My Kind of Country

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

Tag Archives: Nicolle Galyon

Jonathan Pappalardo’s Favorite Singles of 2014

When looking back, 2014 will be remembered as the year country music morphed into the biggest radio format in the land while pondering to never ending bro-country schlock and diminishing the efforts of solo female artists not named Miranda or Carrie. The genre also lost its biggest star, Taylor Swift, to world domination.

But I’ll remember a statistic far more puzzling. In the eighteen years I’ve been following the genre, I’ve never witnessed this big a turnover at the top of the Billboard Country Singles chart. How is it that seemingly every new male artist, either solo or in a group/duo, seems to be notching number one hits out of the gate? Everyone from Cole Swindell, Thomas Rhett, Sam Hunt, Parmalee, and Maddie & Tae are routinely racking up chart topping singles without having to fight for their chance to land on playlists. Watching the Billboard Country Airplay chart these days has become more than ridiculous.

My choices, as usual, prove radio doesn’t even begin to scratch the surface in the story of quality country music in 2014. I’ll say this until I’m blue in the face, but if you know where to look (Americana) the goods are definitely there.

Nickel-Creek-Destination10. Destination – Nickel Creek

After nine years of flexing their individual creative muscles, Sara Watkins, Sean Watkins, and Chris Thile reunited to celebrate Nickel Creek’s twenty-fifth anniversary. The time apart has only made them a stronger unit together, which boosts well for this plucky romp led by Sara’s wailing lead vocal. She’s done with her man and leaves no doubt she’s moving on to bigger and better things.

9. Frankie Please – Rodney Crowell

519z2FHhvCL._SL500_AA280_Leave it to Crowell to have the strongest opening line to any song in recent memory – ‘You tore through my life like a tornado looking for a trailer park.’ The blistering lead single from Tarpaper Sky only gets better from there, led by distinctive electric guitar and Crowell’s brilliant lyric. After 38 years in the business he proves he’s still on top of his game with no signs of slowing down.

8. I’ll Be There In The Morning – Don Williams

2468428_20140212162413_199149415The reason it’s so difficult to write an authentic love song is because the imagery has become so overdone, it borders on disingenuous parody. Simple sentiments like “You complete me” or the straightforward “I love you” have become so commonplace in our society, they mean almost nothing anymore.

Don Williams and producer Garth Fundis smartly avoid those trappings by looking forty-six years in the past and resurrecting Townes Van Zant’s elegant promise to his woman – no matter what trials and tribulations may arise on our journey, I’ll be next to you each time the sun rises to greet another day. A woman couldn’t ask more from her man and we couldn’t ask more from Williams, who imparts this wisdom as a man of seventy-five reflecting on the devotion of long-lasting love.

 7. Say You Do – Dierks Bentley

dierks-bentley-say-you-do-singleFinally back to form, Bentley leaves alcohol and frat parties in the dust for a melancholy ballad about a man pleading with the woman who won’t commit to their relationship, even after he begs her to ‘let those words roll off your tongue.’ He’s willing to do whatever it takes – buy her drinks, force her to lie, heck he wants her to lead him on – but she just won’t budge. Bentley hasn’t been this satisfying in years.

 6. Talladega – Eric Church

PrintAn epic ballad about the bonds of friendship set over a weekend at an empty NASCAR track, “Talladega” expertly illustrates Church’s storytelling prowess through Jay Joyce’s delicate production. When Church is on, there isn’t a more interesting or enjoyable male country singer scoring major hits today.

5. Meanwhile Back At Mama’s – Tim McGraw Featuring Faith Hill

 Tim-McGraw-Meanwhile-Back-At-MamasYou have to go back seven years to find Tim McGraw’s last truly outstanding single, the military-inspired “If You’re Reading This.” After years of screaming for relevancy he surrenders the fight and returns to form with a gracefully constructed lyric about home and the important role of family in our lives.

4. California – Radney Foster

RF.EISHS-11I couldn’t have willed this song to exist if I tried. ‘Can’t you hear California calling your name? A siren song, once you hear it, you’ll never be the same.’ Those nineteen words sum up exactly how I feel about the Golden State since visiting there repeatedly over the past few years. Foster has composed a stunner – part love story, part tourist battle cry.

600x600 3. The Trailer Song – Kacey Musgraves

 Kacey Musgraves’ genius lies in her ability to craft songs that on the surface seem littered with country clichés but are actually witty commentaries about the state of society as a whole. The two women depicted here may live in a trailer park, but they’re no different than any bickering neighbors setting up lives in suburbia. We all have that nosy neighbor, the one we wish would stay on their side of the fence and keep those damn mini-blinds closed.

