My Kind of Country

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

Tag Archives: Pink

Album Review: Dolly Parton – ‘Dumplin’

Dolly Parton’s latest project is the soundtrack to a new Netflix movie about a plus-size teen and Dolly fan who enters a beauty pageant run by her judgmental mother.

It is very much the pop side of Dolly’s music, with little country sounding about it. Producer Linda Perry, an extremely successful songwriter and producer from the pop world, perhaps best known for writing ‘Get The Party Started’ for Pink! and ‘Beautiful’ for Christina Aguilera, clearly has little facility for or understanding of country music.

A number of the songs are co-writes with Perry especially for the film. ‘Girl In The Movies’ is a nice but rather repetitive song with a warm lyric about a girl with big dreams which ties into the film themes. ‘Red Shoes’ is charming and passionate. A more country production would have worked better on these songs. ‘Who’ is a pretty song about discovering first love. ‘Push And Pull’ is about a troubled relationship (perhaps, from the film synopsis, the young heroine and her mother).

Willa Amai is a young Californian singer and protegee of Perry. Her duet with Dolly on the latter’s 70s pop hit ‘Here You Come Again’ is a bit over produced, but not bad, and Dolly sounds great on the track.

‘Here I Am’, originally on Dolly’s iconic Coat Of Many Colors album, is performed here as a duet with Australian pop star Sia. Dolly’s voice is crystal clear and beautiful; Sia’s deeper voice is soulful and powerful, and the overall effect is rather good, with a faintly gospel air. It is one of the best moments on this album.

I also really enjoyed ‘Why’, a rhythmic and spiritual duet with gospel legend Mavis Staples. It has a Dolly in the 80s feel to it, with a gospel overlay, catchy melody and a powerful lyric:

I often wonder what I’m doin’ here
There must be a reason
But it’s not always clear
Why was I born,
Wwhat’s my purpose in life
There is an answer to my question why
(Well, well, well)

I wonder why we can’t love and be free
Let everyone be all that they wanna be
Judge not lest you be judged,
Let heaven decide
Still we don’t do it, and I wonder why

I know I’m not perfect but nobody is
There’s things more important topping my list
Acceptance and kindness and doin’ what’s right
We would if we could, whoa, why don’t we try

I wonder why we can’t just love and be free
Let everyone be all that they wanna be
Judge not lest you be judged,
Let heaven decide
Still we don’t do it, and I wonder why

I wonder why we can’t just speak out and say
I see you my brother and I love you that way
Just be who you are with purpose and pride
‘Cause God loves us all and I bet he wonders why
We can’t love one another the way that we are
Why we are blinded from seeing that far
Let’s light the fire
Spread love with the light
We’re walkin’ in darkness, no good reason why

I wonder why we can’t just let them be free
Let everyone be all that they wanna be
My brothers, my sisters, come walk by my side
Oh I will if you will
Oh why don’t we try

You know love is the answer to my question why
But still we don’t do it
And I wonder why

Rhonda Vincent adds harmonies on the urgently optimistic ‘If We Don’t’, another of the Perry co-writes, which encourages making a difference. There is some actual fiddle on the song, from Alison Krauss, but it doesn’t really showcase the vocals. Not bad, though.

‘Holdin’ On To You’, a duet with Elle King, who has previously worked with Dierks Bentley, is very pop indeed, and I hated it. Dolly’s pop hit ‘Two Doors Down’ is very busy in this brassy incarnation; I can imagine it works in the context of the movie.

Miranda Lambert duets on a version of Dolly’s first ever hit, the Curly Putnam-penned ‘Dumb Blonde’, which does sound like a country record. Unsurprisingly to regular readers, I much prefer Dolly’s original version of her classic ‘Jolene’, but the new re-recording is actually very effective. Dolly’s vocal is somber and underlines the sadness of the story of the betrayed woman begging her rival for pity, and the string arrangement is dark and powerful.

