My Kind of Country

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

Tag Archives: Lee Ann Womack

Occasional Hope’s Top Albums of 2012

It’s not been a bad year for country music – as long as you ignore the charts and mainstream country radio. My #1 album of the year was released on a major label but with no singles success, and most of my other selections came from independent labels, although some of the names will be familiar. Just missing the cut were, among others, albums from Joey + Rory (some delicious moments but more hit and miss than their previous efforts), Terri Clark’s classic covers, the always reliable Alan Jackson, Kathy Mattea, and current star Dierks Bentley.

For full reviews, and purchase details, click on the links in the album title and artist name respectively.

10. Alive At Brushy Mountain PenitentiaryMark Collie

The live prison album was recorded in 2001, but only escaped the vaults of MCA this year. It was worth the wait, with an energetic set of suitably themed mainly original songs.

Best tracks: ‘I Could’ve Gone Right’, ‘Rose Covered Garden’, ‘Maybe Mexico’, ‘On The Day I Die‘.

marty raybon9. Southern Roots And Branches: Yesterday and TodayMarty Raybon

Former Shenandoah lead singer Marty Raybon released a pair of albums this year. This, the secular one of the pair, was the better, with Marty’s smoky voice sounding as good as ever on a bluegrass influenced set including the odd reworking of a few Shenandoah hits.

Best tracks: ‘Long Hard Road’, ‘Big Pain’, ‘Ghost In This House’, ‘Get Up In Jesus’ Name’.

8. Honky Tonk Till I DieEric Strickland and the B Sides

Solidly enjoyable, unpretentious honky-tonk with some great original songs written by the North Carolinian lead singer. It may be obscure, but it’s really good.

Best tracks: ‘Haggard And Hell’, ‘Freedom’, ‘Standing In The Headlights’, ‘Womankind‘.

wesley dennis7. Country EnoughWesley Dennis

An excellent return from one of the best singers who never made it. The former Mercury Records artist has a classic country voice and has written some fine songs for this independent releases.

Best tracks: ‘A Month Of Sundays’, ‘Lady’s Choice’, ‘That Dog Won’t Hunt’, ‘Sun, Surf And The Sand (And My Ties)‘.

6. The Time JumpersThe Time Jumpers

The part-time supergroup featuring Vince Gill and Dawn Sears came up with a delightful confection of country, jazz and western swing for their first studio alum together. The musicianship sparkles and this is a real celebration of the joy of making music.

Best tracks: ‘So Far Apart’, ‘Three Sides To Every Story’, ‘The Woman Of My Dreams’, ‘Someone Had To Teach You’.

gene watson5. Best Of The BestGene Watson

I wasn’t sure whether to include this album in my list but in the end the quality shone through and I had to keep it in. A veteran star who still has the vocal goods to shame most of his younger, more commercially successful rivals, Gene Watson has chosen to revisit some of his best-loved recordings for this release. I would really have preferred new material from him, but this is just a lovely listening experience.

Best tracks: ‘Farewell Party’, ‘What She Don’t Know Won’t Hurt Her’, ‘Nothing Sure Looked Good On You’, ‘Between This Time And The Next Time’.

4. Pourin’ Whiskey On PainTim Culpepper

The unknown newcomer gave me my most pleasant surprise this year with his traditional sound and some excellent songs.

Best tracks: ‘One More For The Road’, ‘When Misery Finds Company’, ‘Pourin’ Whiskey On Pain’, ‘Toss And Turn’.

jason eady3. AM Country HeavenJason Eady

I called this a “low-key delight” when I reviewed it earlier this year, and my judgment stands. This mature thoughtful record has no weak spots at all. Patty Loveless duetting on one track is an unexpected bonus.

Best tracks (though everything is worth hearing): ‘AM Country Heaven’, ‘Man On A Mountain’ (with Patty Loveless), ‘Water Into Wine’, ‘Old Guitar And Me’.

2. Too Much Ain’t EnoughClinton Gregory

Sweet voiced singer/fiddler Clinton Gregory is back after years of silence with a lovely set of mainly sad songs.

