Country music from a fan's point of view since 2008
1959: The Battle of New Orleans — Johnny Horton (Columbia)
1969: My Life (Throw It Away If I Want To) — Bill Anderson (Decca)
1979: If I Said You Had A Beautiful Body Would You Hold It Against Me — The Bellamy Brothers (Warner Bros/Curb)
1989: If I Had You — Alabama (RCA)
1999: Please Remember Me — Tim McGraw (Curb)
2009: She’s Country — Jason Aldean (Broken Bow)
2019: Whiskey Glasses — Morgan Wallan (Big Loud)
2019 (Airplay): Eyes On You — Chace Rice (Broken Bow)
Letters From Home was John Michael Montgomery’s [“JMM”] ninth studio album, and his third released on the Warner Brothers label. Released in April 2004, JMM’s career its downhill slide. Although the album charted reasonably well (#3 country /#31 all-genres), sales were tepid and the album received no RIAA certifications. There would be one more studio album (released in 2008) that charted poorly.
In the wake of 9/11 there were many patriotic songs released, a few quite good and many being little more than jingoistic flag wavers. This album features one of the better such songs in the title track, Tony Lane and David Lee’s “Letters From Home”. This song transcends the politics of the moment with a timeless, understated, but emotionally moving portrayal of a soldier at war, whose soul scorching daily grind is eased by news from family and friends back home. The song does not mention any politicians or villains by name, so in a sense it is a universal song that could apply to any soldier at any time in our nation’s history. The song soared to #2 country and would rise to #24 on the pop charts (the best showing ever for a JMM single) and its rise on the charts is commensurate with its quality.
My dearest son, it’s almost June
I hope this letter catches up with you
And finds you well
It’s been dry
But they’re callin’ for rain
And everything’s the same old same
In Johnsonville
Your stubborn old daddy
Ain’t said too much
But I’m sure you know
He sends his loveAnd she goes on
In a letter from homeI hold it up and show my buddies
Like we ain’t scared
And our boots ain’t muddy
And they all laugh
Like there’s something funny
‘Bout the way I talk
When I say, “Mamma sends her best, y’all”
I fold it up and put it in my shirt
Pick up my gun and get back to workAnd it keeps me drivin’ on
Waitin’ on letters from home
Only one more single would be released from the album, “Goes Good with Beer” which peaked at #51. The song undoubtedly would have been a bigger hit had it been released during JMM’s heyday. As it was, it barely received any airplay in my part of the country.
Flat tire on the interstate
Too many nights of workin’ too late
Had a run in with an old memory
No, it ain’t been the best of weeksBut it goes good with beer and the Friday night atmosphere
Of this cross-town bar where the cars all get steered to
And it goes hand in hand with my
Crazy buddies and this three-piece band
And the pretty girls and the games we play and the smoke and mirrors
Yeah, troubles come, but they go good with beer, yeah, they do, yeah
I think that the mid-tempo ballad “That Changes Everything” would have made a good single, but I also think that the label regarded the title track as a fluke hit (or last hurrah), and had lost interest in JMM by this time. Moreover, JMM’s sound and production were getting more country at a time when country radio was viewing acts like Rascal Flatts and Jason Aldean as representing the epitome of country music. Billy Currington also recorded the song as an album track but I like JMM’s version better.
I said, “I know a shrimp boat captain out of Galveston”
I’ve been thinkin’ I’d go down and work for a spell
Oh, you never can tell it just might suit me fine
Spend some time out on the bay
But then there’s always cowboy work in Colorado
And I was thinkin’ that that just might be the thing
Make a little pocket change I figure what the heck
Ain’t nothin’ standin’ in my way
But then she smiled at meLooked a while at me
And that changes everything
That’s a whole “nother deal
That puts a brand new spin
On this ole rollin’ wheel
That’s some powerful stuff
That’s a girl in love
And that’s one thing
That changes everything
This is a pretty decent album, which I would give a B+. The production by Byron Gallimore and JMM features Tom Bukovac on electric guitar, Mark Casstevens on banjo, Stuart Duncan & Larry Frankin on fiddle, mandolin, Paul Franklin on steel guitar, dobro, and Glen Worf on bass among the many fine musicians utilized on the album.