So it sounds as if this set of recordings would work well for its main purpose, as a movie soundtrack, and also as an album in its own right for Dolly’s pop and international fans. It has less to offer fans of her more country material, but may still be worth a listen.

Grade: B

Week ending 11/12/16: #1 singles this week in country music history

hqdefault-101956 (Sales): Crazy Arms — Ray Price (Columbia)

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

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Open Up Your Heart — Buck Owens (Capitol)

1976: Cherokee Maiden — Merle Haggard (Capitol)

1986: Diggin’ Up Bones — Randy Travis (Warner Bros.)

1996: Like the Rain — Clint Black (RCA)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

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

Week ending 11/5/16: #1 singles this week in country music history

ray-price1956 (Sales): Crazy Arms — Ray Price (Columbia)

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

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

1966: Open Up Your Heart — Buck Owens (Capitol)

1976: Among My Souvenirs — Marty Robbins (Columbia)

1986: It’ll Be Me — Exile (Epic)

1996: Like the Rain — Clint Black (RCA)

2006: Every Mile a Memory — Dierks Bentley (Capitol)

2016: Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

2016 (Airplay):Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

Week ending 10/29/16: #1 singles this week in country music history

63c619_276324ce1c7c4a3ab87ded622871465fmv2-jpg_srz_415_314_85_22_0-50_1-20_0-00_jpg_srz1956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

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

1956 (Disc Jockeys): I Walk the Line — Johnny Cash (Sun)

1966: Open Up Your Heart — Buck Owens (Capitol)

1976: You and Me — Tammy Wynette (Epic)

1986: Cry — Crystal Gayle (Warner Bros.)

1996: Like the Rain — Clint Black (RCA)

2006: I Loved Her First – Heartland (Lofton Creek)

2016: Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

2016 (Airplay): I Know Somebody — LoCash (Reviver)

Week ending 10/22/16: #1 singles this week in country music history

images-111956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

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

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

1966: Open Up Your Heart — Buck Owens (Capitol)

1976: You and Me — Tammy Wynette (Epic)

1986: Just Another Love — Tanya Tucker (Capitol)

1996: Believe Me Baby (I Lied) — Trisha Yearwood (MCA)

2006: Would You Go With Me — Josh Turner (MCA)

2016: Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

2016 (Airplay): It Don’t Hurt Like It Used To — Billy Currington (Mercury)

Album Review: Jo Dee Messina – ‘Me’

meJo Dee’s latest album, released last year on her own label after she was released from her longstanding contract with Curb Records, was crowdfunded thanks to a Kickstarter campaign by her fans. It is broadly in keeping with Jo Dee’s work on Curb, contemporary pop-country which sounds positively understated compared to some of the current fare, but lacking even token nods to more traditional country instrumentation.

The lead single ‘Peace Sign’ is an assertive response to a breakup, with the protagonist cheerfully calling herself “dumb” for falling for the kind of man who dumps her by e-mail. While not the subtlest of songs, it should appeal to Jo Dee’s fans. It is one of two songs co-written by Jo Dee’s former Curb labelmate Amy Dalley, the other being ‘Breakin’ It Down’, another well-written (though unfortunately over-produced and sung) breakup song with an upbeat edge, although this time she is the one breaking away.

The assertive second single, ‘A Woman’s Rant’, is a self-penned plaint about the specific difficulty of modern life for women trying to juggle motherhood and career while getting paid less than male counterparts:

There’s so many things I can’t begin to understand
The differences that are between a woman and a man
You see, women they do twice the work and get half the pay
Men they climb the ladder while the women pave the way
They say that we’re the weaker sex
I’d have to disagree
I’d walk a mile in his shoes if he’d walk a half a mile in these

This is one of the best songs on the album, and it may be excessively self-deprecating to call it a rant, although it’s certainly unapologetically feminist.