Best tracks: ‘Too Much Ain’t Enough’, ‘Too Country For Nashville’, ‘Has Love Taken Its Toll?’, ‘Chase Away The Lonely’.

jamey johnson21. Living For A Song: A Tribute To Hank CochranJamey Johnson

It was obvious as soon as I listened to this album that it was going to be this year’s highlight. Songs by one of the greatest country songwriters ever, performed by Jamey Johnson and some of his friends including legends like Willie Nelson, Kris Kristofferson, Ray Price and Emmylou Harris, and more recent stars like Lee Ann Womack, Ronnie Dunn and George Strait. From the exquisite opening notes of ‘Make The World Go Away’, with Alison Krauss’s angelically sweet counterpoint to Jamey’s gruff tenderness, every single song here is a gem, and almost every track is excellent. This really is an outstanding album.

Best tracks: hard to pin down, but if I must then ‘Would These Arms Be In Your Way’ solo; ‘Make The World Go Away’ with Alison Krauss; ‘You Wouldn’t Know Love’ with Ray Price; and ‘Don’t Touch Me’ with Emmylou Harris.

Album Review: Jamey Johnson – ‘Living For A Song: A Tribute To Hank Cochran’

One of today’s greatest singer-songwriters salutes one of the great country songwriters of all time by recruiting an all-star cast to revive some of Cochran’s greatest songs. Every song here is a timeless classic, and Johnson and his friends do them justice in what is for me unquestionably the album of the year so far. Fellow songwriters Buddy Cannon and Dale Dodson produce with taste. Jamey was close to Hank in his later years, and was one of those who visited the hitmaker the night before he died to sing with him. Furthermore, while his reputation is based on his writing, he is also a fine singer, who shows his interpretative skills throughout this album. It came out on vinyl for collectors on September 25, and gets its mass market release digitally and on CD this week.

Alison Krauss’s angelic tones contrast exquisitely with Jamey’s gruffer but intensely emotional vocal on a beautiful version of the Cochran-penned standard ‘Make The World Go Away’, where they seek comfort from their troubles by reviving the love in a longstanding relationship. Tasteful steel is prominent in the sympathetic arrangement, while Krauss’s soothing voice provides the sweetness given by string arrangements in the hit versions, which epitomized the Nashville Sound. First recorded by Ray Price in 1963, it was the era’s superstar Eddy Arnold who had the biggest hit with the ballad, but many others have covered the song, both within and beyond country music – even Elvis Presley. The lovely Johnson/Krauss version stands up well against previous takes, and is one of the finest tracks on this album.

‘I Fall To Pieces’, which Cochran wrote with the equally great Harlan Howard, is one of the finest country songs of all time. Jamey sings this with Merle Haggard, and this is another superlative recording with the emotion and pain of lost love stripped down to its core, and completely believable performances from both men. Read more of this post

Album Review: Ricky Skaggs – ‘Waitin’ for The Sun To Shine’

Ricky’s work with Emmylou Harris had brought him to the attention of Nashville, and in 1981 he signed a solo deal with Epic Records. His Epic debut was self-produced, and he played guitar, fiddle and mandolin himself, backed by some stellar pickers. Future wife Sharon White and her sister Cheryl sing harmonies, and their father Buck plays piano. It was country rather than bluegrass, with electric instruments, steel guitar and piano added to the mix, but there was a distinctly bluegrass and sensibility to it, particularly in the song selection. Where it is not rooted in bluegrass, the inspiration is in traditional country, with most of the songs being relatively obscure covers. The tasteful playing is excellent throughout, but remains in service to the songs.

A vibrant cover of Flatt & Scruggs’s bluegrass classic ‘Don’t Get Above Your Raisin’’ was Ricky’s first chart single, peaking at #16. The rhythmic ‘You May See Me Walkin’’ (written by Tom Uhr of bluegrass band the Shady Grove Ramblers) then sneaked into the top 10 at 9. Ricky scored his first chart topper with ‘Crying My Heart Out Over You’, another Flatt & Scruggs song, cowritten by county veteran Carl Butler. It works perfectly for Ricky, whose understated version has become the standard.

‘I Don’t Care’ also made it to #1, as it did for the original artist, honky tonk star Webb Pierce, in 1955. It was written by the great Cindy Walker and is a sweet love song refusing to pry into his sweetheart’s possibly murky past, which Ricky delivers with sincerity:

I don’t care if I’m not the first love you’ve known
Just so I’ll be the last

The gently resigned hurt of ‘If That’s The Way You Feel’, a cover of a Stanley Brothers classic, is delightful, with tasteful harmonies from Sharon and Cheryl. ‘Lost To A Stranger’ is a plaintive ballad with a lovely tune, which was originally recorded by its writer Hylo Brown in 1954.