Track Listing
“Good Ground” (Bill Luther, Bob Regan, Naoise Sheridan) – 4:09
“Letters from Home” (Tony Lane, David Lee) – 4:27
“That’s What I’m Talking About” (Paul Nelson, Tom Shapiro) – 3:24
“Look at Me Now” (Mike Geiger, Vicky McGehee, D. Vincent Williams) – 3:22
“Goes Good with Beer” (Casey Beathard, Ed Hill) – 4:26
“Cool” (Harley Allen, Brice Long) – 3:38
“It Rocked” (Marty Dodson, Paul Overstreet) – 3:50
“That Changes Everything” (Lane, Lee) – 3:57
“Break This Chain” (Jim Collins, Billy Yates) – 2:52
“Little Devil” (Blair Daly, Danny Orton) – 3:47
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Every Which Way But Loose — Eddie Rabbitt (Elektra)
1989: Song of the South — Alabama (RCA)
1999: Stand Beside Me — Jo Dee Messina (Curb)
2009: She Wouldn’t Be Gone — Blake Shelton (Warner Bros)
2019: Tequila — Dan + Shay (Warner Bros. Nashville)
2019 (Airplay): Girl Like You — Jason Aldean (Broken Bow)
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Why Have You Left The One You Left Me For — Crystal Gayle (United Artists)
1989: What I’d Say — Earl Thomas Conley (RCA)
1999: Stand Beside Me — Jo Dee Messina (Curb)
2009: Country Boy — Alan Jackson (Arista Nashville)
2019: Tequila — Dan + Shay (Warner Bros. Nashville)
2019 (Airplay): Girl Like You — Jason Aldean (Broken Bow)
NOTE: Occasional Hope reviewed this upon release. Paul’s view of the album appears below:
I know I’m a little late to the party in discovering this late 2017 release but I rarely listen to over-the-air country stations these days.
Other than my brother Sean, who knows my tastes in folk, jazz & pop standards (but knows little about country or bluegrass music), none of my family or friends give me music as a birthday or Christmas present. So much to my surprise, I received this CD at Christmas from a nephew of mine who claimed this to be “old style” country music. Of course, my nephew is only 18 so his idea of “old style” country might have been Rascal Flatts, Keith Urban, and Jason Aldean, whereas my definition differs considerably.
Well, it has been a really busy last few weeks for me so it wasn’t until a few days ago that I got around to popping On The Rocks into my CD player (prompted by the fact that I would see my nephew again in two weeks). Much to my surprise, I found myself listening to a real country record, one actually coming out of Nashville.
No, this is not a country record of the sort that could have been played in the classic country period (1944-1978), but it would definitely have fit into the country playlists of the period 1979 – 2005. Instead of a band whose influences were the likes of Eagles, Marshall Tucker and, James Taylor, I was hearing a band that was influenced by Alabama, Diamond Rio, Bellamy Brothers, Clint Black and perhaps John Anderson or Keith Whitley.
I do not know much about this act and perhaps they would tell you of other influences but I can definitely hear traces of the acts cited above. Moreover, this album has the sound of a country album, with prominent steel guitar, audible lyrics and, strong melodies.
Three singles were released to radio. The first single “Drinkin’ Problem” went to #3 on the US Country Airplay chart and went to #1 on Canadian Country chart. The song is an excellent low-key ballad with a good melody and nice steel guitar.
One more night, one more down
One more, one more round
First one in, last one out
Giving this town lots to talk about
They don’t know what they don’t know
People say I’ve got a drinkin’ problem
That ain’t no reason to stop
People sayin’ that I’ve hit rock bottom
Just ’cause I’m living on the rocks
It’s a broken hearted thinkin’ problem
So pull that bottle off the wall
People say I got a drinkin’ problem
But I got no problem drinkin’ at all
The second single was “Make A Little” which reached #15 and #12 respectively on the charts referenced above. The song is a mid-tempo rocker that would make a good dance floor number:
It’s a hard living, tail kicking
Trip that we’re all on, but I’m betting
We can find a little sunshine in the night
It’s a back breaking, soul taking
Road we walk, so what are we waiting for
Baby let’s turn off the lights
‘Cause girl, there’s just not enough love in the world
So we should make a little
Generate a little
Maybe even make the world a better place a little
We could turtle dove, Dixie land delight
You know it can’t be wrong when it feels so right
It all comes down to you and me, girl
There’s just not enough love in the world
So we should make a little
Then make a little more tonight
The final single was “Burn Out” which reached #11 on The US Country Airplay chart but inexplicably just barely cracked the forty in Canada. This is probably my favorite song on the album
Watchin’ cigarettes burn out
‘Til all the neon gets turned out
There’s nothing left but empty glasses now
It’s all flashes now
Smokin’ memory that ain’t nothin’ but ashes
In the low lights
These done-me-wrong songs hit me so right
I was so on fire for you it hurts how
Fast a cigarette can burn out
I think that the following two songs would have made good singles: “Electric Rodeo:”
It’s a lonely road
Two for the pain and three for the show
You put your life on hold chasin’ layaway dreams
That ain’t all they seem
With a hotel heart just tryin’ to find a spark
Electric rodeo
We’re paintin’ on our suits
We’re pluggin’ in our boots
We’re ridin’ high tonight
On Acapulco gold
And the rhinestones shine
Just as bright as diamonds
Underneath the lights
Electric rodeo
and “Out of Sight:”
Clothes ain’t in the closet, shoes ain’t under the bed
I should’ve believed her when she said what she said
“You’ll never change I know you never will”
I just sat there watching tailights rollin’ over the hill
I called her mama and I called her best friend
They said “She called it quits, so boy don’t call here again”
Up and down these streets lookin’ for her car
Tried to make it back home, but ended up at the bar
She’s gone (she’s gone, so long) never coming back
So gone (so gone, so gone) the train went off the track
And all the king’s horses and all the king’s men couldn’t put me and my baby back together again
So long (she’s gone, so long) that’s the way it goes
She’s gone (so long, so long) and everybody knows
That I’m going crazy one night at a time
She’s out of sight and I’m out of my mind
The band consists of Jess Carson (acoustic guitar & background vocals), Cameron Duddy – (bass guitar & background vocals) and Mark Wystrach (lead vocals), with all three members being involved in the writing of eleven of the thirteen songs with Carson being involved as a co-writer on all thirteen songs, with an occasional assist from outside sources. The band is supplemented by some of Nashville’s finest studio musicians with Paul Franklin and Dan Dugmore swapping steel guitar duties, often carrying the melody line.
