My Kind of Country

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

Tag Archives: Jenny Gill

EP Review: Jenny Gill – ‘The House Sessions’

the-house-sessionsThe House Sessions, Jenny Gill’s debut EP, finds her drawing on personal experience as she strives to establish her own voice separate from her esteemed pedigree. Her father, who most everyone knows is Vince Gill, produced the album at the home studio for which the six-song set finds its name.

The material that comprises The House Sessions finds Gill transported to the past while specific memories tied to the lyrics. The gorgeous “Whisky Words,” a ballad concerning an ex who’s all talk, was birthed from her time working at a publishing company tasked with pitching songs to others. It comes across as a record that would’ve been popular in the early-2000s when it likely would’ve done quite well.

“Lean On Love” finds Gill exercising her bluesy side in homage to Bonnie Raitt whom she cites as a primary influence. The tune is excellent, tastefully produced and subtly evocative. “Lonely Lost Me,” the lead single, which features harmonies by Sheryl Crow, is a jazzy ballad that settles into an intoxicating and memorable groove.

Gill’s husband, Sony/ATV executive Josh Van Valkenberg, inspired the title of “Look Where Loving You Landed Me” when he sang the line on their honeymoon. The track is a terrific ballad melding her blues and jazz influences with the personal touches (references to the beach) that keep the song from feeling generic.

The most adventurous track on The House Sessions is Motown classic “The Letter,” which was originally recorded by The Box Tops fifty years ago. I do find it strange that Gill would choose to add a cover song to an EP when she could’ve added another original instead, but she handles the track with ease while showcasing additional aspects of her voice.

Gill freely admits that the gospel-tinged “Your Shadow” is the album’s most personal number. The song tackles the heavy emotions surrounding her good fortune at being Vince’s daughter. The track also contains the most memorable line on the whole project:

And someone will say, I’ll never compare

And I’ll pour my heart out and no one will care

And I’ve got to find a dream that will shine on its own

In the light of your shadow

While it is easy to compare an offspring to their famous parents, Gill doesn’t have that problem on The House Sessions. She makes the album her own with an authentic sound true to her voice and influences. She recorded the album in a week; utilizing studio time her father gave her as a Christmas present. I’m glad he was involved in shaping the sound of the record because the final mixing is clear and clean, devoid of excess. He let each song breathe and find itself musically, which rewards the listener with a rich experience that puts the song, and not ego, front and center.

The House Sessions, which has been available digitally since September, is getting another push this month with renewed publicity and a video for “Lonely Lost Me.” I wouldn’t categorize the project as country per se, as it melds those sensibilities with jazz and blues to find its own place within the musical space. Ultimately genre classification doesn’t matter since The House Sessions wonderfully succeeds in showcasing Gill as a fully formed artist and writer. I look forward any new music she chooses to release in the years to come.

Grade: A

Album Review: Vince Gill – ‘These Days’

As we’ve often noted here, it was common practice in the 1960s and 1970s for artists — inside and outside of country music –to release three or four albums a year, unlike the present day when most artists release one album every two or three years. While preparing to work on a new album in 2006, Vince Gill was inspired by The Beatles’ prolific output and decided to put a 43-track four disc collection instead of a single album. Released to tremendous critical acclaim in October 2006, These Days was an ambitious project that showcases the depth and breadth of Vince’s musical taste. It encompasses a variety of genres from rock, pop, jazz, and blues to traditional country and bluegrass. Vince wrote or co-wrote all 43 songs and produced the project himself, with some help from John Hobbs and Justin Niebank. The production team put together a impressive roster of guest artists from both within and outside country music.

The first disc, titled Workin’ On A Big Chill: The Rockin’ Record, is as the title implies, a collection of ten rock and rockabilly tunes. Though the songs are all well performed, I’m not much of a rock fan, so this is my least favorite disc in the collection. I do like the rockabilly number “Nothin’ For a Broken Heart”, on which Rodney Crowell is a guest artist, and even better is the bluegrass-tinged collaboration with the Del McCoury Band, “Son of a Ramblin’ Man”. The rest of the songs on this disc don’t interest me very much, and consequently this one has been played less than the other three.
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Album Review: Vince Gill – ‘Next Big Thing’

Vince wrote or co-wrote all 17 of the songs on 2003’s Next Big Thing, and produced the album himself. It represents a marked return to form after the gloopy lovefest that was Let’s Make Sure We Kiss Goodbye, inspired by Vince’s second marriage to contemporary Christian singer Amy Grant.

He might have had a top 10 hit from his last album, but this album sees him apparently (and presciently) accepting that his time in the spotlight might be over. The beaty and surprisingly upbeat title track (written with Al Anderson and John Hobbs and featuring horns) and the more resigned ‘Young Man’s Town’ (with Emmylou Harris on harmony) both take a look at the fleeting nature of the music business and its fascination with youth and good looks. Both were released as singles, with the brassy party sound of ‘Next Big Thing’ providing Vince with his last top 20 hit and the more reflective ‘Young Man’s Town’ not making the top 40; perhaps the accuracy of the lyric hit a bit too close to home for country radio.

‘This Old Guitar And Me’ is an old musician’s love song to his first instrument and fond memories of his early career. The Leslie Satcher co-write ‘Old Time Fiddle’ is an enjoyable love letter to Cajun music, with appropriate fiddle solo and Leslie herself on harmony. Leslie also co-wrote the tenderly delivered ballad ‘Two Hearts’, where Lee Ann Womack provides the harmony vocal.