‘Your Old Love Letters’, cover of a 1961 hit by Porter Wagoner, feels charmingly old fashioned now, with Ricky pondering a past love affair as he burns the titular letters (tied up in blue ribbons). The rhythmic ‘Low And Lonely’ is catchy, and another older song, a single for the legendary Roy Acuff in 1942. Merle Travis’s ‘So Round, So Firm, So Fully Packed’ also dates from the 1940s.

The title track, virtually the only new song included, is a beautiful ballad which has become a modern country classic with perhaps the best known version by Lee Ann Womack on her superlative There’s More Where That Came From in 2005. Ricky’s version isn’t quite as gorgeous, but still very good, and the song is lovely with an optimistic feel about the likelihood of getting past current heartbreak.

There really is not a weak track on this excellent album. A real breath of fresh air in the Urban Cowboy era, it is astonishing to contemplate today how warmly such a bluegrass-influenced album was received in the country mainstream. Sales were excellent for the era, and the album was certified gold. Its follow up, Highways & Heartaches (which Razor X reviewed when it was reissued on Skaggs Family Records in 2009), was to do even better, and really set Ricky Skaggs up as a mainstream country star. Both albums stand up very well today, and cheap used copies of both can be found easily.

Grade: A

Album Review – Easton Corbin – ‘All Over The Road’

Upon the release of his self-titled debut in 2010, Easton Corbin was branded as the savior of country music thanks to his neo-traditional sound and George Strait-like vocal approach. Corbin showed promise, and scored back-to-back #1s, but his debut felt too safe, like he was aiming to please by recording songs that were middle of the road and took few risks.

Unfortunately that trend continues with All Over The Road and I can fully understand why. In our post “Neon” and “So You Don’t Have to Love Me Anymore” society, it’s clear that neo-traditionalism is being pushed out in an effort to “Kick It In The Sticks” with “The One That Got Away” while we “Tip It On Back” and “Take A Little Ride.”

But thankfully Corbin and producer Carson Chamberlin didn’t completely sacrifice quality at the price of commercial viability. There actually are some excellent songs thrown into the mix, and if country radio will play them, they might turn into big hits.

I’ve been a big fan of the lead single, Jim Beavers and Bob DiPiero’s “Lovin’ You Is Fun,” the catchy two-step number currently sitting at #8 and climbing. The easygoing nature of Corbin’s vocal coupled with the beautiful stands of steel guitar laced through the arrangement more than sell the song while the upbeat nature means its perfect fodder for heavy rotation at radio.

I also love the romantic “A Thing For You,” which Corbin co-wrote with Chamberlin and Tony Lane. Sounding like a long-lost mid-90s shuffle, the track succeeds because its light as air and turns the mournful steel guitar into an optimistic delight.

“Only A Girl” co-written by Chamberlin with Will Nance and Wade Kirby exists in much the same fashion, and is very ear catching. The hook of “It’s Only a Girl/There’s A Million of them in this Town” is kind of basic, but Corbin makes up for it by injecting the track with his personality.

Another standout is album highlight “Tulsa, Texas,” which Tony Lane co-wrote with Mike Lane and David Lee. Another upbeat steel infused honky-tonker, it didn’t make the cut for Corbin’s debut, but he liked it so much he put on here.

It’s easy to see why, as it boasts the best lyric on the album with the story of a guy telling his ex where she can find him:

I’ll be down in Tulsa, Texas, Tallahassee, Tennessee

Memphis, Mississippi, it’s probably where I’m gonna be

Albuquerque, Alabama, St. Lou, Louisiana

If you wanna find me, you can find me in Tulsa, Texas

Another favorite is the closer, Tom Shepherd and Jeff Silvey’s “I Think Of You,” which sounds like the best Zac Brown Band song they didn’t record. A perfect country tune, Chamberlin did a wonderful job of opening the track as a piano ballad before bringing in the steel, fiddle, drums, and guitars. That beginning allows Corbin to display his venerability and showcase how he’s grown since his debut.

Likely second single “Are You With Me” is a little slicker than we’ve come to expect from Corbin, but it never becomes bombastic thanks to the healthy dose of steel in the not-to-distant background. The romantic ballad also succeeds because of Corbin’s tender vocal, but the track would’ve been even better had it been a duet with someone like Carrie Underwood or Miranda Lambert or maybe even Kellie Pickler or Lee Ann Womack.