While I do not regard any of the tracks on the album as being timeless classics, I at least liked all of the tracks on the album since I never hit ‘skip’ on any of them. If you wonder whatever happened to that good country music of my early-to-middle adulthood youth (i.e. through the late 1970s and the 1990s), then give this CD a listen. I look forward to their next album.
1958: Blue, Blue Day — Don Gibson (RCA)
1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)
1968: Mama Tried — Merle Haggard (Capitol)
1978: Blue Skies — Willie Nelson (Columbia)
1988: I Couldn’t Leave You If I Tried — Rodney Crowell (Columbia)
1998: I’m Alright — Jo Dee Messina (Curb)
2008: Should’ve Said No — Taylor Swift (Big Machine)
2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)
2018 (Airplay): Drowns The Whiskey — Jason Aldean Feat. Miranda Lambert (Broken Bow)
1958: Blue, Blue Day — Don Gibson (RCA)
1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)
1968: Already It’s Heaven — David Houston (Epic)
1978: Talking In Your Sleep — Crystal Gayle (United Artists)
1988: The Wanderer — Eddy Rabbitt (RCA)
1998: I’m Alright — Jo Dee Messina (Curb)
2008: Should’ve Said No — Taylor Swift (Big Machine)
2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)
2018 (Airplay): Drowns The Whiskey — Jason Aldean Feat. Miranda Lambert (Broken Bow)
1958 (Sales): Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)
1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)
1968: Have A Little Faith — David Houston (Epic)
1978: It’s All Wrong, But it’s Alright — Dolly Parton (RCA Victor)
1988: Cry, Cry, Cry — Highway 101 (Warner Bros)
1998: Two Piña Coladas — Garth Brooks (Capitol)
2008: I Saw God Today — George Strait (MCA Nashville)
2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)
2018 (Airplay): You Make It Easy — Jason Aldean (Broken Bow)
1958 (Sales): Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)
1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)
1968: The Legend of Bonnie & Clyde — Merle Haggard (Capitol)
1978: It’s All Wrong, But it’s Alright — Dolly Parton (RCA Victor)
1988: It’s Such A Small World — Rodney Crowell and Rosanne Cash (Columbia Nashville)
1998: You’re Still The One — Shania Twain (Mercury Nashville)
2008: I Saw God Today — George Strait (MCA Nashville)
2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)
2018 (Airplay): You Make It Easy — Jason Aldean (Broken Bow)
If popular culture is to be believed, it seems the 1990s is the hottest decade right now. Most of the ‘new’ television shows are reboots of classics from the era, including Full House and Will & Grace, with the originals casts reprising their roles. In popular music, if you were a major player 20-25 years ago, then its suddenly fashionable to return with new music and slews of concert dates.
In country music, this trend extends to the return of Faith Hill and Shania Twain with their first new music in more than a decade while Garth Brooks is wrapping up his massive three-year tour this month in Nashville. Even Dixie Chicks came home to the United States with their first tour in ten years. What’s old is new again or rather the music that defined my childhood is suddenly hip again.
It would be a stretch to place Tracy Lawrence at the same level since he was never a global superstar or wheeled much influence on an international stage. But he was one of the most consistent and traditional artists in his day, with a catalog that more than stands up to anything released by the artists who may have eclipsed him in status.
To celebrate this resurgence, Lawrence has released Good Ole Days, which recognizes what he refers to as a ‘hunger for the music from my era.’ The album pairs him with modern day country artists singing his hits. The whole concept does seem like a gimmick, a cash grab for the gullible fan unaware they are likely only lining the pockets of the executive who dreamt up this project. But really it’s a chance to finally hear country’s current class sing real well-written songs for the first time in their careers. I jumped at the chance to review this album simply so I could hear how these artists sound when forced to interrupt the actual country music. I’ve always had a theory that there is talent there if these artists had the proper vehicle to show it off.
This is the proper vehicle because instead of the artists making these songs their own, with their typical non-country producers and such, they have to stick within the confines of the original arrangements, including the steel, fiddle, and twang. Without the ability to hide, every weakness would be on the table.
Luke Bryan tackles Lawrence’s 1991 debut “Sticks and Stones” and handles it well. I wasn’t impressed with Jason Aldean’s take on “Just Can’t Break It to My Heart,” his voice was a bit too dirty, but the energy was good.
