My Kind of Country

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

Tag Archives: Keith Urban

Classic Rewind: Ricky Skaggs and friends — ‘Black Eyed Suzie, Highway 40 Blues, Country Boy’

From the 52nd CMA Awards last November. In honor of his induction into the Country Music Hall of Fame. Keith Urban is filling in for Vince Gill, who was under the weather and had to cancel at the last minute:

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Introducing: The Malpass Brothers

And the winner of the 2018 CMA Entertainer of the Year is ….. The Malpass Brothers!

Well not really, but if the CMA had a shred of integrity left, the Malpass Brothers would have at least been nominated.  This is not a knock against this year’s winner Keith Urban, who is an excellent rock guitarist (with very little country in his playing) and a passable (but very overrated) vocalist with a decent sense of humor, but having seen both perform, Urban is miles (or kilometers) behind in the ability to entertain.

So who are the Malpass Brothers? According to their website:

As young boys, Christopher and Taylor Malpass soaked up the music of their granddad’s phonograph records. Christopher earned his first talent show trophy at age 7, and Taylor was playing mandolin by the time he was 10. Today, they promote the work and music of classic country artists they treasure while creating new music and making their own mark in the lineage of a rich American cultural heritage.

With sincerity, honesty and an utter ease on stage that belies their years, their smooth vocal blend and skillful musicianship layer infectiously into the deep respect they pay to legends who have paved the way. Add the funny, off-the-cuff quips between the two 20-something siblings, and the engaging concert becomes a magnetic time-traveling journey to when a calmer rhythm reigned supreme.

The Malpass Brothers toured with the late Don Helms, former steel guitarist for Hank Williams, have opened for music legend Merle Haggard on multiple tours and appeared on stages from the Shetland Islands to Ryman Auditorium to Merlefest. Gifted musicians and songwriters, the brothers have shared billing with artists including Ray Price, Willie Nelson, Doyle Lawson, Rhonda Vincent, Marty Stuart, Doc Watson and more. The title cut video from their “Memory That Bad” album hit CMT Pure Country’s Top Ten.

The above quote gives but a small hint as to what the Malpass Brothers are all about. Although there are other young country traditionalists who are true to the traditions of real country music, most of them are faithful to the traditions of the country music of the 1970s and the new traditionalists movement that kicked off in 1986 and held sway for about 12-15 years. North Carolina natives Chris and Taylor Malpass are torch carriers for the sounds of the country music of the 1950s through 1975 with occasional rockabilly overtones, and a lot of humor in their performances. Chris normally sings lead and Taylor typically plays electric lead and mandolin

After spending about seven years opening for Merle Haggard, the Malpass Brothers started working the bluegrass festivals along with other more normal venues. Although there is nothing at all bluegrass about their music, there is an interesting dynamic at work in the world of bluegrass which is that while there is a schism (of sorts) between the traditionalist “true grass” advocates and more modernist “newgrass” fans, both groups love the music of traditional country artists such as George Jones, Merle Haggard, Hank Williams, Lefty Frizzell, Loretta Lynn and the Louvin Brothers and it rare to find a group in either the truegrass or newgrass camps that does not include the music of the pre-1975 period in their repertoire.

From what I’ve written above, you may think that the Malpass Brothers are nothing more than a covers band, but in fact, their repertoire is a mixture of covers and originals written by the brothers. In fact, their most recent album Live At The Paramount Theatre (taken from a PBS Documentary), features six original tunes along with three Merle Haggard songs, Lefty Frizzell’s “If You’ve Got The Money I Got The Time”, Ernst Tubb’s “Walking The Floor Over You” and the Jimmie Rodgers classic from the 1930s (later covered by Crystal Gayle) “Miss The Mississippi and You”.

This album also includes a live performance of their CMT hit “Memory That Bad” which was written by Chris and Taylor Malpass.

For more information check their website: https://themalpassbrothers.com/

Meanwhile, I’ve stacked three of their CDs in my changer and will be listening to some real country music. I will see them again in February 2019

Below are some YouTube clips:

“Hoping That You’re Hoping:”

“Luther Played The Boogie:”

“Half A Mind:”

 

Single Review: Brad Paisley — ‘Bucked Off’

Prior to the 52nd annual CMA Awards telecast last week, it was heavily buzzed about that co-host Brad Paisley was going to sing a new song, his first from a new album, of which he’s only recorded 3-5 songs so far. One review I read even heralded the song as a return to his traditional country roots, and let’s face it, Paisley has become so irrelevant in recent years, it’s about the only move he could make that would actually make sense.