A duet would’ve given the album some added spice, which wouldn’t have hurt the proceedings, which were brought down by the addition of a few throwaway tracks. “That’s Gonna Leave A Memory,” “This Feels A Lot Like Love” and the title track are all okay in their own right, but feel like light weight filler. They’re the kind of songs Alan Jackson has been getting away with for more than a decade – indistinguishable honky-tonkers where you swap lyrics out of the same basic melody over and over again. I’ve been over this practice since before it began and don’t want to see Corbin brought down by it.

“Hearts Drawn In The Sand” has a solid story, but kind of feels like the type of song given to a new artist when they’re trying to establish themselves. I wasn’t impressed by its inclusion here, although Corbin does his best with what he’s given to work with.

But I really like “Dance Real Slow,” even if it has the same fiddle licks as Strait’s “Amarillo By Morning.” I love the accents of fiddle throughout and the whole vibe of the song just works.

Overall I really like All Over The World. When I was listening to it, I kind of felt like I was back in 1995 listening to Daryle Singletary, but the more I dig in the more solid the album feels. He definitely could’ve stood to take more risk and stretch himself (does every song have to be about a girl?) but he proves here he’s one of the good guys, even if he should rough himself up a bit more.

Grade: A –

Single Review: Kelleigh Bannen – ‘Sorry On The Rocks’

Listening to Capitol/EMI newcomer Kelleigh Bannen’s debut single sounds like you’re hearing the amalgamation of Martina McBride, Sara Evans, the Dixie Chicks, and virtually every female country act to hit it big at the turn of the century.  The sound here isn’t vintage, but certainly a throwback to the mass appealing sounds of a boom era for females in country music.  A crisp, neotraditional sound leads the Nashville native’s precise singing, and everything about this track reeks of committee planning.

The gist of the confrontation in the lyrics comes from the place where Lee Ann Womack’s “Last Call” meets your garden variety I’m-kicking-you-to-the-curb, frisky female goodbye song (think: “You Can Feel Bad”, “A Little Gasoline”, “Bye Bye”).  A pair of clever lines – “pretty words don’t mean too much, coming from the bottom of a glass” and “I’ve finally had enough/It’s clear you’ve had way too much” – keep the exchange interesting and make you think ‘hey this girl’s clever and will probably win this argument’.

But on the downside, producer Paul Worley uses those moments to crank the drums way too loud and invites the singer to reach outside her low-register comfort range.  Neither of those sonic missteps is the song’s major liability, however. While the narrating character in “Rocks” comes across and sensible and likable, she lacks the garrulous tenacity demanded on today’s airwaves. After all, she isn’t threatening to shoot, set fire to, or maim this clueless drunk who’s called her up in the middle of the night.  She simply tells him to kiss off. That, coupled with the tired and predictable production snaps is where your commercial liability lies.

Endearing, it is. Pleasing to the ears, it is. A big fat flop at country radio? I’m afraid so.

Grade: C

Listen here.

Album Review: Rhonda Vincent – ‘The Storm Still Rages’

A year and a half after her triumphant return to bluegrass, Rhonda Vincent did the unthinkable and released an album that was actually better than 2000’s excellent Back Home Again. Like its predecessor, it is a collection of contemporary and traditional bluegrass songs, along with a handful of covers of country classics with acoustic arrangements. Slightly more traditional than Back Home Again, The Storm Still Rages was self-produced. Ronnie Light, who shared production duties on Back Home Again, acts as engineer this time around. Rhonda’s brother Darrin is once again in tow, playing bass and singing harmony. Also present are some of Nashville’s most prestigious musicians, including Stuart Duncan on fiddle, and Sonya Issacs and Alison Krauss whose harmonies are what really give this album an edge over Back Home Again.

By 2001, bluegrass was on a hot streak and the rising tide that lifted albums by Alison Krauss and the O, Brother Where Art Thou soundtrack to the top of the charts also benefited Rhonda, who had an album on the charts herself for the very first time. The Storm Still Rages reached #59 on Billboard’s Top Country Albums chart and #9 on their Top Bluegrass Albums chart.

In addition to her roles as lead singer, mandolin player and producer, Rhonda is also credited as a songwriter, having had a hand in creating three of the album’s songs — the opening track “Cry of the Whippoorwill” and “On Solid Ground”, which she co-wrote with Terry Herd, and “When The Angels Sing” which she co-wrote with Herd and her brother Darrin.