I remember reading in Quotable Country, on the dearly-departed Country California, Justin Moore says if he had a say he would make an album in the vein of I See It Now. He goes back a bit further here with “Alibis” and knocks it out of the park. Moore is a great country singer and it’s a shame he has to reside in this current climate.
Dustin Lynch sounds exactly like a young Lawrence on “Texas Tornado,” which is kind of scary. His performance isn’t excellent, but it’s damn close. I was surprised Miranda Lambert, who has been known to belt this out in concert, wasn’t singing it but that could’ve been label politics.
Probably the newest artist featured here is Luke Combs, who just hit number one with “When It Rains It Pours.” There’s no mistaking he’s a country singer and he easily pulls this off. The same is true for Chris Young, but he sounds like he’s just going through the paces on “If The Good Die Young.” If he had just let go the results could’ve been incredible.
The legend of Tim McGraw is he moved to Nashville on May 9, 1989, and has always said he’s more of a storyteller while Keith Whitley is a singer. I agree wholeheartedly, but his performance of “Time Marches On” is bland. In contrast, Easton Corbin shines on “Paint Me A Birmingham.”
Kellie Pickler’s talent is wasted on “Stars Over Texas,” which finds her regulated to singing the chorus. As the sole female voice on the whole album, you would’ve thought she’d be allowed more of a presence. I didn’t care for her vocal either, which makes her sound like a little girl.
There are two new songs in the mix. Brad Arnold, the lead singer of Alternative Rock band Three Doors Down (think ‘Here Without You’) joins Lawrence on the title track, which is being billed as his “country music debut.” The song, which also features Big & Rich, is a faux-rock disaster. The military-themed fiddle drenched ballad “Finally Home,” which features Craig Morgan, is better but not really for my tastes.
Good Ole Days is a great concept with lousy execution. These tracks are collaborations between the singer and Tracy Lawrence which doesn’t work on any level. Get rid of Lawrence entirely and turn this into the proper tribute album it’s screaming to be. His nasally twang is insufferable and pointlessly distracting. The lack of female artists in the mix is also troubling, as you don’t need just men to sing these songs.
Grade: B-
1957 (Sales): Gone — Ferlin Husky (Capitol)
1957 (Jukebox): Gone — Ferlin Husky (Capitol)
1957 (Disc Jockeys): Gone — Ferlin Husky (Capitol)
1967: Need You — Sonny James (Capitol)
1977: She’s Got You — Loretta Lynn (MCA)
1987: Rose In Paradise — Waylon Jennings (MCA)
1997: One Night at a Time — George Strait (MCA)
2007: Wasted — Carrie Underwood (Arista)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Any Ol’ Barstool — Jason Aldean (Broken Bow)
The sands of time ran out quickly for Little Texas as their eponymous fourth album, their last for Warner Brothers, barely charted reaching #47. By this time lead singer Brady Seals had departed the band leaving Tim Rushlow in charge of lead vocals.
Little Texas hit the marketplace thirty-one months after their third album, a delay that probably didn’t help their chances in the ever changing market. The three singles released from the album all tanked at radio with none reaching the top forty. Despite this, I regard this as possibly their best album, with tighter vocal harmonies and a nice array of songs.
The album opens with “Loud and Proud”, written in part by band member Porter Howell. This is one of the weaker songs on the album, sounding more rock than country, but it is not bad:
Show me a mountain
Tell me it can’t be climbed
I’ll find my way through any shadow of doubt
And I’ll meet you on the other sideI love a good challenge
Send them all my way
I’ll rise to any occasion
I am not afraidTo be loud and proud
And givin’ in to nothin’
Livin’ and a lovin’
I’ll never get enough
And all the ups and downs
I take ’em as they come
And I’ll be right here standing my ground
Loud and proud
“Bad for Us” from the pens of Porter Howell, Dwayne O’Brien and Tom Shapiro) was the first and most successful single, reaching #45. The song is a nice ballad about a relationship that seems to be on the rocks. Several radio stations featured this song as their pick of the week, but the song never did generate any momentum, not surprisingly since more than a year had passed since the band’s last single.
You really got a good one in
You hit me where it hurts
Just so you wouldn’t get the best of me
I fired back somethin’ worseI put you down
You show me up
Good for you
Good for me
Bad for usWe keep goin’ around and ’round
When’s it gonna stop
Real love’s not a matter of
Who comes out on top
“Ain’t No Time to Be Afraid” by Porter Howell and Allen Shamblin is another nice ballad, this one rather philosophical in nature. I would have picked this song for single release:
I was scared half to death
I couldn’t catch my breath
‘Cause that old tree down by the river
Was thirty feet highThat’s when I heard my daddy’s voice
He said, Son you’ve got a choice
You can climb down now
Or you can flyThis ain’t no time to be afraid
Or look the other way
If your prayers have all been prayed
Then you just let it come what mayIf you’re not brave enough to try
Then life will pass you by
All we have is today
There ain’t no time to be afraid
“Long Way Down” sounds more like up-tempo 60s pop than anything else. Nashville songsmith Bob DiPiero co-wrote this with Porter Howell and O’Brien.
