My Kind of Country

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

Tag Archives: Kasey Chambers

Album Review: Adam Harvey – ‘Both Sides Now’

Released in 2009, Both Sides Now was Adam’s eighth studio album and second release for Sony Music Australia. Unlike Adam’s previous albums, which were more oriented toward traditional country music, this album featured a wide array of pop music with very little traditional country among the songs selected. Each of the songs also featured with guests mostly from the world of Australian pop music.

Frankly,I expected not to like this album, but I was pleasantly surprised how Adam brought a country feel to the non-country material. Moreover, the strategy of aiming toward the pop market must be adjudged a success as the album was Adams’s first to crack the top twenty albums chart, a place each of Adam’s subsequent albums reached. Plus, this is a pretty good album.

The album opens up with “Stuck In The Middle (With You)” a song composed by Gerry Rafferty and a major pop hit for Gerry’s group Stealer’s Wheel in 1973, becoming a major hit throughout the English- speaking world. Guy Sebastian, an Australian pop star appears with Adam on the song. The arrangement is rather more country sounding than the original hit although it features slide guitar and harmonoica rather than steel guitar.

“Easy” was a top ten pop hit for the R&B group the Commodores and was written by lead singer Lionel Richie. Adam is joined by Wendy Matthews, a pop singer from the 1980s. The rather bland arrangement is true to the original, but Adam’s deep baritone salvages the song.

“Move It On Over” is a humorous Hank Williams classic about an errant husband literally banished to the doghouse for his wayward behavior. Adam is joined by 1990s pop star David Campbell. This song is given a solid county arrangement.

Judy Collins had the big hit in 1968 with Joni Mitchell’s “Both Sides Now”. Adam is joined by the McClymont’s, a stunningly attractive trio of Australian pop-country singers. The arrangement is fairly true to the original, although a steel guitar can be heard gently playing in the background. This is a really nice track

“Down On The Corner” was a major pop hit penned by John Fogerty of Creedence Clearwater Revival. Although not specifically a country song, CCR’s swamp pop sound was embraced by country radio in 1969. I’m not sure why Leo Sayer was chosen for this recording, but it works. Sayer was a major British star during the period encompassing the disco era. He moved to Australia and became an Australian citizen in 2009.

“King of The Road” was Roger Miller’s signature song, performed her in somewhat doo-wop arrangement with really minimal instrumentation. Adam is accompanied by John Williamson, an Australian bush balladeer.

“It’s All Over Now” was written by R&B artists Bobby & Shirley Womack. Bobby’s version barely cracked the top hundred for his group the Valentinos, but when the Rolling Stones recorded the song, it soared to #1 in the UK with significant chart placements elsewhere. Adam is joined by Australian pop singer Shannon Noll. This would be a hard song to mess up and Adam & Shannon do a fine job with the song.

Adam is joined by Troy Cassar-Daley, a major Australian country star on the Willie Nelson-RayCharles duet of “Seven Spanish Angels”. The arrangement is true to the original and Adam & Troy handle the vocals with aplomb.

Webb Pierce had a major US county hit with “In The Jailhouse Now” holding down the #1 slot for twenty-one weeks in 1955. The song is far older than that with authorship claimed by the ‘Father of Country Music’ Jimmie Rodgers (1897-1933). It is a fun song with many variations in the lyrics. The arrangement reminds me of the one used by Red Knuckles & The Trailblazers (the alter-ego of the bluegrass band Hot Rize). Cool song with Kasey Chambers and Shane Nicholson joining in on the fun.

“Have I Told You Lately” is a Van Morrison blues -rocker with Adam joined by Renee Geyer, an Australian R&B/Jazz singer. Ms Geyer takes harmony on this recording, which has some steel guitar on it but is not otherwise very country.

Billy Edd Wheeler has written many fine songs with ”Jackson” being among the most famous. Adam is joined by Beccy Cole, a major Australian county star on this cover of the Nancy Sinatra & Lee Hazlewood (or Johnny Cash & June Carter if you prefer) duet.

If you don’t know of Tommy Emmanuel, here is your chance to hear him as he is the man playing guitar on this exquisite recording of Jerry Jeff Walker’s “Mr. Bojangles”. This may be the nicest track on the album – Adam sings it well, and if there is a better guitar player in the world than Tommy Emmanuel, I have yet to hear him (or her).

