My Kind of Country

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

Tag Archives: Rosanne Cash

Week ending 10/14/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Fraulein — Bobby Helms (Decca)

1967: I Don’t Wanna Play House — Tammy Wynette (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: The Way We Make a Broken Heart — Rosanne Cash (Columbia)

1997: How Your Love Makes Me Feel — Diamond Rio (Arista)

2007: Online — Brad Paisley (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): All the Pretty Girls — Kenny Chesney (Blue Chair/Columbia)

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Album Review: Various Artists – ‘A Tribute To John D Loudermilk’

John D Loudermilk, a cousin of the legendary Louvin Brothers was a remarkable songwriter and artist in his own right, whose music crossed musical boundaries with eleements of country, rock and pop.
In March 2016 he was honoured by a star-studded tribute concert in Nashville, and selected performances from that occasion have now been released on CD/digital download and DVD. The concert is also set to be broadcast on PBS.

Opener ‘Everybody Knows’, performed by musician/singer/songwriter Harry Stinson, has a hypnotic 1950s pop-meets-Louvin Brothers feel. Singer-songwriter Beth Nielsen Chapman delivers the teenage romance ‘Language Of Love’ in a sprightly 50s doowop pop style, also adopted by Lee Roy Parnell in a slightly bluesier fashion on ‘Mr Jones’. Another songwriter paying tribute is Bobby Braddock, who takes on ‘Break My Mind’ quite effectively, accompanied by his own piano. Norro Wilson is also pretty good on the novelty ‘The Great Snowman’.

Bluegrass legend Doyle Lawson and his band Quicksilver race through ‘Blue Train’, which works perfectly with a bluegrass arrangement. Southern rocker Jimmy Hall takes on ‘Bad News’ which again works well in this setting. Buddy Greene, mainly a Christian artist, sings the tongue in cheek story song ‘Big Daddy’s Alabama Bound’; his vocals are limited, but the arrangement is great. John McFee of the Doobie Brothers is passionate on the politically fuelled anthem to the Cherokee nation now restricted to the ‘Indian Reservation’.

Rodney Crowell also rocks it up on ‘Tobacco Road, possibly Loudermilk’s best known song; this is highly enjoyable and one of my favorite tracks. I was less impressed by his wife Claudia Church on the syncopated pop of ‘Sunglasses’.

John Jorgenson of the Desert Rose Band. Jorgenson (who helmed the whole affair) is known for his guitar playing rather than his singing, but his vocals are perfectly adequate on the rocker ‘Midnight Bus’. I very much enjoyed his Desert Rose Bandmate Herb Pederson on ‘It’s My Time’, very much in classic Desert Rose Band style. John Cowan soars on the life-affirming ‘I Wanna Live’.

Rosanne Cash is tender on the lovely ‘Then You Can Tell Me Goodbye’, another highlight. Ricky Skaggs and the Whites team up on two songs. ‘Heaven Fell last Night’ is a lovely romantic ballad sung together by Ricky and wife Sharon, while Ricky takes the lead on the fun Stonewall Jackson hit ‘Waterloo’. I also enjoyed Becky Hobbs on the country hit ‘Talk Back Trembling Lips’.

Emmylou Harris’s voice is sadly showing the signs of age, but she is well supported by the harmony vocals of Pam Rose and Mary Ann Kennedy on ‘Where Are They Gone’. 80s star Deborah Allen also sounds a little worse for wear on her song, the wistful ballad ‘Sad Movies’. Loudermilk’s son Mike doesn’t have much of a voice, but he does his best on a pleasant version of the catchy ‘Abilene’, and is backed by (his own?) delightful guitar work.

I wasn’t previously familiar with Cory Chisel and Adriel Denae, an Americana/folk duo and rela-life married couple. Their version of the part spoken airline tragedy story song ‘Ebony Eyes’ is prettily harmonised although the individual voices are not that strong. Also new to me was Beth Hooker, who delivers a sultry blues version of Turn Me On’. Guests from further afield include Australian fingerpicking guitar virtuoso Tommy Emmanuel on an instrumental track.

This is a worthy tribute which reminds the listener of both the musical breadth and quality of Loudermilk’s oeuvre.

Grade: B+

Album Review: Rodney Crowell – ‘Close Ties’

The past continues to cast a looming shadow over Rodney Crowell on his latest album, produced by Jordan Lehning and Kim Buie. He has written about his difficult East Houston childhood before, and he revisits it more graphically than ever on ‘East Houston Blues’, a reflective and gripping contemplation of a very tough past which might have ended very badly. The song seems to be set in an alternative world in which he never got out of it:

I grew up hungry
And I grew up hard
Took the streets and alleys
For my own backyard
I got a breakin’-and-enter
On my list of crimes
Been before the judge
One too many times…

I’m a third-born child
My mother’s only son
Which means exactly nothing
Without a loaded gun
I don’t believe in love
This I guarantee
If there’s a God above
He’s got it in for me

This song opens the album, which is bookended with his recollections of his arrival in ‘Nashville ‘72’ and early friendship with Guy and Susanna Clark. He drops lots of names of his musician friends from that era, some of whom will be more familiar than others to the average listener. Susanna Clark’s recent death may perhaps have sparked off this nostalgic mood, and ‘Life Without Susanna’ addresses this sense of loss. While it is well written and clearly heartfelt, the rather histrionic vocals make it hard to listen to.