One of the album’s standout tracks is “Is The Grass Any Bluer”, which is a tribute to the late Bill Monroe. Addressing the father of bluegrass directly, Vincent asks:

Is the grass any bluer on the other side?
Did it look like old Kentucky when the gates swung open wide?
Bet the good Lord’s got you playin’ somewhere up there every night.
Is the grass any bluer on the other side?

Rhonda also pays tribute to Lester Flatt with the album’s closing track “The Martha White Theme”.

My favorite song on the album is “Don’t Lie”, which had been a single for Trace Adkins two years earlier and ranks among his most underrated recordings. Rhonda’s version was also released as a single but it did not chart. The album produced two more non-charting singles, “I’m Not Over You” and a cover of the Hank Williams classic “My Sweet Love Ain’t Around”. Also among the country classics Rhonda covers is a version of the Jack Clement tune “Just Someone I Used To Know”, which was originally recorded by George Jones and is best remembered as a hit for Porter Wagoner and Dolly Parton. Rhonda’s version reminds me of the version Lee Ann Womack would record a few years later for her There’s More Where That Came From album.

Two gospel tunes are included in the set, the aforementioned “When Angels Sing” and “If You Don’t Love Your Neighbor You Don’t Love God”, a rousing toe-tapper that is probably the best known of Rhonda’s religious tunes.

The Storm Still Rages is one of those rare albums without a single misstep; the singing, playing, production and the songs themselves are all top-notch. Even if you think you don’t like bluegrass, give this one a listen and you may find that you’ve changed your mind.

Grade: A+

Album Review – Mary Karr and Rodney Crowell – ‘Kin: Songs by Mary Karr and Rodney Crowell’

The relationship between Mary Karr, a New York Times bestselling author, and Rodney Crowell began in 2003 when Crowell mentioned the author in “Earthbound” a track from Fate’s Right Hand. He’d just finished her book The Liar’s Club and had suspicions, based on her background in poetry, she could write songs.

Flash forward nine years and they’ve acted on that premonition with Kin: Songs by Mary Karr and Rodney Crowell, an album for wordsmiths and musical connoisseurs alike. With an all-star cast of heavyweights (Vince Gill, Lee Ann Womack, Rosanne Cash, Emmylou Harris, Kris Kristofferson) and fringe artists (Norah Jones and Lucinda Williams) lending their talents, the appreciation is only deepened by results worthy of their talents.

Kin shows its brilliance by presenting each artist in a new light, by giving the listener an unexpected treat with each composition. Producer Joe Henry pushes everyone out of their musical comfort zones with delightful arrangements that deepen their artistic integrity while allowing for substantial growth. Without the need to tread in the stagnant waters of mainstream Nashville, the artists have a chance to explore each song without fear of displeasing younger listeners, a constituency who wouldn’t be drawn to Kin in the first place.

Sonically, Kin is a slice of ear candy, an observation enhanced by the mix of steel, fiddle, upright bass, and acoustic guitar that drench each song. Womack exemplifies this perfectly, turning in her best song in over half a decade with “Mama’s On A Roll.” Soaked in dobro and acoustic guitar, she infuses the song with the slow-burn felt after downing a sift drink at a bar. Equally appealing is Jones, who infuses her trademark smoky warmth into the ear-catching “If The Law Don’t Want You.” By interjecting her performance with her Little Willies playfulness, she proves how compelling she is at singing country music and seduces the listener into hoping she’ll dabble in it with more frequency.

Another standout is the impressive Gill, who turns up the twang with “Just Pleasing You,” a steel and fiddle led number proving him correct in thinking his best days musically lie ahead. “Sister oh Sister,” sung by Cash, is like a visit from an old friend and fits her like a glove. While I would’ve liked to hear Cash sing something a little more energetic, you can’t fault her expressive tone on the somber tune about the relationship between close siblings.

Along the same lines is the sleepy “Long Time Girl Gone By” which finds a wispy Harris running the gamut from soft to strikingly compelling. More folk than country, it needed just a slight pick me up to hold my attention, but there isn’t any denying her artistry. Same goes for Williams who infuses “God I’m Missing You” with her usual tipsy delivery.