The second single off the album was “Your Mama Won’t Let Me”, which died at #64 on the charts. It is pretty generic, pleasant but not all that memorable. Del Gray, Thom McHugh and Keith Follesé composed this song
Like to take you to the movies on a Saturday night
But your mama won’t let me
Steal you away for a Sunday drive
But your mama won’t let meShe’s one step ahead of me every time
When I get too close she draws that line
Thinks I’m trouble but I’m not that kind
Your mama won’t let me make you mine
“All In The Line of Love” from Porter Howell, Dwayne O’Brien and Stephen Allen Davis is yet another pleasant but fairly generic ballad
I think the label missed a bet in not releasing the Bob DiPiero-Walt Aldridge song “Living in a Bullseye” as a single. I don’t think it would have been a huge hit but I suspect it would have at least cracked the top thirty. The song is a mid-tempo ballad with clever lyrics that would resonate with any blue collar worker:
I heard the whistle blowing as I pulled in the gate
I knew without looking, I was already late
Praying the boss wouldn’t catch me again
Sweating bullets while I was sneaking inI’m living in a bullseye, ground zero
It’s kinda scary when the arrows fly
I ain’t trying to be no superhero
I duck and cover just to stay alive
Living in a bullseyeEight hours later, at a half past five
I’m listening to my radio and pulling in the drive
The music telling me a thing that’s good
So I’m crossing all my fingers and I’m knocking on wood
“The Call” by Walt Aldridge and Tim Rushlow was the final single released from the album, peaking at #71. It’s a nice ballad with sleek vocal harmonies. I heard it quit a bit here in Central Florida, but it apparently tanked elsewhere:
You can run but you can’t hide
You can keep it all inside
Take it from a fool who’s tried it all
Pay attention to a friend
Who swore he’d never fall again
You’re gonna answer
When you get the call
“Yesterday’s Gone Forever” (Dwayne O’Brien, Jim Rushing) has the feel and sound of eighties country minus the annoying synthesizers. When released it really had no singles potential, but I can recall times when this introspective ballad would have done very well with radio:
For all of my good intentions
Heartfelt every one
I’ve left so much love unspoken
So much of life I’ve left undoneI could’ve made a difference
I just never made the time
Now yesterday’s gone forever
And today ain’t far behindShould’ve taken that job in Dallas
Or the one in San Antone
Should’ve left that girl in the city
And married the one back homeI’d love to run back through the years
To tell her I was blind
But yesterday’s gone forever
And today ain’t far behind
The album closes with the Porter Howell – Chuck Jones rocker “If I Don’t Get Enough of You”.
If I don’t get enough of you
I can’t think, I can’t sleep
If I don’t get enough of you
I can’t eat, I get weakWithout you there to hold me tight
Well, I can’t make it through the night
I don’t know what I’m gonna do
If I don’t get enough of youIf I don’t get enough of you
I don’t act like I should
If I don’t get enough of you
It’s a fact, I’m no good
I think this is a better album than their first three efforts – good production, decent songs (none of the Texas chauvinism that marred earlier albums) and a really tight band augmented by Jeff Huskins on fiddle and piano, and Dan Dugmore & Sonny Garrish on pedal steel guitar, plus really good harmony vocals.
Why then did this album tank ?
I think the answer is three-fold:
1) There apparently some element of dissension in the band. Both Brady Seals and Tim Rushlow thought that they could become big solo stars, something that neither achieved.
2) A long lapse between the release of the third and fourth albums – to put it bluntly, radio forgot about them.
3) Changes in the country music market place which ultimately led to the domination of faux country acts like Rascal Flatts and Jason Aldean.
I would give this album an A-
1956 (Sales):Singing the Blues — Marty Robbins (Columbia)
1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)
1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)
1966: Somebody Like Me — Eddy Arnold (RCA)
1976: Good Woman Blues — Mel Tillis (MCA)
1986: Touch Me When We’re Dancing — Alabama (RCA)
1996: Strawberry Wine — Deana Carter (Capitol)
2006: Before He Cheats — Carrie Underwood (Arista)
2016: Blue Ain’t Your Color — Keith Urban (Capitol)
2016 (Airplay): A Little More Summertime — Jason Aldean (Broken Bow)
Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:
20.
Beyoncé Feat. Dixie Chicks – Daddy’s Lessons
The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.
Grade: F
19.
Kelsea Ballerini – Peter Pan
I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.
Grade: F
18.
Luke Bryan – Move
Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.
Grade: F
17.
Florida Georgia Line feat. Tim McGraw – May We All
Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.
Grade: F
16.
Carrie Underwood – Dirty Laundry
The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.
Grade: D+
15.
Thomas Rhett – Die A Happy Man
The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.
Grade: B-
14.