In another echo of times past, ex-wife Rosanne Cash joins Rodney on ‘It Ain’t Over Yet’, together with John Paul White, formerly half of Americana duo The Civil Wars. A rueful yet optimistic look at growing older partly inspired by Guy and Susanna, this is an excellent song which is being promoted as a single:

It’s like I’m sittin’ at a bus stop waitin’ for a train
Exactly how I got here is hard to explain
My heart’s in the right place,
what’s left of it I guess
My heart ain’t the problem,
It’s my mind that’s a total mess
With these rickety old legs and these watery eyes
It’s hard to believe that I could pass for anybody’s prize
And here’s what I know about
The gifts that God gave
You can’t take ’em with ya
When you go to the grave

The funky ‘I Don’t Care Anymore’ is also about growing older, and no longer bothering about appearances or what others think.

An unexpected guest is Sheryl Crow, who duets with Rodney on ‘Tied To Ya’ which he wrote with Irish musician Michael McGlynn. This is a kind of love song with a pretty melody and rather vague spiritual but not religious lyrics. I much preferred the delicately understated pensive ‘Forgive Me Annabelle’, about a former love and his own past failings, set to a beautiful string arrangement. ‘Reckless’ is a song about dreaming about cheating on a true love, with another classical style arrangement.

‘Storm Warning’, a co-write with poet Mary Karr, with whom Crowell collaborated on his album Kin a few years ago, is an intense description of a tornado, but (while entirely appropriate for the song) it is a bit loud and cluttered for me to actually enjoy. In contrast, the mellow, poetic ‘Forty Miles From Nowhere’ is lovely.

I don’t think I would call this album country, and maybe not even Americana. But it is an excellent, mature piece of work.

Grade: A

Album Review: Sawyer Brown – ‘Somewhere In The Night’

When discussing country music released in the late 1980s, it’s almost customary to frame it within the context of the new traditionalist movement. But it’s easy to overlook the fact that not every artist releasing albums at that time adhered to the sound ushered in by Randy Travis on Storms of Life. Acts like Alabama, K.T. Oslin, Rosanne Cash and others were sticking with the pop-country sound that had dominated the better part of the decade. These artists were not only going against the trend, they were dominating at radio alongside everyone else.

You can easily add Sawyer Brown to this category, as well. Their fourth album, Somewhere In The Night, arrived in May 1987 under the direction of Ron Chancey. He had taken over for Randy Scruggs who wouldn’t produce a Sawyer Brown album until The Boys Are Back, two years later. Many know Chancey’s son Blake from his notable production work with David Ball, Dixie Chicks, Montgomery Gentry and Gretchen Wilson in the 1990s-2000s.

Sawyer Brown wasn’t exactly dominating at this point in their career. When Somewhere In The Night was released, the band was on a streak of six consecutive singles missing the top 10. Their most recent, “Savin’ The Honey for the Honeymoon” has petered out at #58. They needed a reverse in fortunes, and while this wasn’t the album to get them there, it did give them a slight reprieve with radio.

The title track, co-written by Don Cook and Rafe VanHoy, had originally appeared on the Oak Ridge Boys classic Fancy Free six years earlier. Sawyer Brown’s version retains a 1980s sheen, complete with dated harmonies and synth piano, but is otherwise an excellent and restrained ballad. The track peaked at #29.

The album’s biggest success came when second single “This Missin’ You Heart of Mine” peaked at #2. The ballad, co-written by Mike Geiger and Woody Mullis, is a wonderful example of the other side of late 1980s country music. While it might sound a bit dated today, the production is nicely restrained with Chancey framing their harmonies beautifully.

Kix Brooks, Kenneth Beal, and Bill McClelland are responsible for the album’s final single, “Old Photographs,” which stalled at #27. The lush ballad isn’t a strong one, a bit of filler that never would’ve made it as a single in any other era.

“In This Town,” co-written by Tom Shapiro and Michael Garvin, would’ve made a fantastic choice for a single, and probably would’ve sailed up the charts behind “This Missin’ You Heart of Mine.” Everything about the ballad is on point, from the melody to the harmonies.

Somewhere In The Night contains its share of uptempo material, so it’s curious why the label didn’t see fit to break the ballad fatigue with one of these tracks. Two such songs were solely penned by Dennis Linde. “Dr. Rock N. Roll” is a slice of catchy slick pop while “Lola’s Love” is a nice dose of country-rock. The latter is the better song, and as a single for Ricky Van Shelton from his 1994 album Love and Honor, it peaked at #62. Linde also wrote “Still Life In Blue,” a mid-tempo ballad with dated accents of synth-pop.

The percussion-heavy “Little Red Caboose” was written by Steve Gibson and Dave Loggins and recorded by Lee Greenwood on his 1985 release, Love Will Find Its Way To You. The results are catchy and brimming with personality.