“Bucked Off” starts out innocently enough. Paisley is on a bar stool having a conversation with his woman, who is clearly ending their relationship. He likens himself to a cowboy on a bull, about to be thrown off. So you don’t mistake his situation, he sets the mood:

And George Strait’s on the jukebox in the corner

Singing about cowboys riding away

Name-checking Strait and his #5 hit from 1985 is totally appropriate in this instance. Then he goes on, laying the rodeo/cowboy imagery on thick:

You can go to Houston, Vegas or San Antone

And watch a bull rider hit the dirt

Or head down to this bar for a little cover charge

You can watch me get thrown by her

George Strait’s on the jukebox again

Says if I leave now I can still make Cheyenne

By the time Strait came around for a second time, I knew exactly what was going on. “Bucked Off” isn’t just another song in Paisley’s catalog. It’s a dedicated tribute to Strait. This jukebox reference, which in any other song would’ve gone to a different country singer, is forced and cutesy. Paisley doubles down on the bridge:

I think about those nights in Marina Del Rey

As this beautiful cowgirl slips away

But pain only lasts so long

And when you get bucked off you get back on

Going into his CMA performance, I was expecting what I thought to be true — Paisley was releasing a honky-tonk song to country radio, in pure form, not the faux honky-tonk Garth Brooks tried to pull over our eyes with “All Day Long.” Sadly, this isn’t the case.

But I will give Paisley credit where it’s due. “Bucked Off” is the most traditional country song released to radio since the leaves turned colors and began to fall from the trees. There is a full dose of steel and fiddle very audible in the mix. It has good bones, a catchy melody, and a somewhat engaging story. Paisley also deserves a tremendous amount of praise for not selling out like Keith Urban and using “Bucked Off” as a desperate attempt at relevancy.

He just takes the Strait thing too far (even the lettering and font of his name on the cover art is a nod back to when Strait portrayed Dusty Chandler in Pure Country). The right way to honor a country legend isn’t to sample that artists’ classic melodies throughout, nor is it right to drown those melodies and traditional instruments in a haze of guitars, no matter how well they’re played. He made similar mistakes on the trepid “Old Alabama.”

My issue here is that Paisley knows better. He proved that seventeen years ago when he took “Wrapped Around” to #2, as the second single from Part II. It showed how Strait influenced him, while correctly moving the genre forward into the new Millennium. It’s a pipe dream to think he would go back there, but I can always hold out hope, no matter how thin a sliver it might be at this point.

Grade: B

Week ending 9/8/18: #1 singles this week in country music history

1958: Bird Dog / Devoted To You — Everly Brothers (Cadence)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Mama Tried — Merle Haggard (Capitol)

1978: I’ve Always Been Crazy — Waylon Jennings (RCA)

1988: Do You Love Me (Just Say Yes) — Highway 101 (Warner Bros)

1998: I’m Alright — Jo Dee Messina (Curb)

2008: You Look Good In My Shirt — Keith Urban (Capitol Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Life Changes — Thomas Rhett (Big Machine) 

 

Album Review: Rodney Crowell – ‘Acoustic Classics’

Rodney Crowell has decided to revisit a number of his best known songs in acoustic format.

The poetic ‘Earthbound’ from 2003 sounds very like the original recording. ‘Anything But Tame’ comes from his 2012 collaboration with poet Mary Karr, is similar but a little more stripped down, but it is a song I admire rather than love.

First recorded by Rodney in 1978, and made famous by near-contemporary covers by Emmylou Harris, and the Oak Ridge Boys (for whom it was a #1 hit in 1979), the new version is ‘Leaving Louisiana In The Broad Daylight’ is taken at a more relaxed pace than any of the previous versions I have heard. The dominant accordion makes it feel full of Cajun atmosphere, and I enjoyed this take. The remake of the same era’s ‘Ain’t Living Long Like This’ feels less essential.

Less familiar to country fans, ‘Shame On The Moon’ was recorded by Rodney in 1981, and was a pop hit for Bob Seger the following year. Rodney has revised the actual song for this project, but it remains one of the more pop-styed tunes in Crowell’s repertoire.