Crowell, not to be out done by the guest vocalists, turns in four songs of his own, his first since 2008’s Sex and Gasoline. The Dylan-like “Anything But Tame” rolls along with an acoustic guitar led arrangement, “I’m A Mess” recalls a Steve Earle-like sensibility, and “Hungry For Home” is straight-up folk. But the most appealing is “My Father’s Advice,” a duel role duet with Crowell as the son and Kristofferson as the advice-lending dad. The most country of Crowell’s vocal contributions to Kin, it offers flourishes of fiddle and harmonica that helps move the story along at a nice even pace.

As a whole, Kin is a patchwork quilt infusing distinct individual moments, led by Karr and Crowell’s simple yet evocative lyrics and brought to life by the stellar cast who gathered to record them. It’s a not-to-be-missed collaboration and one of the most original country albums of 2012.

Grade: A 

Album Review: ‘The Rodney Crowell Collection’

Warner Bros. was Rodney Crowell’s label home between 1978 and 1981. During that time he released three albums, none of which was commercially successful and they are all long out of print. Released in 1989 as a means of capitalizing the success that Crowell was enjoying at Columbia Records at that time, The Rodney Crowell Collection is the best available sampler of his Warner Bros. years.

During this time, Crowell was best known as a songwriter and as a key member of Emmylou Harris’ Hot Band. He was also steadily gaining respect for his talent as a producer, having produced the records of his then-wife Rosanne Cash. As a recording artist, Rodney only cracked the Top 40 twice during his tenure with Warner Bros., but a quick glance at this album’s tracklist will quickly reveal that the songs themselves were not at fault for his lack of commercial success. Most of the titles were significant hits for other artists, and anyone who was listening to country radio in the late 1970s and early 1980s will be familiar with them. “I Ain’t Livin’ Long Like This” was the title track of his first Warner Bros. album. That same year, Emmylou Harris recorded the song for her Quarter Moon In a Ten Cent Town album, and the following year, Waylon Jennings scored a #1 hit with the song. Emmylou had also recorded “Leaving Louisiana In The Broad Daylight” and sings harmony on Rodney’s version. The Oak Ridge Boys would take this song to #1 in 1979. Emmylou also lends her vocals to a gorgeous rendition of “Voila, An American Dream”, which the Nitty Gritty Dirt Band also recorded. The Dirt Band’s version petered out at #58 on the country chart but reached #13 on the pop chart and was a #3 hit in Canada. The beautiful “Till I Gain Control Again” was a #1 hit for Crystal Gayle in 1982, and “Shame On The Moon”, the song for which Crowell was probably best known during this era, was recorded by numerous Nashville who released albums in 1982 and 1983. It was a huge pop hit for Bob Seger, who took it to the top of the adult contemporary chart, to #2 on the pop chart, and #15 on the country chart.

None of the previously mentioned songs was released as a single by Crowell, but there is a pair of songs on the album that were released as singles, and despite their limited chart success, went on to become hits for other artists: “Ashes By Now” (Lee Ann Womack) and “Stars On The Water” (George Strait). Rodney’s version of the latter did reach #30 on the country singles chart, making it his best chart performance up to that time. There are only three songs on the album that weren’t written or co-written by Crowell, and two of them were also hits for others; Juice Newton took Hank DeVito’s “Queen of Hearts” to #14 on the country chart and #2 on the Hot 100, while Ricky Skaggs scored a #1 country hit with Guy Clark’s “Heartbroke”.

For the most part, Crowell’s recordings are not as good as the better known hit versions by other artists. He is a good, though not truly great, vocalist, but the production on these recordings may be partly to blame for their commercial failure. Most of them have too much reverb and the arrangements are a little too rock-leaning for what country radio favored at the time. One song on which Crowell’s vocals truly shine, however, is “Victim or A Fool”, one of the few songs on the album that did not become a hit for someone else. It’s my favorite track here, possibly because there isn’t another more familiar version with which to compare it.

Though not essential listening, The Rodney Crowell Collection allows the listener an opportunity to hear a number of widely recorded songs in the songwriter’s voice and also helps to explain why he was such a respected producer and songwriter during the era before he achieved his commercial breakthrough. Inexpensive new and used copies are easy to find and are worth checking out.

Grade: B

Classic Rewind: Lee Ann Womack pays tribute to George Jones – ‘The Grand Tour’

Album Review: Marty Raybon – ‘Southern Roots & Branches (Yesterday & Today)’

Barely weeks after his last album release, the enjoyable religious record Hand To The Plow, ex-Shenandoah singer Marty Raybon has come up with a mainly secular bluegrass-based effort which is even better than the latter.  He produced it himself and has done a fine job.  A variety of pickers were used, with an average of four players of any given instrument across the album (but no detailed breakdown by track)but the end result is very cohesive, sparklingly performed bluegrass with Marty’s distinctive, warm voice taking center stage.  Marty sounds great again, and the songs are all pretty good, with an overarching theme of the past.

