James‘I’ve Been Drinkin’ More’
Perhaps the most obscure of my top 10 singles is this solid barroom shuffle, which sounds like a forgotten county classic:

I’ve been drinkin’ more
Since you’ve been lovin’ me less

5. Jana Kramer – ‘I Got the Boy’
Disappointingly the album it heralded turned out to be otherwise terrible, but I still like Jana Kramer’s mature reflection on the passing of teenage romance, written by Connie Harrington, Tim Nichols and former child TV star Jamie Lynn Spears. Her vocal ability may not stand up to the other women who made my top 10 this year, but on this song at least, she has an appealing warmth. It was another genuine hit, and is still rising.

4. Trisha Yearwood‘I Remember You’
The second single from Trisha Yearwood’s 2014 mixture of hits and fine new songs, Prize Fighter, is an impeccable song, written by Canadians Kelly Archer, Ben Caver and Brad Rempel. My review said it was “as close to perfect as it gets”, and it is an exemplary example of understated subtlety in both the vocal and the production.

jamey johnson3. Jamey Johnson‘Alabama Pines’
Jamey Johnson has not been very forthcoming with new music even now that he has launched his own label. But he did share this single with us earlier this year, even initially allowing it to be downloaded free. A beautiful, steel laced melody, it looks back on his southern childhood and the dreams of a life in music who took him away.

the blade2. Ashley Monroe – ‘The Blade
For most of this year, the title track of Ashley’s latest album has been the song I’ve returned to over and over again. When I reviewed that set I called this a truly outstanding song, and my feelings have not changed. Written by Marc Beeson, Jamie Floyd and Allen Shamblin, produced by Vince Gill and Justin Niebank, and sung by the delicately vulnerable Ashley Monroe, this is a beautiful depiction of the pain of love which lasts longer on one side than the other:

That’s the risk you run when you love
When you love and you give it all you’ve got to give
Knowing all along there’s a chance
There’s a chance you’ll reach and they won’t
You’ll bleed and they don’t
For you, it’s over; for me, it’s not
I kept tryin’ and you just stopped
Now I know how you can sound so brave
Cause you caught it by the handle, baby
And I caught it by the blade

It wasn’t a hit of course – it was far too good for country radio: too country, too subtle, and too female.

1. Lee Ann Womack‘Chances Are’
I thought Ashley Monroe’s single was going to make #1 on my list until I heard late in October that Lee Ann Womack had issued the best song on her critically acclaimed 2014 album The Way I’m Livin’ as its third single. A world-wearied and desperately lonely soul still has hope for love and happiness:

Chances are I took the wrong turn
Every time I had a turn to take
And I guess I broke my own heart
Every chance I had a heart to break
And it seems I spent my whole life
Wishin’ on the same unlucky star
As I watch you ‘cross the barroom, I wonder
What my chances are

Well, I know you’ve been around
And you’ve seen what you needed to see
And at night when you’re dreamin’
You’re probably not dreamin’ ‘bout me
Oh, it’s safe to say I’ve stumbled
But I’ve managed to make it through this far
As I take one step and then another
I wonder what my chances are

I have watched the world go by
Hand in hand and wondered why
I’m still so alone
Could I lay down my foolish pride
Maybe finally find my heart a home

The band has started playing
A simple song I used to know
I take your hand and walk you out
Dance to the rhythm way down low
Every heart has got a story
Mine just has a few scars
But they could heal if you would hold me and tell me
What my chances are
Well, they could heal if you would hold me and tell me
What my chances are

I first heard this excellent song sung by its writer Hayes Carll a few years ago, but LAW’s version of this excellent Hayes Carll song is quite exquisitely beautiful: beautifully sung and interpreted like a masterclass in country music, and tastefully produced with lovely steel guitar dominating the mix. Her unexpected but well deserved nomination as the CMA’s Female Vocalist of the Year probably won’t gain her airplay for this stunning record, but it’s unmissable.