Grade: B+ / A-

Album Review: Flatt Lonesome – ‘Runaway Train’

runaway-trainThis is Flatt Lonesome’s third album and each has been a slight improvement on the album before, a difficult task since the debut and second albums were indeed excellent. On my list of favorite albums of 2016, I had Runaway Train at number two on my list and I gave serious thought to placing it at #1.

Flatt Lonesome hails from Callahan Florida, a town just big enough to avoid jokes about the entering and leaving signs being on the same signpost. They have become huge favorites at the bluegrass festivals for the simplest of reasons – they sing well, are very proficient on their instruments, and select great songs to record. The group is essentially a family band with sisters Kelsi Robertson Harrigill and Charli Robertson joining brother Buddy Robertson in handling most of the vocals. Kelli plays mandolin, Charli plays fiddle and Buddy plays guitar. Paul Harrigill, who entered the family by marrying Kelsi, plays banjo and other instruments as needed. Non-family members Michael Stockton (dobro & lap steel) and Dominick Illingworth (bass) round out the team.

The album opens with a tune written by Danny Roberts (of the Grascals) and Paul Harrigill titled “You’ll Pay”. Buddy takes the lead vocals with his sisters adding harmony vocals on this song about retribution.

Next up is “Still Feeling Blue”, a song by Gram Parsons, a would-be country artist of the 1960s. Kelli takes the lead vocals with her siblings providing the harmony vocals. Parsons was greatly influenced by the Louvin Brothers and it definitely shows on this composition. This really is a good song and the trio vocal work just shines on this song.

Time can pass and time can heal
But it don’t ever pass the way I feel
You went away a long time ago
And why you left I never knew
The lonely days and lonely nights
Guess the world knows I ain’t feelin’ right
And when you’re gone the hours pass so slow
And now I’m still feeling blue

Dwight Yoakam would seem to be an odd choice for a bluegrass group to cover, but “You’re The One” really is a great vehicle for Charli’s lead vocals and the harmony trios. This song, a slow ballad, was a huge hit on bluegrass radio.

Kelsi penned “In The Heat of The Fire” and takes the lead vocals on a fine religiously themed mid-temp ballad. Michael Stockton takes a nice dobro break and Charli does likewise on a fiddle break.

If you’re like Jonah
In the belly of the whale
Running so far
And headed for hell
Cry out to him
He’ll hear your voice
And answer your prayer

He’s in the valley
He’s in the storm
He’ll be your shelter
He’ll keep you warm
He is your solid rock
In the midst of the mire
You can still hear his voice
In the heat of the fire

The Bluegrass Cardinals wrote and recorded many fine songs during their two plus decade run. “Don’t Come Running” by the father and son team of Don and Dave Parmley is just one of the many fine songs, Buddy takes the lead on this song.

Well you tell me today you were going far away
You tell me you wanna be free
But if your new friend breaks your heart in the end
Don’t you come running back to me

Oh my darling go and stay if you want it that way
You don’t love me and that is plain to see
If your new love turns you down, I won’t be hangin’ round
So don’t you come running back to me

Kelsi penned “In The Morning”, a nice religious ballad. This time sister Charli takes the lead vocals.

“Road To Nottingham” is an instrumental written by Paul Harrigill and Brayden McMahon. The song gives the entire band an opportunity to shine.

Dolton Robertson II is the father of Charli, Kelsi and Buddy but it turns out that he is a pretty good songwriter as “New Lease On Life” attests. Charli sings the lead vocal and Kelsi takes the harmony vocals.

“Casting All Your Care On Him” was a husband and wife collaboration between Paul and Kelsi, with Kelsi taking the lead vocals and her siblings taking the harmony on this up-tempo religious song.

When I first heard “Mixed Up Mess of A Heart” on XM Radio I was floored that a group this young could unearth an old Tommy Collins-Merle Haggard classic from the mid 60s. The song first saw the light of day in 1966 on Collins’ first Columbia album The Dynamic Tommy Collins. Haggard recorded the song in 1967 on his I’m A Lonesome Fugitive album. It probably isn’t fair to compare Buddy Robertson to either Collins or Haggard, I would say that he acquits himself well, and manages to imbue the spirit of Tommy Collins into his vocals. It should be noted that both Collins and Haggard used the title “Poor Broke Mixed Up Mess of A Heart”.