2. What We Ain’t Got – Jake Owen

2522282_20140722163600_696746334Even as far back as six years ago, country singers abided by the cardinal rule – balance. For every uptempo ditty, artists would release a slice of substance to give themselves credibility. That concept, thank goodness, hasn’t been lost on Owen. “What We Ain’t Got” is a classic example of the kind of song that would’ve been all over 90s country radio.

Without a dousing of steel, it’s an almost perfect record about humans innate nature to always be searching for something that leaves us only wanting more. The almost non-existent production allows Owen to lay down a powerfully naked vocal that hits the listener like a sermon to the soul. Kudos to Travis Meadows and Travis Jerome Goff for pulling off the near impossible and Owen for driving it home like he should.

1. Automatic – Miranda Lambert

MirandaLambertAutomaticThe lead single from Platinum and CMA Single of the Year winner is without a doubt my favorite single of the year and easily a contender for one of the strongest country singles of the decade. Lambert, Nicolle Galyon, and Natalie Hemby have crafted a brilliant anthem capturing a shining testament to the days before social media, cell phones, and binge-watching overtook our lives.

There’s very little soul left in our modern world, a fact Lambert is thankfully self-aware enough to take to task. Even as a millennial, I’ll be 27 on Dec 31, I’m dying to get back to a time when media had half a brain and country music wasn’t run by rap influenced hooligans shamelessly flaunting their tatted up arms in tight wife beaters. The class is gone and without it, there’s nothing left. Lambert may have tamed her aggression, but she isn’t done standing up for what she believes in.

Album Review – Miranda Lambert – ‘Platinum’

MirandaLambertPlatinumMidway through Miranda Lambert’s new album Platinum comes a jarring exception to the rule as daring as the twin fiddles that opened Lee Ann Womack’s There’s More Where That Came From nine years ago. The one-two punch of a Tom T and Dixie Hall composition coupled with a glorious arrangement by The Time Jumpers has yielding “All That’s Left,” a rare nugget of traditional western swing with Lambert channeling high lonesome Patty Loveless. Besides producing one of the years’ standout recorded moments, “All That’s Left” is a crucial nod to our genre’s heritage, and the fulfillment of the promise Lambert showed while competing on Nashville Star.

Suffice it to say, there’s nothing else on Platinum that equals the brilliance of “All That’s Left,” since Lambert never turns that traditional or naturally twangy again. Instead she opts for a fifteen-slot smorgasbord, mixing country, pop, and rock in an effort to appeal to anyone who may find his or her way to the new music. In lesser hands the record would be an uneven mess, but Lambert is such an expert at crafting albums she can easily pair western swing and arena rock and have it all fit together as smaller parts of a cohesive whole.

The main theme threading through Platinum is one of getting older, whether for purposes of nostalgia, or literally aging. She continues the nostalgia trip she began with fantastic lead single “Automatic” on “Another Sunday In The South” as she recruits Jessi Alexander and fellow Pistol Annie Ashley Monroe to reminisce about the good ‘ol days of 90s country music, among southern signifiers like lazy afternoons and times spent on the front porch. The only worthwhile name check song in recent memory, “Another Sunday” cleverly weaves Restless Heart, Trace Adkins, Pam Tillis, Clint Black, Nitty Gritty Dirt Band and song namesake Shenandoah through the lyrics without pandering or sounding cutesy. I only wish she had referenced Diamond Rio and had producer Frank Liddell pepper the track with more of a 90s throwback production, which would’ve fit slightly better than the soft rockish vibe the track was given.

Lambert actually does recapture the Patty Loveless-like twang on “Old Shit,” Brent Cobb and Neil Mason’s love letter to the appealing nature of antiques. The framing technique of using the grandfather and granddaughter relationship coupled with the organic harmonica laced organic arrangement is charming, and while I usually don’t advocate for swearing in country songs, it actually works in this case and seems more appropriate than any of the cleaner words they could’ve used instead.

The aging side of getting older, which Lambert and company began tackling with “Being Pretty Ain’t Pretty” on Annie Up last year, is far more prevalent a force on Platinum. As has become customary for Lambert, she wrote thumping rocker “Bathroom Sink” solo. The lyric is scathing, detailing scary self-loathing that builds in intensity along with the electric guitars. Lambert’s phrasing is annoying, though; punctuating the rimes so much they begin to sound rudimentary. While true, “Gravity’s a Bitch,” which Lambert co-wrote with Scotty Wray, just doesn’t feel necessary to me. I think being outside the track’s demographic target aids in my assessment, but I do enjoy the decidedly country meets bluesy arrangement.

When the press release for the album said the title track was ‘Taylor Swift pop’ I was admittedly worried, no matter how many times I got down with the dubstep of “I Knew You Were Trouble” or the bubblegum of “22.” Since Max Martin isn’t anywhere near this album, “Platinum” is more “Red” than anything else, and the infamous ‘what doesn’t kill you only makes you blonder’ lyric is catchy as hell. Similarly themed and produced “Girls” is just as good, and like “Gravity’s a Bitch,” it’ll appeal quite nicely to the fairer sex.