Album Review: Ashley Monroe – ‘The Blade’

the bladeAshley Monroe’s second Warner Brothers release has been among my most-anticipated albums this year. While it lacks the immediate charm of the wonderful Like A Rose, the Vince Gill/Justin Niebank-helmed set has substance and beauty which grows on repeated exposure to reward the listener. Ashley’s delicately pretty voice is perfect for the vulnerable emotions expressed in many of the songs.

Ashley co-wrote every song but one. That outside contribution is the title track, written by Marc Beeson, Jamie Floyd and Allen Shamblin. It is a truly outstanding song about the disillusonment of finding one has always loved more than one’s partner, and is now left high and dry:

I let your love in, I have the scar
I felt the razor against my heart
I thought we were both in all the way
But you caught it by the handle
And I caught it by the blade

That’s the risk you run when you love
When you love and you give it all you’ve got to give
Knowing all along there’s a chance
There’s a chance you’ll reach and they won’t
You’ll bleed and they don’t

For you, it’s over; for me, it’s not
I kept tryin’ and you just stopped
Now I know how you can sound so brave
Cause you caught it by the handle, baby
And I caught it by the blade

Gill and Niebank’s understated production perfectly backs up Ashley’s hushed vocal. The whole thing is quite stunning.

The exquisite ballad ‘Has Anybody Ever Told You’ (written with Tyler Cain) is a charming love song supported with lovely steel guitar.

Another highlight is one of two songs written by Ashley with Chris Stapleton and Jessi Alexander, the traditional country lament ‘If The Devil Don’t Want Me’, in which a broken heart fails to find comfort anywhere:

I’ve heard stories ’bout honky tonk angels
Pickin’ up pieces of broken strangers
I’m at rock bottom with a smoke and a sin
When the party is over, then I’m lonely again

If the devil don’t want me
Where the hell do I go?
If I can’t see the light
In the neon glow
If there ain’t enough whiskey
To kill the fire in my soul

This writing partnership also produced the rapid paced bluesy rock ‘Winning Streak’, backed with wild honky tonk piano, on a similar theme, down and out with not even the devil interested. This is less to my taste musically than the other song, but well written and performed.

Alexander also co-wrote the contemporary ballad ‘If Love Was Fair’ with Ashley and with Steve Moakler. Miranda Lambert joined Ashley and Jessi to write the closing track, ‘I’m Good At Leavin’’, another excellent country tune, this time about an unapologetic rambling soul and free spirit, given a Celtic style arrangement.

Justin Davis and Sarah Zimmermann of the dup Striking Matches joined Ashley to write two songs. The gently pretty ‘From Time To Time’ has a tender lullabyish mood, while the memorable up-tempo ‘Dixie’ has a retro feel and a dramatic southern Gothic storyline:

It was the mines that killed my daddy
It was the law that killed my man
It was the Bible Belt that whipped me
When I broke the Fifth Command
I don’t hate the weather
I don’t hate the land
But if I had it my way I’d never see this place again

When I cross that line, man I’ll sing a brand new song
Instead of sitting here by the railroad tracks whistlin’ Dixie all day long
And I’m so tired of paying, praying for my sins
Lord get me out of Dixie Land
Jesus’ name, Amen

When I tread out of these parts
Look me up on the other side
Cause I’ll be damned if I go down in Dixie when I die

‘Bombshell’, written with Steve McEwan and Gordie Sampson, is about facing the guilty decision to tell a lover she is leaving, and knowing there is never going to be a good time to do it. Very good indeed.

Producer Gill co-wrote ‘Weight Of The Load’, a nice song about sharing the burdens of doubt and fear. Ashley’s friend Brendan Benson of the rock band The Raconteurs helped her with the pretty folky ballad ‘Mayflowers’. The first single, the upbeat and catchy ‘On To Something Good’ is agreeable listening if one of the lighter tracks.

The one track I didn’t much care for was the repetitive minor-keyed moody ‘I Buried Your Love Alive’ (a co-write with Matraca Berg), and even this grew on me a bit.

Overall, this is a great album which should raise Ashley Monroe’s profile.

Grade: A