Paul & Kelsi collaborated on “Letting Go”, a downer of a song that asks if love ever really existed.

The album closes with “Runaway Train”, written by Australian artist Kasey Chambers . This song isn’t even remotely a bluegrass song, but is the mark of a group’s excellence that they can take left field material such as this and make it fit in the context of a bluegrass album.

I’m gonna take you down to the railway line
I’m gonna take you down to the railway line
I’m gonna take ya where your heart won’t break ya
And the water tastes like wine
I’m gonna take you down to the railway line

We won’t take money, we won’t take the long way round
We won’t take money, we won’t take the long way round
We won’t take money, we’ll live off honey
When the train goes underground
We won’t take money, we won’t take the long way round

Flatt Lonesome won the IBMA’s Vocal Group of the Year, the first of many such awards that will be forthcoming for this talented group. In terms of trio harmony, they have few peers. This is a group will continue to grow in stature. I can hardly wait for their next album.

Jonathan Pappalardo’s favorite albums of 2015

I don’t have a full list of favorite albums this year. As I age, the bar is increasingly higher for what it takes to grab me. There have been so many albums I’ve admired this year, but these six are the ones that transfixed my attention and kept me coming back for more. These are the six that deserve to be highlighted.

Are there themes? Well, only one featured a single that topped the charts. I don’t even think combined sales would equal a million copies sold. As I get older, my tastes have increasingly drifted towards albums that eschew the mainstream. I want music that leaves an impression and these releases do it in spades. Take a look and let me know what you think.

kasey-chambers-bittersweet6. Kasey Chambers – Bittersweet

 I couldn’t put the spellbinding title track on my favorite singles list since it came out back in 2014. The emotion is palpable in the uniquely structured tale, in which Chambers gives voice to both sides of a disintegrating marriage. It sets the scene for the whole album, a primal scream in the wake of her divorce from Shane Nicholson. The roar is loudest on the final track, “I’m Alive,” as she proudly declares “And through all the blood and the sweat and the tears, things ain’t always what they appear, I made it through the hardest fucking year.”

Key Tracks: “Bittersweet (feat. Bernard Fanning),” “I’m Alive,” “Wheelbarrow”

kacey-musgraves-album-pageant-material-20155.  Kacey Musgraves – Pageant Material

 Pageant Material is a very uneven follow-up to Same Trailer Different Park. The majority of the songs sound like they’re outtakes from the first album that weren’t strong enough to make the cut on that set. But at its best, Pageant Material is sharp and biting. Cuts like “Good ‘Ol Boys Club” and the title track are ballsy declarations with clear messages. She also unapologetically turned up the steel and committed to recording in the throwback vibe that has become her trademark in live performances. She got a lot wrong but shined brighter than her competition with everything she got right.

Key Tracks: “Good ‘Ol Boys Club,” “Pageant Material,” “Late to the Party”

starte-here4. Maddie & Tae – Start Here

Mainstream country has been overdue for an artist with a unique sound and fresh perspective who is also firmly rooted in the traditions of the genre. Maddie and Tae aren’t saviors, but their blend of pop country hasn’t been this charming or welcomed since it died with the Dixie Chicks in 2003. Their perception could be sharper and even more biting, but Maddie & Tae are well on their way. Start Here is a promising first glimpse into what they bring to the table.

Key Tracks: “Shut Up and Fish,” “After the Storm Blows Through,” “Sierra”

jason-isbell-something-more-than-free-560x5603. Jason Isbell – Something More Than Free

Albums like Southeastern come along once in an artist’s career if at all. The follow-up record is an often-daunting task to tackle. For everyone except Jason Isbell, that is. Something More Than Free arrives just two years later and is every bit as artistically masterful as its predecessor. Isbell is fearless in the honest way he stays true to the authenticity of every moment he creates. His music is drenched in gritty reality. His way with a lyric is unparalleled to his peers, who can’t even come close to bringing as much sensitivity and nuance to the stories they construct. Jason Isbell is simply a master among armatures. Could we really ask for anything more?