Keith Urban – Blue Ain’t Your Color
A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.
Grade: B
13.
Dierks Bentley feat. Elle King – Different for Girls
At least Bentley wasn’t showcasing the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.
Grade: B
12.
Martina McBride, Reba McEntire, Kacey Musgraves, Jennifer Nettles and Carrie Underwood – Dolly Parton Tribute
I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.
Grade: B
The Country Music Association has found a way of honoring their fiftieth anniversary – gather 30 of the genre’s biggest stars from the past, present and future for an unprecedented collaboration. The result is certainly buzzworthy and continues the tradition of the ‘all-star jam’ that saw its beginnings with the original 1972 recording of ‘Will The Circle Be Unbroken.’ The trend continued into the 1990s (Think “I Don’t Need Your Rocking Chair” and “One Heart At A Time”) before seemly dying off.
“Forever Country,” as the collaboration is called, blends three country standards – “Take Me Home, Country Roads,” “I Will Always Love You” and “On The Road Again” into a single song showcasing each of the artists involved with dedicated solos. The John Denver classic is the bedrock, with the others woven in.
The song succeeds because of Shane McAnally, who subtracts not distracts with his warm production values. He does a superb job of complimenting each artist with a sense of balance that allows each one to shine individually. While they also beautifully come together as a collective whole, it’s obvious that some do shine brighter than others, which is understandable in such a context.
It’s been a long time since the legacy of country music has been honored and I admire the Country Music Association for bringing their theme and mission alive in such a public way. To have all these artists in one place, on one track truly is astonishing. We’ve let history fall by the wayside in recent years as boom era veterans (the last artists to grow up on classic country music) have been pushed out in favor of younger artists who meet demographic needs but have little knowledge of or appreciation for what it took to make their careers possible. This pattern is cyclical and leaves behind those who refer to the past as ‘the good ole days’ when country music still had a soul.
Those unworthy younger performers, of which there are too many to mention, are nowhere to be found, which begs a question – are they subtly making the claim that no one, save Brett Eldridge (who adds is voice to the mix), is truly worthy of carrying the torch for the next generation? It also saves the track from coming off as a laughing stock.
“Forever Country” could’ve exercised a bit more imagination than having Dolly being Dolly at the end, there are legends missing I would’ve liked to have seen included and it’s odd to have Jason Aldean (who was shut out of the nominations entirely) figure so prominently. But the intention and heart of the project is carried out in execution, which is why “Forever Country” shines so brightly. It’s the gimmick that succeeds in not being gimmicky at all. It’s far from the greatest recording I’ve ever heard, but it is a welcomed surprise. I’ll take it.
Grade: A
I have always liked Clay Walker as a performer and admired his courage in pursuing his career in the face of adversity, in the form of multiple sclerosis which was diagnosed in 1996 when Clay was twenty-seven years old.
A similar fate befell country superstar Donna Fargo in 1978, definitely affecting her career; however, by 1996 significant progress had been made in the treatment of the illness, so that Clay was not forced to restrict his live appearances to the same extent that Fargo had been forced to do. Accordingly his career surged on, seemingly without missing a beat (although there were lifestyle and dietary changes that Walker made in combating his illness).
Fall was released in April 2007, on Asylum/Curb records, nearly four years after his previous album, A Few Questions, was released on RCA. Clay had signed with Asylum/Curb in July 2005 but, following its usual pattern, it took until February 2007, before the label got round to issuing any new music on Clay.
That brings us to the current album with the first single release being the humorous “‘Fore She Was Mama”. The song tells the story of a ten year old boy who discovers a “box of forget-me-nots” (or old memorabilia) in his parents’ closet.
There was one of her, flippin’ the bird
Sittin’ on a Harley
And a few with some hairy hippie dude
Turns out his name was Charlie
Her hair, her clothes, her drinkin’, smokin’
Had us boys confused
I’ll never forget the day us nosy kids got introduced…To mama ‘fore she was mama
In a string bikini, in Tijuana
Won’t admit she smoked marijuana
But I saw mama ‘fore she was mama
I was stunned to find that this song only made #21 on Billboard’s country charts, since the song received very heavy airplay throughout most of the southeastern USA. In fact I know of four radio stations where the song soared to #1 on the local survey. The song was Clay’s first chart record since 2004.
Track two is the title track, which was the second single released. “Fall” would return Clay to the top ten reaching #5. The song is a nice mid-tempo ballad which the narrator offers moral support to a partner who has had a bad day. The song might have had crossover potential, but Curb released a pop version of the song by Kimberly Locke, another artist signed to Curb, thus killing Clay’s shot at a crossover hit.
Hold up, there you go again
Puttin’ on that smile again
Even though I know you’ve had a bad day
Doin’ this and doin’ that
Always puttin’ yourself last
A whole lotta give and not enough takeBut you can only be strong so long before you break
So fall, go on and fall apart
Fall into these arms of mine
I’ll catch you every time you fall
Go on and lose it all
Every doubt, every fear, every worry, every tear
I’m right here
Baby, fall
Released ten years earlier, the third track “Workin’ Man” would have made a good single. Unfortunately by 2007, country radio was looking for music more in line with the schlock being produced by Rascal Flatts or Jason Aldean.
