My Kind of Country

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

Tag Archives: Neil Sedaka

Album Review: Mandy Barnett — ‘Strange Conversation’

The last time we heard from Mandy Barnett was 2013, when she released I Can’t Stop Loving You: The Songs of Don Gibson. It’s taken five years for her to follow it up and she does so with an album that finds her exploring uncharted territory in her 22-year career.

As Barnett puts it frankly, Strange Conversation isn’t a country album. She recorded it in Muscle Shoals, and through inspiration from the area’s classic sound, she plays instead under the umbrella and within the sonic textures of modern-day Americana and she’s enlisted drummer Marco Giovino and guitarist Doug Lancio to serve as her producers. The former has worked with Robert Plant and Buddy Miller while the latter has collaborated with John Hiatt and Patty Griffin.

Strange Conversation opens with “More Lovin,’” an excellent cover of the song originally recorded by Mabel John. The groove, created by a nice mixture of upright bass and crashing percussion, gives the song an appealing jazzy groove. She travels back to the 1960s for her R&B and soul-infused version of “It’s All Right (You’re Just In Love),” which originates with the Alabama-based band The Tams.

“Dream Too Real To Hold” jumps ahead to 1997 and came to Barnett via Greg Garing, who among his many contributions, worked with Kenny Vaughn to revitalize Lower Broadway in Nashville some time ago. It’s another excellent song, with nice jazzy undertones. The title track is a pleasant ballad which finds Barnett turning in a sultry vocal performance.

The album continues with “A Cowboy’s Work Is Never Done,” originally recorded and released by Sonny & Cher in 1972. Barnett mostly keeps the song within the same vein as the original, retaining Hiatt to sing on it with her. They work fine together and the lyric is good, but I hate the fuzzy and cluttered arrangement, which unnecessarily drowns them out. I know it’s in keeping with how the song was intended when written, but it’s very unappealing to my ears.

Tom Waits originally released “Puttin’ On The Dog” in 2000. The lyric, a sexual innuendo, is slinky and the song is downright obscure. Like the Sonny & Cher cover that preceded it, it’s also not to my taste. “All Night” is pure lounge and torch, as though it comes straight from an old smoky jazz club. It fits perfectly within Barnett’s classic wheelhouse.

Neil Sedaka pitched “My World Keeps Slipping Away” to Barnett directly. She evokes Rosanne Cash, who I could easily hear covering this song, on the sparse ballad, which she knocks out of the park. “The Fool” is not a cover of the Lee Ann Womack classic, but rather a tune written by legendary country and pop singer Lee Hazlewood. The barroom anthem, one of the album’s best tracks, revives Barnett’s classic sound and gives the latter half of the Strange Conversation some much-needed pep and variety. She closes the ten-track album with a cover of Andre Williams’ “Put A Chain On It,” a slice of straight-up R&B that features backing from the McCrary Sisters.

Besides insisting Strange Conversation isn’t a country album, which it most certainly is not, Barnett also says it purposefully doesn’t rely on the full-power of her voice. This choice, which makes use of her sultry lower register, gives the music a different feel from her previous albums, which I like. I certainly appreciate Barnett’s artistry and feel the end result is the album she set out to make. The tracks are on YouTube and I highly recommend you go check out the album for yourself.

Grade: B+

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Album Review: Mary Sarah & Friends – ‘Bridges: Great American Country Duets’

bridges18 year old Mary Sarah Gross (who has, like many very young performers, dropped her surname for professional purposes) has been performing country music since her childhood. Discovered on Youtube by veterans the Oak Ridge Boys, her debut album, produced by songwriter Freddy Powers, features a number of very starry guests. The style harks back, sometimes to traditional country, but more often to the Nashville Sound and the pop music of that era. Mary Sarah’s voice has quite a light timbre at present, perhaps because of her youth, but she clearly has a lot of potential.

A real highlight is ‘Crazy’, which really suits Mary Sarah vocally, and is performed as a duet with the song’s writer Willie Nelson (offering his usual idiosyncratic vocal), with an arrangement similar to the Cline version. Very impressive.

She tackles Merle Haggard’s ‘Fighting Side Of Me’ with a perky confidence, and is joined by Haggard. A great traditional country arrangement make this very enjoyable although I’m not sure the defiance of the original quite survived. ‘Heartaches By The Number’, sung as a duet with the late Ray Price, is also great, with a wonderful traditional arrangement.

’Go Rest High On That Mountain’, which Vince Gill recorded in memory of Keith Whitley, seems like a curious choice of cover due to the personal and specific nature of the lyrics, but it is beautifully and tenderly sung by Mary Sarah, with Gill’s heavenly harmony the perfect counterpoint.

I took a while to warm up to Mary Sarah’s vocal on ‘Jolene’, despite a nice arrangement and Dolly herself harmonising prettily. I think she just sounds a little too forceful and not quite vulnerable enough, but the version has grown on me over repeated listens.

‘Rose Garden’ works well for Mary Sarah, on which she duets with Lynn Anderson. Tanya Tucker helps out on an energetic take on ‘Texas (When I Die)’. I can’t normally stand Big & Rich, so I was surprised to quite enjoy their contribution to a pretty but rather old fashioned love song. The ballad ‘My Great Escape’. ‘All I Wanna Do Is Sing My Song’, sung with her producer Freddy Powers, is also nicely done.

‘What A Difference You’ve Made In My Life’ is in 70s/early 80s pop-country style, with new Hall of Fame inductee Ronnie Milsap harmonising and offering the odd solo line. It sounds a bit dated by today’s standards, and the production is a bit cluttered with strings and belted out vocals without room for much subtlety, but it has a certain guilty pleasure quality about it. ‘Dream On’ featuring the Oak Ridge Boys is more of a disappointment – cluttered sounding and not very interesting, although Mary Sarah sings it well.

I really disliked the retro-pop ‘I’m Sorry’ and ‘Where The Boys Are’, a duet with Neil Sedaka, which has no country influences at all.

The sequencing of the album groups the stronger, and more country, tracks at the start, with the effect that after halfway through it feels like a downhill ride. I’m not sure I quite know who Mary Sarah is an artist, but I enjoyed quite a lot of the album, and she definitely has talent.

Grade: B+