‘Someday’, the album’s second single (peaking at #31) is a delicately pretty AC-influenced ballad written with former pop star Richard Marx, wistfully dreaming of the possibility of future love. ‘These Broken Hearts’, written by Vince with his keyboard player Pete Wasner, is a sad ballad about breaking up with someone, with blue-eyed soul man Michael McDonald on harmony. Both songs are set against a string arrangement courtesy of John Hobbs and the Nashville String machine, and are pleasant listening without being truly memorable.

There are a few other less inspired moments, like the throwaway ‘The Sun’s Gonna Shine On You’. The mid-tempo ‘Don’t Let Her Get Away’, written with Anderson, is OK filler which sounds like some of Vince’s RCA recordings with banked but thin harmonies.

A number of the songs brood about failed relationships past. In the contemporary ballad ‘She Never Makes Me Cry’, Vince prefers an unexciting life with his new wife to the ups and downs of a passionate past love. ‘We Had It All’ is a mid-tempo plea to rekindle an old flame with a subtle Tex-Mex feel to the instrumentation. The bouncy and solidly traditional country ‘Without You’ delivers a more cheerful reaction to being single again, with Dawn Sears on harmony.

Dawn also sings a piercing harmony on the best song on the album. ‘Real Mean Bottle’ is a standout tribute to Merle Haggard, with a high lonesome feel and Bakersfield guitars:

It must have been a real mean bottle that made you write the songs that way
A real mean bottle
Poured straight from the Devil
It’s a miracle you’re standing here today

‘From Where I Stand’, written with Anderson and Hobbs, is a classic declaration of fidelity in the face of temptation, set to a beautiful tune with a bluesy harmony from Bekka Bramlett. This is another highlight, which could have been a big hit if released a few years earlier in Vince’s peak commercial period.

‘Whippoorwill River’, written with Dean Dillon, gently recalls childhood memories of life with his father. Vince’s daughter Jenny keeps things in the family by singing the harmony. A fictional look at family comes from the fiddle-led ‘You Ain’t Foolin’ Nobody’, written with Reed Nielsen, is addressed to the protagonist’s motherless daughter who is running wild in a small town.

The album closes with the mellow and reflective farewell to a dying friend, ‘In These Last Few Days’, with wife Amy Grant on harmony. It was the fourth and last single to be released, but did not perform very well.

Sales were disappointing, with the record his first not to reach at least gold status since he signed to MCA, but that is no reflection on the quality of the music. The album could perhaps have done with a bit of weeding, as there are a few forgettable songs, but overall this was a strong release with a lot of worthwhile material. It’s easy to find, and well worth adding to your collection if you have previously overlooked it.

Grade: A-

Album Review: Vince Gill – ‘Guitar Slinger’

It’s been half a decade since Vince Gill released a new album. On that occasion, he came out with four at once, with the critically acclaimed box set These Days. This time around the same team of Vince, John Hobbs and Justin Niebank has created a more concentrated effort with 15 tracks, recorded in Vince’s home studio. Vince’s vocals sound thoroughly energised and invested in the material, all of which he wrote or co-wrote, and which I feel is more consistent in quality than that on These Days. It is definitely a mature work, with a number of the songs focussed on the prospect of death, but never a depressing one.

The joyous and amusing title track opens proceedings with a bang with many references to Vince’s life ranging from his “contemporary Christian singer” wife to last year’s Nashville floods (“half my stuff’s in the Cumberland River”. This really conveys the sheer joy of making music. In the equally lively up-tempo ‘All Nighter Comin’’ (written with Chris Stapleton and Al Anderson, and only on the deluxe version) a newly unemployed truck driver sets aside his troubles for the evening. Despite the depressing background, the mood is uplifting, and either of these songs would sound great on the radio.

The beautifully sung lead single ‘Threaten Me With Heaven’ is a tender but confident gospel ballad written with Vince’s wife Amy Grant, Will Owsley (who tragically committed suicide last year) and Dillon Osborn. Owsley and Amy also co-wrote the mid-tempo AC ‘When Lonely Comes Around’, which is pleasant but forgettable. Amy and Vince duet on their song ‘True Love’, an AC ballad which pays tribute to their relationship, “true love that found us in time”. It isn’t a particularly interesting song, but the authenticity of the emotions make it touching beyond its merits. Amy’s daughter Sarah Chapman sings harmony.

Talented singer-songwriter and now a Pistol Annie, Ashley Monroe wrote two songs with Vince. The excellent ‘If I Die’, a beautifully constructed reflection on mortality and what comes after, is one of the best tracks on a fine record. Her other contribution, ‘Who Wouldn’t Fall In Love With You’ is a low-key, tender love ballad with a pretty melody and Ashley’s distinctive voice evident on harmony.  Lee Ann Womack, meanwhile, provides tasteful backing vocals on ‘Lipstick Everywhere’, a retelling of a passionate one night stand with no subsequent regrets or repercussions. Another fine artist, Texas traditionalist Amber Digby co-wrote ‘One More Thing I Wished I’d Said’, dwelling with regret on the missed opportunities in a failed relationship. Sadly, she doesn’t sing on the track, but Dawn Sears makes a good substitute. These two are only included on the deluxe version, which is well worth the additional cost.

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