A nice cover of the Rodney Crowell-penned Nitty Gritty Dirt Band’s nostalgic hit ‘Long Hard Road (Sharecropper’s Dream)’, with particularly pleasing fiddle, is a highlight, and Marty is entirely convincing singing of a childhood in poverty but a happy one.

The religious focus is not completely abandoned.  Marty actually co-wrote the joyfully urgent gospel of ‘Get Up In Jesus’ Name’, which Lee Ann Womack recorded on her debut album in the 90s, and here he gives his own reading, which is very good (although I would still just give the edge to the earlier recording).  An absolutely beautifully sung close-harmony ballad, ‘Beulah Land’ is another religious number, and there is an enjoyable cover of the bright mid-tempo ‘Prayer Bells Of Heaven’, written by bluegrass legend Jimmy Martin and Buck White (member of the Whites and father in law of Ricky Skaggs).

Bluegrass heritage gets several nods with interesting revivals of generally lesser-known songs.  Bill Monroe’s ‘Rocky Road Blues’ rhythmically melds blues and bluegrass, while ‘White House Blues’, another Monroe song, taken at a frenetic pace, takes on a political theme – but neither a contemporary one nor a controversial one.  It wasn’t even contemporary when Monroe recorded it in 1954, as it deals with the 1901 assassination of President William McKinley and his replacement in the White House by Theodore Roosevelt.  Lyrically, it seems an odd choice to revive, but musically it sounds very good.  ‘Down The Road’ is a Flatt & Scruggs song which is bouncily enjoyable, and Jimmy Martin’s vivacious up-tempo ‘Home Run Man’ rather engagingly uses baseball as the metaphor for a man courting his love interest.

Marty also pays heed to his personal musical heritage by redoing a couple of Shenandoah hits.  The melodic ‘Ghost in This House’ is lovely, and ‘Next To You, Next To Me’ is also well done, but both are probably inessential if you have the original recordings.

If there is an emphasis on ‘yesterday’, the ‘today’ of the album’s sub-title is represented by a couple of new songs.  The plaintive mid-tempo ‘Big Pain’ is an excellent new song written by Marty with Billy Droze and John Fountain.  It bemoans a lost love, causing a pain which hurts so much more than physical injuries.  ‘Dirt Road Heartache’, a mid-tempo heartbreak bluegrass song written by Melissa Peirce and Jerry Salley, is also new and very good.

I am slightly puzzled as to why these two albums have been released quite so close together (and both on Rural Rhythm imprints), yet not quite simultaneously, as there must be a risk that one or the other will get overlooked.  But the music on this second album is flawless, and the song selection makes its potential market wider than its companion.  It really is well worth hearing if you like Marty’s singing, or bluegrass in general.

Grade: A

Classic Rewind: Jason Sellers – ‘A Matter Of Time’

Lee Ann Womack’s first husband, a successful sonmgwriter, had a shortlived singing career himself. This was his biggest hit, peaking at #33 in 1999:

Classic Rewind: Lee Ann Womack – ‘I Think I Know’

Classic Rewind: Lee Ann Womack – ‘Last Call’

Album Review – Lee Ann Womack – ‘Call Me Crazy’

Following the success of There’s More Where That Came From, Womack released the single “Finding My Way Back Home” in August 2006. A return to the poppier sounds she favored on I Hope You Dance, the song failed to rekindle her radio career and an album of the same name was shelved.

Her next full-length album Call Me Crazy finally saw the light of day in the fall of 2008. Upon release critics hailed the album as one of the year’s best and praised Womack for continuing to explore her roots and show that women don’t have to rely on singing feel-good songs all the time.  Read more of this post

Classic Rewind – Lee Ann Womack – ‘Twenty Years and Two Husbands Ago’

Occasional Hope’s Top 10 Albums of 2011

2011 wasn’t the best year for country, but there was still some very good music to be found if you looked for it.  Just missing the cut for my personal top 10 were fine records by the excellent Sunny Sweeney, country chart debutant Craig Campbell, independent artist Justin Haigh, blue collar bluegrass newcomer Scott Holstein, the compelling close harmonies of the Gibson Brothers,  and an enjoyable if not groundbreaking live set from Amber Digby which flew under the radar.