The up-tempo ‘Lovin’ All Night’, a top 10 hit for Rodney in 1992, and later covered by Patty Loveless, is a country rocker which gets a vibrant acoustic reworking.

There is a lovely reading of the tender ballad ‘Making Memories Of Us’, a big hit for Keith Urban. A solemn string arrangement is the perfect accompaniment. The same treatment is afforded to ‘Please Remember Me’, a hit for Tim McGraw.

At the heart of the album are three songs from my favorite of Rodney’s albums, and his most commercially successful, 1988’s Diamonds And Dirt. In fact they are three of that album’s record breaking run of five straight #1 hits. The upbeat ‘I Couldn’t Leave You If I Tried’ was the first of the three, followed by the tongue-in-cheek Guy Clark co-write ‘She’s Crazy For Leavin’’. My favorite is the lovely ballad ‘After All This Time’.

‘Tennessee Wedding’ is a new song which Rodney wrote for his daughter’s wedding, from the point of view of his new son in law.

Tis is a very pleasing album showcasing Rodney Crowell as a songwriter. It may not be an essential purchase if you already have all his recorded work, but I thoroughly enjoyed it.

Grade: A

Album Review: Josh Turner – ‘Deep South’

After numerous delays, Josh Turner fans finally have a new album to listen to, nearly five years after the release of his previous effort Punching Bag. Deep South, produced by Turner’s longtime producer Frank Rogers, arrived last week.

The current climate at country radio is a difficult one for traditional-based artists. MCA was reluctant to release the album until they were sure they had a hit single on the charts. As a result, I awaited this release with some trepidation, expecting it to be a compromise to the demands of the label and radio and not necessarily the album Josh would make if left to his own devices. Unfortunately, that’s exactly what it sounds like, although after learning that Turner wrote or co-wrote five of the album’s elven songs, it’s difficult to say for sure exactly where the blame lies.

The underperforming lead single, 2014’s “Lay Low”, which climbed to #28 sounds like a bland Keith Urban song,and the follow-up single about a “pretty little homegrown Hometown Girl”, currently residing at #10 on the charts is a similarly trite effort. I recognize that songs like this are a necessary evil for artists to get on the radio so that their albums can be released. But I do expect that when the album eventually appears that there will be some deeper cuts, and that is where Deep South falls short. The Turner-penned title track is a funky-sounding list of cliches about Southern life — fried chicken, back roads,et al. “All About You”, another Turner composition, is much the same, with the word “girl” used gratuitously throughout the song. “Southern Drawl” combines the southern life and hot chick themes:

She’s as pretty as South Georgia peaches
And as hot as any Tennessee June
She’s a treasure underneath that Carolina kudzu
She still outshines a Mississippi moon
When she walks into a room

Her kiss sure drives me crazy
I melt when she says my name
Just one touch can make this old heart sing
But it ain’t the blue sky in her blue eyes
It ain’t good looks at all
It’s the way she says I love you that makes me fall, y’all
In that sweet, soft, slow southern drawl

I was bored by most of this album, which would have put me right to sleep in the hands of a less capable vocalist. It’s disappointing that after a five-year gap between albums that Turner apparently has so little to say. These songs are shallow, dull and cliche-ridden. It wasn’t until the final track “Hawaiian Girl” that I found a song that I could truly enjoy. It’s not deep either, but it has a throwback sound with plenty of pedal steel and is at least a change of pace.

I’ve long maintained that Josh Turner was a gifted artist who was continually let down by less than stellar material. Deep South unfortunately does nothing to change that assessment and if anything, is a big step in the wrong direction.

Grade: C+

Week ending 2/4/17: #1 singles this week in country music history

220px-danseals-21957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Let My Love Be Your Pillow — Ronnie Milsap (RCA)

1987: You Still Move Me — Dan Seals (EMI America)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: Watching You — Rodney Atkins (Curb)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Guy With A Girl — Blake Shelton (Warner Bros.)

Week ending 1/28/17: #1 singles this week in country music history

rodney_atkins-21957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: I Can’t Believe She Gives It All To Me – Conway Twitty (MCA)

1987: Cry Myself To Sleep — The Judds (RCA/Curb)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: Watching You — Rodney Atkins (Curb)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Guy With A Girl — Blake Shelton (Warner Bros.)