He slips on his warn out jeans
She buttons up his shirt
A sleepy smile and a goodbye kiss
And he’s up and off to workHe puts in a forty hour week
But she’s on his mind full-time
And he’ll give it everything he’s got
And he’s all her’s at five‘Cause he’s a workin’ man
He don’t mind workin’ overtime
For the trust and the touch of a woman
Come rain or shine
“Miami and Me“ is a mid-tempo song about a love that couldn’t be
Meet her in Miami
Conversation turned to wine
We talked and we talked
Yeah we hit it off, just fine
Stayed down by the water
Slept beneath the stars
We laughed and we danced
Made love in the sand
I held her in my armsBut I couldn’t make her stay
California called her away
And tonight the moon turned as blue as the sea
And she left Miami and me
Track five, “She Likes It In The Morning” is a lovely slow ballad that proved to be the third and final single released from the album. For reasons I will never understand, the song died at #43.
And she likes it in the morning
And I run my fingers through her hair
And she smiles when I call her darling
She looks like a angel laying thereAnd she wants me in the evening
To listen close to how she feels
She needs to know I need her
And Heaven knows I always will‘Cause she loves me every single day and night
And she says we are everything that’s good in her life
She says she loves me more than anything on earth
And that’s almost as much as I love her
Track six “Mexico” is an up-tempo island-vibe track that makes for a good album track. Ditto for track seven “You’re My Witness”, a gentle ballad.
Track eight “Average Joe” is a mid-tempo ballad about the average Joes in any town. The lyrics are a bit of a laundry list, but the song has a nice melody and the song hangs together well
I don’t mind working
I don’t mind drinking
When I need to unwind
And I like listening to a
Country song on a Friday nightI’m a welder in the shop downtown
The drywaller in your brand new house
Yeah I’m your Average Joe
I’m the guy that fixed your van
I’m the painter
I’m your concrete man
Yeah I’m your Average Joe
Track nine, “It Ain’t Pretty (But It’s Beautiful)”, is a tender ballad about, well, various things including appreciating the good things in our lives
Got home and told my wife bout what I’d seen
She grabbed her purse, took me by the hand and said come with me
We drove around until we found the three of them
I wondered who was blessing who when they got in
We bought them food and clothes and drove to a toy store
And the little girl said I don’t need a brand new doll
As she hugged the broken armless one they found before
She said this one needs me moreShe ain’t pretty, but she’s beautiful
She ain’t perfect, but she’s wonderful
She might be broken, but she’s lovable
She ain’t pretty, but she’s beautiful
Track ten, “Before The Next Teardrop Falls” features the late great Freddy Fender in a duet with Clay. The song was a country and pop #1 in 1974. This would prove to be Freddy’s last recording before his death on October 14, 2006. The duet comes off very well and it is nice to know that Freddy’s last recording was a really good one.
The album closes with a pair of nice ballads in “I’d Love To Be Your Last” and “I Hate Nights Like This”.
My friend Brady Vercher of the 9513 blog gave this album three stars and most reviewers at the time of the release had this at 3 to 3.5 stars. My review on Amazon (4/19/2007) was as follows:
“Clay’s first album of new material in several years delivers the solid country sound that one has come to expect from Clay. The first single “‘Fore She Was Mama” received considerable airplay, and seems to hold up well upon repeated listening. I am surprised that “Mama” topped out on Billboard at around 21, because its appeal in the Sunshine State was considerably stronger than that. If radio stations still maintained their own charts, I would expect that this would have been a top five song on stations throughout the Southeastern and Southwestern parts of the USA, perhaps tanking north of the Mason-Dixon line.
The album features a nice mix of slow and up-tempo songs. One of the slower songs “It Ain’t Pretty (But It’s Beautiful)” is a bit maudlin, but for me it’s the best song on the album. Another highlight is Clay’s recording of “Before The Last Teardrop Falls”, a duet with the late Freddy Fender. Freddy’s death isn’t acknowledged anywhere in the CD booklet, but I’m pretty sure it was his last recording.
The current single “Fall” is receiving substantial airplay. I would not have picked it as a single, but I can see where its lyrics would have a strong appeal to female listeners with its strongly supportive message to the wife (or girlfriend).
“Average Joe” is a song that should resonate with many, and it features legendary pianist Hargus “Pig” Robbins. Paul Franklin plays steel on all tracks, but several fiddlers share the spotlight on the various tracks (Rob Hajacos, Stuart Duncan, Larry Franklin).
Welcome back Clay – four stars”
My opinion of the album has not changed since then, although I do not regard “It Ain’t Pretty (But It’s Beautiful)” as the best song on the album anymore.
