My Kind of Country

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

Tag Archives: Melissa Peirce

Album Review – Lucy Hale – ‘Road Between’

Lucy-Hale-Road-Between-2014-1200x1200As predicted by Bob McDill twenty years ago, it’s not that uncommon anymore for artists to go country, especially those known for other career aspirations. It’s particularly true for television actresses, with Pretty Little Liars star Lucy Hale adding her name to the growing list that includes Jana Kramer and Julianne Hough.

Hale is no different than her contemporaries, having to fight to earn her country credentials just like Kramer and Hough before her. With ample fiddle and a cool yet catchy drumbeat, she sets off on the right foot with “You Sound Good To Me,” a sunny uptempo number written by Ashley Gorley, Luke Laird, and Hillary Lindsey. Hale brings a natural effervescence to the track that works well.

Hale brings a sinister vibe to “Goodbye Gone,” a dusty banjo-infused rocker written by J.T. Harding, Melissa Peirce and Andy Dodd. She may be caught up in the all-to-familiar tale of a woman ending things with her man, but Hale brings ferocity to the proceedings that help sell the track beautifully.

While the electric guitars may come on a little thick on “Lie A Little Better,” Hale’s confident vocal cuts through the noise just enough that isn’t as intrusive as it could be. “Kiss Me” is a lot softer and allows Hale the room to breathe and give a tender vocal that’s quite endearing. With neither of the songs overwhelm lyrically, Hale saves the day by injecting the right amounts of personality into her vocal performances. “Love Tonight” is another similar song in nature, but the handclaps in the melody are a bit addicting and make up for any weaknesses in the lyric.

“From the Backseat” is a nice mid-tempo number sonically reminiscent of Sara Evans’ Restless album written by Mike Daly, Jimmy Robbins, and Nicolle Clawson. The track had me until it went flavorless on the chorus, which employs the wall-of-sound production technique so much that it intrudes on the uniqueness of the song and Hale’s vocal.

The truest test for any singer on a debut album is the moments where the production is left sparse, where any vocal limitations will stand out like a sore thumb. Hale’s moment comes on Tom Douglas, James Slater, and Lindsey’s “Nervous Girls” and she passes with flying colors. The production may still lean country-pop, but she proves quite nicely that she can hold her own against any of her contemporaries.

Joe Nichols, back in traditional country mode vocally, joins Hale for “Red Dress,” a somewhat awkward moment that finds the two playing out the male and female aspects of a relationship. Kacey Musgraves co-wrote “That’s What I Call Crazy” and proves she’s adept at writing both artistic and commercially viable numbers. Hale’s only co-write comes in album closer “Just Another Song” and it’s one of the strongest numbers on the album thanks to a co-writing credit by Catt Gravitt, who helped write some of the best numbers on Kramer’s debut two years ago.

Listening to “Just Another Song” makes one wish Gravitt had contributed more here, as she thrives in this type of setting, writing songs for young female artists who may be looking for a voice. While there’s little revelatory about Road Between, it does showcase a budding talent that has the goods to extend her television career into one involving music. Hopefully she’ll be allowed to record a bit more substantive material going forward (really, how many numbers about kissing does one need on an eleven song album?) and further develop the strong potential she showcases on Road Between.

Grade: B+

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