In contrast, Jo Dee also wrote ‘Say Goodbye To Superman’, my favorite track on the album. This tearjerker is about a woman trying to explain to her young son why his idolised daddy isn’t coming home any more. It begins gently sad, building into a big ballad.

Jo Dee wrote two songs here with Alyssa Bonagura, daughter of Kathie Baillie and Michael Bonagura of 80s group Baillie & The Boys. The defiant country-rock opener ‘Not Dead Yet’ is about being a survivor, possibly addressed to her former label as she declares,

You’re the one who stopped believin’
While I’m still in the chase.
You shattered my feelings,
But you won’t shatter my faith

The other Bonagura co-wrote, ‘He’s Messed Up’, is more pop-rock than country of any variety, and it comes as no surprise to learn that it was written for rocker Pink. It is rather too loud and shouty for my taste, although I think there’s a decent lyric buried there, warning girls against a player (apparently based on a real life example).

Bonagura’s mother co-wrote the title track with Jo Dee. It is a pretty melodic tune about feeling inadequate. Jo Dee also co-wrote ‘Love On A Maybe’, a busily produced pop-rocker about a potential relationship with a guy paying hot and cold, and the rather boring ‘I’m Free’.

‘Strong Shot Of You’, written by Australian country singer-songwriter Sherrie Austin with Clay Mills and Weston Davis is energetic pop-rock-country with over-processed vocals. ‘Take It’, written by Hillary Lindsey, Brett James and Angelo Petraglia is even more horribly processed and more or less unlistenable. The wistful ‘Like A Kid Again’, written by Adrienne and Keith Follese and Tammy Hyler is better.

The arrangements and production aren’t the kind of country music I personally like, but it is very well done, with Jo Dee singing well on some strong material. I do applaud her for making the kind of music she wanted to, and fans of Jo Dee’s 90s/early 2000s peak should find much to like about this record.

Grade: B

Concert Review: Sara Evans and Kiley Evans at the South Shore Music Circus

IMG_3885Sara Evans is an incredible vocalist. That at least was evident when she took the stage August 29 at the South Shore Music Circus in Cohasset, MA. Evans turned in one brilliant performance after another, wrapping her comforting twang around a majority of her most recognizable singles.

She opened the show with “Born To Fly” before treating the audience to a brisk set of her career during the new millennium. This fantastic overview ranged from “Perfect” and “I Keep Looking” to “Real Fine Place To Start” and “As If” with ease. She loaded the set with uptempo tunes, bringing out lesser faire like “Coalmine” and enjoying the audience’s eruption during “Suds In The Bucket,” which followed a brief synopsis of her upbringing on the Missouri farm; a life with three older brothers and four younger sisters.

In the beginning Evans stuck with the music, pausing after a generous strand of songs before engaging the audience. While I normally enjoy banter, Evans has a way of coming off slightly disingenuous, like a performer fulfilling a job, and not a singer giving a whole-hearted performance. This is just Evans’ way; a fact that hasn’t changed in the three years since I last saw her live (and wrote a concert review of her show).

She was quick to mention that 2011 performance, a herculean feat where she arrived late to the venue (Cape Cod Melody Tent) via private jet, with her tardiness blamed on a combination of her kids and the Birmingham, Alabama airport she was flying out of. Her circumstances this time weren’t much better – sick kids she claimed she had to spank – but she was able to get to the venue on time, even if she fell asleep (or so she alleged) during hair and makeup.

An attempt to joke about the revolving circular stage (which the South Shore Music Circus and sister venue Cape Cod Melody Tent are known for) fell flat, but she was able to creep everyone out with a story about lice going around at her daughter’s school. Evans is a mother after all, with tweens and teens, so sharing stories of that world isn’t necessarily unwelcomed.