Key Tracks: “Something More Than Free,” “24 Frames,” “Speed Trap Town”

CD400_out2. Nancy Beaudette – South Branch Road

Beaudette’s relatability, and the personal connections I’ve found within these songs, drew me in to fully appreciate the magic of South Branch Road, a window into her soul. She’s constructed an album from the inside out, using her own life to give the listener a deeply personal tour of her many winds and roads, reflecting on the lessons learned around each curve and bend. Beaudette is already a bright bulb on the independent music scene but the release of South Branch Road demands that light shine even brighter. (NOTE: I said it back and June and still mean it wholeheartedly six months later)

Key Tracks: “Something To Me,” “Till The Tomatoes Ripen,” “Shoot To Score,” “South Branch Road”

eric-church-mr-misunderstood1. Eric Church – Mr. Misunderstood

Eric Church shocked the music industry when he unleashed a surprise album on his fan club by sending out copies (CD, vinyl and digital downloads were distributed) without warning. Those fans got an early taste of the best album of Church’s career. Mr. Misunderstood is an artistic triumph and the first time Church has sustained his unique sound across an entire record without brazen experimentation clouding our listening experience. Here are ten exceptional reasons why Church is the strongest male artist in the mainstream sector of the genre right now.

Key Tracks: “Three Year Old,” “Round Here Buzz,” “Record Year”

 

Album Review: Kasey Chambers – ‘Bittersweet’

Kasey-Chambers-BittersweetKasey Chambers’ tenth album, which has finally been released in the United States, has quickly become one of my favorite records of the year. Composed on the heels of her divorce from Shane Nicholson, Bittersweet is also her first set of music without her brother Nash at the helm.

Chambers wanted something different this time around and enlisted the aide of Nick DiDia, a rock producer best known for collaborating with Pearl Jam and Bruce Springsteen. As a result, Bittersweet is a tender collection soaked in Banjo, tasteful piano, and a whole lot of emotion.

At its heart and soul, Bittersweet showcases a woman grappling with the sensations that follow unexpected life turns. On “I Would Do” Chambers beautifully lays out her devotion to her man, vowing to go to the ends of the earth for him – even if the journey leads to heartbreak. The waltzy “House on a Hill” likens her brokenness to the plight of a dilapidated house, spelled out with gorgeous poetry:

And it’s old and it’s worn

And the curtains are torn

And tomorrow they’re tearing it down

And just like a heart

It’s falling apart

It couldn’t stand up

If a hard wind blew

And it’s been through it all

And there’s cracks in the wall

They may as well just

Take me down too

She spells out her pain in the devastating title track, my favorite song on the album. A duet with Bernard Fanning, “Bittersweet” is a masterful reflection by a couple that have grown so far apart they don’t need each other anymore. Chambers relinquishes the lead to Fanning, which gives the track its bite. As a result, her interjections are all the more powerful.

“I’m Alive,” in direct contrast, finds Chambers turning defiant, declaring she’s gone through the fire and come out the other side a stronger woman. Backed by acoustic guitar and harmonica, Chambers adds every ounce of pathos to the lyric she can muster:

And through all the blood and the sweat and the tears

Things ain’t always what they appear

I made it through the hardest fucking year

Rockers like “I’m Alive” are hard to come by on Bittersweet, but they’re also some of the album’s finest moments. I adore lead single “Wheelbarrow,” a collaboration with Ashleigh Dallas. The lyric relies on repetitive phrasing, which allows it to joyfully get under your skin. I’m not usually one for loud arrangements but the mix of blistering rock and back porch picking is perfection. “Hell of a Way To Go” applies similar production techniques to frame Chambers’ request of what should be done with her remains if she dies of a broken heart.

“Stalker” finds Chambers unleashing her inner crazy while “Heaven or Hell” has her warning an egomaniac to come off his high horse. The almightily plays a surprising role on Bittersweet, showing up at the beginning and end of the album. The beautiful “Is God Real” finds Chambers looking for something to believe in. “Christmas Day” is an exquisite holiday tune about Mary and Jesus.

Bittersweet is my favorite album so far this year because Chambers has a way with a lyric that keeps the project from detouring into ‘breakup record’ territory. Her ability to traverse a wide array of emotions, while coming to terms with the changing tides of life, is striking.