Week ending 1/21/17: #1 singles this week in country music history

7137e5hgb2l-_sl290_1957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: You Never Miss a Real Good Thing (Till He Says Goodbye) — Crystal Gayle (United Artists)

1987: What Am I Gonna Do About You — Reba McEntire (MCA)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Blue Ain’t Your Color — Keith Urban (Capitol)

Week ending 1/14/17: #1 singles this week in country music history

6783f6fc5a09f16f8986e4aeb6f3c5781957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Broken Down In Tiny Pieces — Billy “Crash” Craddock (ABC/Dot)

1987: Give Me Wings — Michael Johnson (RCA)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Blue Ain’t Your Color — Keith Urban (Capitol)

Week ending 1/7/17: #1 singles this week in country music history

173c7278b3ebcb9810a7b1c17440cf121957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Sweet Dreams — Emmylou Harris (Reprise)

1987: Mind Your Own Business — Hank Williams Jr. ft. Reba McEntire, Tom Petty, Reverend Ike, & Willie Nelson (Warner Bros./Curb)

1997: One Way Ticket (Because I Can) — LeAnn Rimes (Curb)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Wanna Be That Song — Brett Eldredge (Atlantic)

Week ending 12/31/16: #1 singles this week in country music history

1391917135000-dn-20111207-tunein-112070805-11956 (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: There Goes My Everything — Jack Greene (Decca)

1976: Sweet Dreams — Emmylou Harris (Reprise)

1986: Mind Your Own Business — Hank Williams Jr. ft. Reba McEntire, Tom Petty, Reverend Ike, & Willie Nelson (Warner Bros./Curb)

1996: One Way Ticket (Because I Can) — LeAnn Rimes (Curb)

2006: Want To — Sugarland (Mercury)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Wanna Be That Strong — Brett Eldredge (Atlantic)

Week ending 12/24/16: #1 singles this week in country music history

jack-greene-obit-650-4301956 (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: There Goes My Everything — Jack Greene (Decca)

1976: Sweet Dreams — Emmylou Harris (Reprise)

1986: Too Much Is Not Enough — The Bellamy Brothers with The Forester Sisters (MCA/Curb)

1996: Little Bitty — Alan Jackson (Arista)

2006: Want To — Sugarland (Mercury)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Song For Another Time — Old Dominion (RCA)

Week ending 12/10/16: #1 singles this week in country music history

alan_jackson1956 (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: It Ain’t Cool To Be Crazy About You — George Strait (MCA)

1996: Little Bitty — Alan Jackson (Arista)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): May We All — Florida Georgia Line featuring Tim McGraw (Republic Nashville)

Week ending 12/3/16: #1 singles this week in country music history

life_tillisjump121615_16350281_8col1956 (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)

Week ending 11/26/16: #1 singles this week in country music history

maxresdefault-41956 (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: Somebody Somewhere (Don’t Know What He’s Missin’ Tonight) — Loretta Lynn (MCA)

1986: You’re Still New to Me — Marie Osmond with Paul Davis (Capitol/Curb)

1996: Strawberry Wine — Deana Carter (Capitol)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Middle of a Memory — Cole Swindell (Warner Bros.)

Week ending 11/19/16: #1 singles this week in country music history

hqdefault-121956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Disc Jockeys): Crazy Arms — Ray Price (Columbia)

1966: I Get The Fever — Bill Anderson (Decca)

1976: Somebody Somewhere (Don’t Know What He’s Missin’ Tonight) — Loretta Lynn (MCA)

1986: That Rock Won’t Roll — Restless Heart (RCA)

1996: Lonely Too Long — Patty Loveless (Epic)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Move — Luke Bryan (Capitol)

50th CMA Awards: Grading the Twenty Performances

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.

imrs-phpBeyoncé 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.

362x204-q100_121d9e867599857df2132b3b6c77e0c8Luke 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.

gettyimages-620669440-43407842-8b2a-437b-a6e4-f643a1b5b104Carrie 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.

362x204-q100_b63432d74b677e29d35917efd7490170Keith 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.

landscape-1478192054-gettyimages-620693852Martina 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

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Album Review: Lonestar – ‘Crazy Nights’

600x600Lonestar released their second album, and last with John Rich, in June 1997. Crazy Nights continued in the tradition of their debut by keeping Don Cook and Wally Wilson at the helm.

The bright, effervescent and otherwise excellent “Come Cryin’ To Me” led the album and became the band’s second #1 single. The perfectly styled tune, with Cook’s signature percussion beats, was one of four tunes co-written by Rich.