The rest of Platinum truly defines the smorgasbord aspects of the album, with some conventional and extremely experimental tracks. Lambert co-wrote “Hard Staying Sober” with Natalie Hemby and Luke Laird and it ranks among her finest moments, with the decidedly country production and fabulously honest lyric about a woman who’s no good when her man isn’t present. “Holding On To You,” the closet Lambert comes to crooning a love song, is sonically reminiscent of Vince Gill’s 90s sound but with touches that makes it all her own. While good it’s a little too bland, as is “Babies Making Babies,” which boats a strong opening verse but eventually comes off less clever than it should’ve and not surprising enough for me.

Ever since Revolution, production on Lambert’s albums has to be taken with a grain of salt, which is unfortunately still the case here. I’m betting, more than anything since Brandy Clark and Lambert co-wrote it together with Heather Little, that “Too Rings Shy” has a strong lyric underneath the unlistenable production that found Lambert asking her production team to go out and lyrically record circus noises. It’s a shame they couldn’t make this work, since they pulled it off with Randy Scruggs reading the Oklahoma Farm Report in the background of “Easy Living” on Four The Record. There’s just no excuse why the track had to be mixed this intrusively.

Polarizing more than anything else is Lambert’s cover of Audra Mae’s “Little Red Wagon,” which I only understood after listening to Mae’s original version. Given that it’s a duet with Little Big Town, I know most everyone expected more from “Smokin’ and Drinkin,’ and I understand why (the approach isn’t traditional), but I really like the lyric and production, making the overall vibe work really well for me. The same is true about “Something Bad,” which isn’t a great song, but works because of the beat, and interplay between Lambert and Carrie Underwood. The two, even on a marginalized number like this one by Chris DeStefano, Brett James, and Priscilla Renea, sound extremely good together.

Nicolle Galyon and Jimmy Robbins teamed up with Hemby to write the album’s most important track, a love letter Lambert sings to Priscilla Presley. While the concept is questionable on paper, the results are a revelation and give Lambert a chance to directly address what she’s been going through since her husband’s career skyrocketed on The Voice. At a time when most artists of Lambert’s caliber are shying away from singing what they’re going through, Lambert is attacking her rise in celebrity head on with a clever lyric, interesting beat, and an all around engaging execution that makes “Priscilla” this album’s “Mama’s Broken Heart.”

Even without the added punch of co-writes with her fellow Nashville Star contestant Travis Howard or the inclusion of a bunch of artistic covers from the pens of Gillan Welch, Allison Moorer, Carline Carter, and others – Platinum ranks high in Lambert’s catalog. She’s gotten more introspective as she’s aged but instead of coasting on past success or suppressing her voice in favor of fitting in or pleasing people, she remains as sharp as ever tackling topics her closest contemporaries wouldn’t even touch. I didn’t care for this project on first listen, but now that I completely understand where she’s coming from, I’m fully on board. All that’s left is my desire she go even more country in her sound, but Platinum wouldn’t be a Miranda Lambert record without the added touch of Rock & Roll.

Grade: A

Single Review – Miranda Lambert – ‘Automatic’

Miranda-Lambert-GotCountryOnlineIn the monologue preceding “Young Love” on Her Story: Scenes From A Lifetime, Wynonna articulated that Judd music “Reflected a much sweeter and simpler time” where the pace was slower and face-to-face human connection was the lay of the land. Twenty-five years after that seminal classic, Miranda Lambert is yearning to return there, pondering a life “before everything became automatic.”

Unlike Paul Kennerley and Kent Robbins sweeping epic, Lambert relies on a laundry list of nostalgic signifiers (The United States Postal Service, Rand McNally Atlases, pay phones, pocket watches, etc) to tell her story. Instead of helping make her case, though, they weigh down the track with sentiment and lack her distinctive personality.

Thankfully the chorus is fantastic, with a message that proves all too true:

Hey whatever happened to, waitin’ your turn

Doing it all by hand, cause when everything is handed to you

It’s only worth as much as the time you put in

It all just seems so good the way we had it

Back before everything became, automatic

Lambert’s vocal is also sincere so the listener does invest in what she’s signing, which is kind of rare these days. The production is a bit muffled and should’ve been littered in steel and fiddle, which would’ve helped the track immensely. But from the end result, it’s clear “Automatic” has good bones.

The track could’ve been shockingly great, if Lambert stripped away the generalities and wrote solely from personal experience, like Rosanne Cash did on The River & The Thread. But it’s a step above most of mainstream country and that counts for a lot in the current climate.

Grade: B 

Songwriters: Miranda Lambert, Natalie Hemby, Nicolle Galyon 

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