Grade: A

New singles roundup: McGraw, Band Perry, Strait

Tim McGraw – ‘One Of Those Nights’     Listen

Two singles (not counting his grotesque 2011 holiday single “Christmas All Over The World”) into his first post-Curb career resurrection project, Tim McGraw is proving extremely frustrating. I firmly wrote him off as a has-been after he crammed that “Truck Yeah” garbage down our throats, and vowed never to give him my attention again. But with “One Of Those Nights,” he has returned to the artist he used to be, the hit maker I grew up listening to all those years ago.

It’s almost revelatory to hear a McGraw single these days with a straightforward unprocessed vocal, simple melody, and somewhat interesting story. I only wish the proceedings weren’t so bland, with McGraw coming off sounding pedestrian. He needs far stronger lyrical content coupled with something fresh and exciting in the arrangement if he wants to redeem himself for the poor song choices he’s made in the past six or so years. “One of Those Nights” puts him firmly on the right path, but he still has a long way to go before I can really get excited about his music again.

Grade: B –

The Band Perry – ‘Better Dig Two’    Listen 

The first taste of their highly anticipated Rick Rubin-helmed sophomore project, “Better Dig Two” is signature Band Perry – effortlessly idiosyncratic with an ear-catching melody and a strong attention-grabbing story. Kimberly gives her usually commanding lead vocal, and Neil’s opening banjo licks sound like homage to Kasey Chambers and Shane Nicholson as much as Home-era Dixie Chicks.

So why am I not liking this as much as I should? Well, something about it feels slightly off. The banging drums throw off the organic vibe of the track and seem like an excuse to make the proceedings loud in places to fit within the constraints of country radio. And the repeating of the opening line at the end feels like an afterthought. But that being said, “Better Dig Two” is still the best mainstream country single released this fall, proving once again that The Band Perry are scary good.

Grade: B+

George Strait – Give It All We Got     Listen

At 60 George Strait is releasing the best music of his career, proving what a little bit of reinvention can do to keep country radio within grasp without slickening up the production to fit in with the Jason Aldeans of the world. But more than that he’s accomplished the near impossible by delivering a love song about bedding a woman all the while keeping the track completely age appropriate. It’s a remarkable feat and he should be rewarded for adequately pulling it off.

“Give It All We Got” is the forward thinking tour de force “Run” was ten years ago and it shakes up his traditional leaning formula just enough (I love the echoing technique in the chorus) to keep him modern and relevant in all the right ways.

Grade: A+

Album Review: Darin & Brooke Aldridge – ‘Darin & Brooke Aldridge’

Husband and wife Darin and Brooke Aldridge style themselves the Sweethearts of Bluegrass and have recently released their second record together on the independent label Mountain Home. Recorded in North Carolina and produced by songwriter Jerry Salley (who contributes backing vocals on a number of tracks), there is a careful mixture of sacred and secular (but predominantly positive) material. The musicianship is exemplary, largely coming from the couple’s regular band (with Rob Ickes guesting on dobro on a few tracks). Multi-instrumentalist Darin plays guitar and mandolin, but the focus of the album is on wife Brooke.

She has a sweet, pure voice not dissimilar tonally to Rhonda Vincent, and a subtle interpretative ability. She takes the lead on the majority of the songs, including the charming mid-tempo opener ‘I Thought I’d Seen It All’, a positive travelog-cum-love song about the surprise love brings, written by Burton Collins and Lisa Shaffer.

Her voice has a more piercing quality on the pastoral ‘Corn’, also written by Shaffer, this time with Bill Whyte, about the joys of rural living and true love. Producer Salley and Donna Ulisse wrote ‘It Moves Me’, a thoughtful take on appreciating the beauties of nature, this time on the Gulf Coast “where I swear I can see God’s hand”. This is that rare thing, a beach song I can truthfully say I like.

The outstanding track is the religious ‘The Last Thing On His Mind’, a beautiful and moving reflection on Calvary, written by Dennis K Duff. The optimistic ‘The Light From Heaven’ (about hope), which precedes it, pales in comparison but Brooke sounds good. I really liked the pure bluegrass lament for a failing relationship, where she can’t make ‘Something Out Of Nothing’. This is the only sad-tinged song here, no doubt a reflection of their real-life relationship.