And for all her banter (she didn’t even know how to pronounce the town she was performing in, which was written out taped to the stage for her), she actually focused heavily on the music. Evans brought the audience back a few years and reflected on her marriage before launching into “A Little Bit Stronger,” mentioning how grateful she was to us fans for helping make it one of her biggest hits. She also graced us with her cover of Rod Stewart’s “My Heart Can’t Tell You No,” which made me happy, as I never expected her to sing it. The same went for “Backseat of a Greyhound Bus,” which came early on. I would’ve figured Evans would’ve forgotten all about that song by now.

Those who saw my review of Slow Me Down this past March (and engaged in a healthy debate on Engine 145), would most likely be surprised I would even attend an Evans concert. Despite what I said, out of anger toward her musical direction, I do love her and have been a fan ever since seeing the “Three Chords and the Truth” video on CMT seventeen years ago. She graced us with three new cuts from her latest project; her Isaac Slade assisted duet “Can’t Stop Loving You” (a duet with her phenomenal backup singer/guitarist), the title track, and brand new single “Put My Heart Down.” I actually do like the new single, and it is one of the more memorable tracks on the new project. All were sung well during the show, too.

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Our Grammy predictions

The 52nd annual Grammy Awards show airs January 31, 2010 at 8 p.m. on CBS.

Earlier we told you who we’d each like to see winning in the country categories this year. Now it’s time to go out on a limb and say who we expect to win. We didn’t do very well last time, due to collectively underestimating the CMA voters’ enthrallment to commercial success.

Best Male Country Vocal Performance
Trace Adkins – ‘All I Ask For Anymore’: Chris
Billy Currington – ‘People Are Crazy’
Jamey Johnson – ‘High Cost Of Living’: Jordan Stacey, Occasional Hope, Razor X
George Strait – ‘Living For The Night’: J.R. Journey
Keith Urban – ‘Sweet Thing’

Jordan: The Grammys always go for this type of song: critically acclaimed, sold a lot of albums, and has been listed in best of lists all year. The Grammy’s won’t ignore Jamey Johnson.
Razor: While I like the Trace Adkins song very much, I think the award for Male Vocal Performance will – and should – go to Jamey Johnson. It received a tepid response from country radio, but the Grammy’s are somewhat less inhibited and Puritanical in their selections. This was a true highlight of 2009, and I expect that the Grammy voters will recognize that and reward the song appropriately.
OH: See my comments below on Song. I believe Jamey will win at least one of these categories, but possibly not both.
J.R.: Strait is long overdue for a string of trophies from the Grammy’s. His first-ever statuette came from the NARAS last year in the Best Country Album race, and I think he’ll add to his collection this year.

Best Female Country Vocal Performance
Miranda Lambert – ‘Dead Flowers’
Martina McBride – ‘I Just Call You Mine’
Taylor Swift – ‘White Horse’: J.R. Journey, Occasional Hope
Carrie Underwood – ‘Just A Dream’: Chris, Jordan Stacey, Razor X
Lee Ann Womack – ‘Solitary Thinkin”

Razor: ‘Just A Dream’ and ‘White Horse’ are the only two songs in this category that can legitimately be called hits. It would be a further travesty for Taylor Swift to win over Carrie in a vocal performance categeory. The Grammy’s are more prone than the CMAs or ACMs to reward artistry over commercial success. While ‘Just A Dream’ is no artistic masterpiece, Carrie is hands down the superior vocalist.
OH: The Grammy voters don’t always care if something’s a hit, but nothing here is sufficiently artistically compelling to win on that account. I agree it’s between Taylor and Carrie, and travesty or not, I think Taylor will carry it on her current awards and commercial momentum.
J.R.: Taylor is white hot right now, pardon the pun. Grammy voters have traditionally either went for tracks that make strong artistic statements or the flavor of the day. This year, with nothing really standing out from the pack as brilliant in this category, I think name-recognition will swing it for Swift.
Jordan: They seem to like Carrie, and it’s a much stronger song than ‘Last Name, so she will probably walk away with this one.

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