So what did make my cut? Read more of this post

Christmas Rewind: Lee Ann Womack – ‘New Kid In Town’

Lee Ann singing Keith Whitley’s Christmas song in 1997:

Album Review: Lee Ann Womack – ‘There’s More Where That Came From’

2005’s There’s More Where That Came From is a pivotal album in the discography of Lee Ann Womack that helped to erase memories of the disastrous Something Worth Leaving Behind and to re-establish much of the credibility that she had lost with that ill-advised flirtation with pop diva-dom. Three years after her last full-length studio release, Lee Ann was back in a big way, with a new producer and a new sound. Or, perhaps a more accurate way to put it would be a new old sound. There’s More Where That Came From pays homage to a bygone era, with a retro sound and artwork that made it resemble a Tammy Wynette album from the 1970s. The disc itself even has the same design that MCA had used on its vinyl releases in the 70s and 80s, with a rainbow coming out of the clouds.

The country music landscape had changed considerably since Lee Ann’s debut just eight year earlier. Whereas her first album arrived at a time when it appeared that the genre might be swinging back toward its roots, There’s More Where That Came From was released at a time when things had moved decidedly toward the pop end of the spectrum and when the youth movement was in full force, leaving artists over the age of 40 at a distinct disadvantage. It is therefore, a little surprising that Lee Ann was allowed to release what could only have been viewed at the time as a non-commercial album, but her career had nosedived so badly by that time, her label perhaps felt that there was nothing left to lose.
Read more of this post

Album Review: Lee Ann Womack – ‘The Season For Romance’

Following the immense crossover success of “I Hope You Dance”, MCA Records continued to push Lee Ann Womack further in the pop direction, hoping to make her into a pop diva like Shania Twain or Faith Hill. Something Worth Leaving Behind, released in August 2002, bore very little resemblance to country music and was both a critical and commercial disaster. Two months later, Lee Ann released a Christmas collection, which also had little to no connection to country music. While it’s not uncommon for country stars to go for a more traditional pop or big band sound on holiday collections, the timing of The Season For Romance, on the heels of Something Worth Leaving Behind, added to the perception that what Lee Ann was leaving behind were her country roots.

Many people are nostalgic for Christmas music in the vein of Bing Crosby, Dean Martin and Johnny Mathis, even if this isn’t the type of music they normally listen to throughout the year. In the past, country stars such as Vince Gill, Lorrie Morgan, and Martina McBride have attempted to recreate those sounds on their holiday albums, and it’s often been quite effective. But unfortunately, this is decidedly not the case with The Season For Romance. Seldom have I heard an album where the singer seemed so ill at ease with the material as is the case here. Throughout the entire album, Lee Ann seems to be working too hard to erase her Texas accent, and too often seems to be competing with the orchestra rather than singing with it. Songs such as “Let It Snow” and “Winter Wonderland” sound as though Lee Ann recorded the vocal track without any knowledge of the type of arrangements or instrumentation that would be used with it.

The album’s worst track is the remake of “Baby, It’s Cold Outside”, which has never been one of my favorite songs. A pop standard dating back to the 1940s, its best known version is probably Dean Martin’s 1966 recording (Martina McBride’s duet vocals were added in 2006). Lee Ann is joined by Harry Connick, Jr. I may perhaps be a little biased since I’ve never particularly liked this song, but I found Lee Ann’s very breathy performance that tries too hard to be sexy, to be quite annoying.

I don’t mind so much that this isn’t a country album; my main gripe is that Lee Ann seems uncomfortable and out of her element throughout most of it. The sole exception is “The Man With the Bag”, which is the one song on which she really seems to be engaged and enjoying herself. “Have Yourself A Merry Little Christmas” and “Silent Night” aren’t bad — though I could have done without the distracting saxophone on the latter — but this is, for the most part, a lackluster and poorly executed project. I really hate to pan a Christmas album, particularly one from an artist whose work I usually admire, but I found this album very painful to listen to. Lee Ann is capable of much, much better and hopefully one day she’ll release a better Christmas album.

Grade: D

Lee Ann Womack honors George Jones

Head over to this week’s Quotable Country at Country California  – it has a clip of our current Spotlight Artist covering ‘The Grand Tour’ to celebrate the birthday of George Jones.

Follow

Get every new post delivered to your Inbox.

Join 148 other followers