Track Listing
1. “‘Fore She Was Mama”
Casey Beathard, Phil O’Donnell
3:43
2. “Fall”
Sonny LeMaire, Shane Minor, Clay Mills
3:37
3. “Workin’ Man” M. Jason Greene, Clay Walker 3:55
4. “Miami and Me” Greene, Walker 4:02
5. “She Likes It in the Morning”
Greene, Walker 3:50
6. “Mexico” Greene, Walker 2:41
7. “You’re My Witness” Greene, Walker 3:38
8. “Average Joe” Ed Hill, Don Poythress, David Frasier 3:09
9. “It Ain’t Pretty (But It’s Beautiful)” Doug Johnson, Nicole Witt, Kim Williams 4:00
10. “Before the Next Teardrop Falls” (duet with Freddy Fender)
Ben Peters, Vivian Keith
2:39
11. “I’d Love to Be Your Last” Rivers Rutherford, Annie Tate, Sam Tate 3:24
12. “I Hate Nights Like This” Walker 4:20
1956 (Sales): I Want You, I Need You, I Love You/My Baby Left Me — Elvis Presley (RCA)
1956 (Jukebox): I Walk The Line/Get Rhythm — Johnny Cash (Sun)
1956 (Disc Jockeys): Crazy Arms — Ray Price (Columbia)
1966: Think of Me — Buck Owens (Capitol)
1976: Teddy Bear — Red Sovine (Starday)
1986: Until I Met You — Judy Rodman (MTM)
1996: Daddy’s Money — Ricochet (Columbia)
2006: The World — Brad Paisley (Arista)
2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)
2016 (Airplay): Lights Come On — Jason Aldean (Broken Bow)
1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)
1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)
1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)
1966: Distant Drums — Jim Reeves (RCA)
1976: After All the Good is Gone — Conway Twitty (MCA)
1986: Tomb of the Unknown Love — Kenny Rogers (RCA)
1996: My Maria — Brooks & Dunn (Arista)
2006: Why — Jason Aldean (Broken Bow)
2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)
2016 (Airplay): Somewhere on a Beach — Dierks Bentley (Capitol)
After a decade on the dark side chasing mainstream success, The Randy Rogers Band has returned to its indie roots with Nothing Shines Like Neon, their first album in nearly three years. In the interests of full disclosure, I have to admit that I’m not familiar with the band’s back catalog, although I did thoroughly enjoy Randy Rogers’ side project with Wade Bowen (Hold My Beer, Vol. 1), which was reviewed by Occasional Hope last year. Though not as traditional as Hold My Beer, Neon is reportedly more rootsy than any of the Band’s four releases for Mercury and MCA, which ought to please fans who had been complaining that the band had lost its edge during its tenure in Nashville.
One of the problems with music that falls under the Americana/alt-country Red Dirt umbrella is that much of it really isn’t country and much of it is a wasteland of non-commercial material sung by those with vocals that are too rough to have any kind of mass appeal. There is always some wheat among the chaff, though it can often be difficult to separate the two. The effort is worth it, though, when an album like this one comes along. Produced by Buddy Cannon, it’s more polished than I expected. The most surprising thing about it is that 10 or 15 years ago it would have been solidly within the realm of the mainstream, though it would definitely be out of place on today’s radio next to the Sam Hunts and Jason Aldeans.
Randy Rogers co-wrote seven of the album’s tracks, two of them with producer Cannon, but the album’s best cuts are the ones contributed by outside songwriters, starting with the opening track, the fiddle-led “San Antone” written by Keith Gattis. I particularly enjoyed “Things I Need to Quit”, which follows the tried-and-true theme of comparing an ex-lover to bad habits that need to be broken, in the vein of Patty Loveless’ “A Thousand Times a Day”. The mid-tempo “Old Moon New”, a Rogers co-write with Lee Thomas Miller and Wendell Mobley, sounds like something Collin Raye might have released early in his career.
The album’s best track is “Look Out Yonder”, which features beautiful harmonies by Alison Krauss and Dan Tyminski. Jamey Johnson joins the band on “Actin’ Crazy”, a number about the morning after a night of tying one on, and fellow Texan Jerry Jeff Walker joins in on “Takin’ It As It Comes”, a party number that probably works better live in concert than it does on record.
The album’s weaker moments come when the band tries to be too middle-of-the-road; “Rain and the Radio”, “Neon Blues” and “Tequila Eyes” (a Cannon and Rogers collaboration with Dean Dillon) all fall into this trap. It was a little surprising to find songs like these on a Texas indie release. Perhaps the band hasn’t fully freed itself of Nashville’s shackles. Nevertheless, Nothing Shines Like Neon is a solid effort that refugees from bro-country and radio’s other atrocities are sure to enjoy.
Grade: A-
The 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.
Entertainer of the YearGarth 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.
The 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.
Miranda 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.
Vocal Group of the YearBoth 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.
Vocal Duo of the YearCompetition 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).
Thomas 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.
Album of the YearJason 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.
Single of the Year and Song of the YearThe 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.
A 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.
It 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.
Musician Event of the YearMac 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.
My Kind of Country 