They followed with “You Walked In,” a mid-tempo ballad that stalled at #12. The song, co-written by Robert John “Mutt” Lange, is sexy without being overt:

Everybody’s talkin’ ’bout the supermodel world

Cindy, Naomi and that whole bunch of girls

Redheads, brunettes and blondes with blue eyes

They come in every shape yea they come in every size

You know I love everything they do

I check ’em out on every Pay-Per-View

Oh, but honey that was way before I met you.

And then

***

You walked in with legs up to your neck

You walked in I’m a physical wreck

You walked in I’ve lost my cool babe

But what’d you expect

When you walk in baby love begins

When you walk by baby ooh my my

When you come around, my jaw hits the ground

When you shake your thing I jump outta my skin

When you cross the floor I scream “more baby more”

When you flash your smile you drive me wild

Yea, yea, yea, yea, yea

***

Everybody’s checkin’ out the glossy magazines

Madonna, Diana, you know the whole scene

The covergirls, the centerfolds and every movie star

And all those pretty ladies down there at the local bar

I couldn’t think of nothin’ better to do

Than checkin’ out a little wiggle or two

Oh, but honey that was way before I met you

“You Walked In,” may’ve been too left of center for country radio at the time, but it’s laughably tame in comparison to what the likes of Dierks Bentley, Keith Urban and Sam Hunt have gotten away with in the past few years. Piano ballad “Say When,” another Rich co-write faired just as poorly, peaking at #13.

They regained their stride with the album’s final and strongest single, the Richie McDonald co-written “Everything’s Changed.” The song tells the story of a woman returning to a now unrecognizable town and the man she left behind who still lives there. It’s not only my favorite song they’ve ever done, it’s their finest recorded moment to date:

Funny you should show up after all of these years

Yeah things sure have changed around here

Seen a lot of strangers since they put that interstate through

No this ain’t the same town that we once knew

***

They put up a plant where we used to park

That ol’ drive-in’s a new Wal-Mart

The caf¨¦ is closed where our names were carved on that corner booth

Yeah, everything’s changed except for the way I feel about you

***

That westbound to Santa Fe don’t stop here anymore

You were one of the last to get on board

That street that we grew up on you wouldn’t recognize

Girl nothing’s been the same since you said good-bye

Rich, who was still known as the band’s other lead singer, took the helm on two of the three non-singles he co-wrote. “John Doe on a John Deere” has all the tropes now associated with bro-country expect the woman isn’t treated like an object. Meanwhile “What Do We Do With The Rest of the Night” is simply pure fluff. His final co-write, the title track, has forceful production but not much passion either lyrically or vocally from McDonald.

“Keys To My Heart,” which McDonald co-wrote, is a pleasant contemporary rocker with ample fiddle and steel. The song doesn’t have any meat lyrically, so while it’s enjoyable to listen to, it’s just not a great song overall.

“Cheater’s Road,” which was co-written by Jason Sellers, saw a second life when Chalee Tennison included it on 2003’s Parading In The Rain. I like her version much better than theirs, although it’s truly not that compelling of a song to begin with. The final cut, “Amie” is a by-the-books cover of the Pure Prairie League classic that works surprisingly well.

Crazy Nights will forever be known as the final album before everything changed. Not only would Rich exit the group, but they would ditch their producers and cowboy hats for a more mainstream sound and their greatest success. Here is the band just two years before the craziness, with a clear direction and a couple of worthy songs.

I will always regard this era, 1995-1999, as Lonestar at their best – the songs were smart and interesting and Cook’s signature style fit them well. McDonald, though, was clearly the stronger singer. While John has shown improvement with Big & Rich, he clearly isn’t in top vocal form, here. I don’t blame BNA for pushing McDonald as the face of the band at all.

As an album, Crazy Nights is good but not great. There’s nothing truly essential beyond the lead and final singles.

Grade: B

Week ending 7/16/16 – #1 singles this week in country music history

hqdefault-71956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Crazy Arms — Ray Price (Columbia)

1966: Think of Me — Buck Owens (Capitol)

1976: The Door Is Always Open — Dave & Sugar (RCA)

1986: Hearts Aren’t Made to Break (They’re Made to Love) — Lee Greenwood (MCA)

1996: No One Needs to Know — Shania Twain (Mercury)

2006: Summertime — Kenny Chesney (BNA)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Wasted Time — Keith Urban (Capitol)