The pair both sing in close harmony with alternating solo lines on a delightful version of Kasey Chambers and Shane Nicholson’s ‘Sweetest Waste Of Time’. This couple’s version is sweeter sounding than the rawer original, although the arrangement is broadly similar (check this), and is one of my favorite tracks.

Their gorgeous close harmonies are also showcased on ‘Let’s Not Go There’, a pretty song written by Tom T Hall and his wife Dixie about not dwelling on past relationships or mistakes:

The past is all behind us now
The future’s ours to share
There’s nothing back there for us
Let’s not go there

Let’s not go there there’s nothing we can change
Let’s not go there
Let’s not relive the pain
Wondering who was to blame
Won’t get us anywhere
Everybody has a past
Let’s not go there

Listen to this live here.

‘Remind Me Again’ is another nice romantic duet, this time rekindling the flame of love in an established relationship, written by Jerry Salley (who sings harmony vocals on a number of tracks) and Tammi Kidd.

Read more of this post

The 25 best albums of the decade

Over the past few weeks, we’ve been compiling a list of our favorite albums of the past decade. We each prepared a list of our 10 favorites, and then we attempted to trim the combined list down to 25 and rank them. There was surprisingly little overlap, and I think it’s safe to say that the final list is quite different from what any of us would have come up with individually. So, without further ado, here are the 25 best albums of the decade, as we see it:

25. Elizabeth Cook — Hey Y’all (Warner Bros, 2002)

Elizabeth Cook was too country for country even in 2002 with her engaging major-label debut. My favourite track is ‘You Move Too Fast’, followed by the charming ‘Everyday Sunshine’, the comparison of her career to that of ‘Dolly’, the sweet ‘Mama, You Wanted To Be A Singer Too’, the singalong about the ‘Stupid Things’ love will make you do, and the irrepressibly optimistic ‘God’s Got A Plan’. — Occasional Hope

24. Wynonna — Her Story: Scenes From a Lifetime (Mercury/Curb, 2005)

Wynonna took an autobiographical approach to her 2005 tour, and the show was filmed and recorded for a live DVD/CD combo set. Beginning with her musical journey as one half of The Judds, Wynonna affectionately recalls her days on the road with her Mom, before moving on to the solo side of her music career, revisiting classic Judds hits like ‘Girls Night Out’ and ‘Love Can Build a Bridge’. The banter in between the songs is reason enough to own the set, but Wynonna’s live take on her own songs like ‘That Was Yesterday’, ‘I Want To Know What love Is’, and ‘Is It Over Yet’ are flawless. — J.R.

23. Bobby Pinson — Man Like Me (RCA, 2005)

This was the richest debut album of the decade, although few record buyers agreed, and singer-songwriter Bobby soon lost his deal with RCA. His gravelly voice had genuine character and emotional depth; perhaps it was too much of an acquired taste for radio beyond one minor hit single. Great overlooked tracks include the reflective title track, showing how hard experiences made the man, the testimony of a sinner saved by a woman’s love in ‘One More Believer’, ‘Ford Fairlane’, perhaps my favorite song of all time about a car, and the wry ‘Started A Band’ about struggling to make it as a musician. — Occasional Hope

22. Brad Paisley — Time Well Wasted (Arista, 2005)

After three promising but somewhat uneven albums, things finally came together with Paisley’s fourth release. This was the first album he released that I felt compelled to buy. It opens with the obligatory novelty tune (“Alcohol”) but it also contains one of the strongest entries in his catalog to date, “When I Get Where I’m Going” which features beautiful harmony vocals by Dolly Parton. — Razor X

21. Sugarland — Love On The Inside (Mercury, 2007)

Masterpiece. That’s the best word I can find to decribe this album. But mere words cannot begin to explain how much I love this album, or how many times I’ve played it in the past 18 months. Jennifer Nettles said it was a set of songs that would play well from ‘Saturday night to Sunday morning’, but I have to disagree. I can’t think of any day of the week, or any time of day this near-perfect set doesn’t play well. With sharp songwriting set among a myriad of subjects, while Nettles wraps her distinctive pipes around the always-catchy lyrics, Love On The Inside is still the best studio album I’ve heard in my years listening to country music, with songs like ‘Genevieve’, ‘Very Last Country Song’, and ‘Fall Into Me’ all getting hundreds of spins in my library. I’ve liked all the singles sent to radio too. — J.R.

Read more of this post