“Still Hold On” was originally released by its co-writer Kim Carnes in 1981 and Kenny Rogers in 1985. The ballad soars, thanks to Mark Miller’s vocal, which is an outstanding example of pathos that hints at the gravitas he would bring to the band’s 1990s hits “All These Years” and “Treat Her Right.”

The final track, “A Mighty Big Broom” was written solely by Miller. It’s the album’s most adventurous track, with a rock-leaning arrangement and a silly lyric.

When approaching Somewhere In The Night, I fully expected not to be able to pick out the Sawyer Brown I know from this set of songs. I came to the band like all my country music, in 1996, long after “The Walk” had revolutionized their sound and grounded them with depth and substance. So I was surprised I could hear subtle hints of what the band would eventually become, on this album. It’s a stellar project through and through, with a nice batch of above average material.

Grade: A

Single Review: Rodney Crowell feat. John Paul White and Rosanne Cash – ‘It Ain’t Over Yet’

maxresdefaultThe celebrity marriage is the stuff of legend in country music, where iconic pairs either come together as the loves in each other’s lives or break apart as fame and fortune stuck their formidable wedge where it shouldn’t belong. The success rate hasn’t been high, which should be expected, from pairs in such an industry.

One such union is that of Rodney Crowell and Rosanne Cash. The pair met when he produced three tracks on her European-Only debut album. She would venture to California to play with his band The Cherry Bombs. They married in 1979 and had their first child in 1980 and moved to Nashville the following year. Cash and Crowell would divorce in 1992.

They’re back together twenty-five years later for “It Ain’t Over Yet,” which finds Crowell tracing their love story in song, from his perspective:

For fools like me who were built for the chase

It takes a right kind of woman to help you put it all in place

It only happened one in my life but man, you should have seen

Her hair two shades of foxtail red

Her eyes some far-out sea blue-green

With stark honesty, he goes on to blame himself for their demise:

I got caught up making a name for myself

You know what that’s about

One day your ship comes rolling in

The next day it rolls right back out

And you can’t take for granted

None of this shit

The higher up you fly boys

The harder it is you’re gonna get hit

Cash takes the reins on the final verse:

I’ve known you forever and ever and ever it’s true

If you came by it easy you wouldn’t be you

You make me laugh

You make me cry

You make me forget myself

I do love the message that in love as in life, we’re only human:

It ain’t over yet

Ask someone who oughta know

Not so very long ago

We were both hung out to dry

It ain’t over yet

You can mark my word

I don’t care what you think you heard

We’re still learning how to fly

It ain’t over yet

There’s so much about this song to admire. “It Ain’t Over Yet” is devoid of animosity, which is remarkable, and paints time as an almighty healer. Crowell, as a songsmith, has never been sharper with his imagery or conviction.

The record itself, though, suffers from overcrowding. As much as I admire John Paul White’s contributions, and his buttery vocal is gorgeous, what is he doing here? He plays an intermediary in an intimate moment that would’ve ultimately shone brighter if it were left to Crowell and Cash alone. That version would’ve been transcendent. This one is a hair slightly below, although still very much worthy.

Grade: A-

Album Review: Crystal Gayle – ‘Cage The Songbird’

cage-the-songbirdThe mid-1980s found Crystal Gayle shifting record labels yet again. Elektra shuttered in 1982 during the chart reign of True Love, which Razor X reviewed earlier this week. Another significant shift was the addition of Jimmy Bowen, who shared a producer credit with Allen Reynolds.

By the time Cage The Songbird came along in October 1983, Gayle was recording for Warner Bros. exclusively with Bowen, who had officially taken over for Reynolds after ten albums. The resulting record was squarely within the trends of the era, following the likes of Rosanne Cash and Emmylou Harris by featuring a Rodney Crowell song, which by this time had become one of the hottest songwriters in Nashville. The album also featured cuts by Elton John and Hugh Prestwood among others, and while it maintained a glossy sheen, Cage The Songbird was loaded with well-chosen material.

The Prestwood cut, which opened the album, was issued as the lead single. “The Sound of Goodbye” is an excellent and bright uptempo contemporary number that ranks among my favorites of hers. It hit #1, as did the album’s third single, Tim Krekel’s lightweight rocker “Turning Away.” Gayle just missed the top spot with “I Don’t Wanna Lose Your Love,” an adult contemporary-leaning piano ballad by Joey Carbone. The fourth and final single, “Me Against The Night,” a nice mid-tempo ballad, peaked at #4.

Crowell, who was Gayle’s labelmate at the time, contributed “Victim or a Fool,” a ballad he recorded on his eponymous album two years earlier. Gayle brought an urgency to her version, courtesy of the electric guitars and driving tempo, that contrasted with the sadness Crowell highlighted with his interpretation. Both recordings are interesting although you can’t ignore Gayle’s commercial sheen – the lyric is all but buried beneath the noise.

John supplied the title track, a ballad he wrote with Bernie Taupin and Davey Johnstone. The lyric, which recounts a celebrity’s tragic life and death, was a reimagining of Édith Piaf’s passing as if she had committed suicide. The tone may be grim, but Gayle delivers a gorgeous performance of a spectacular song.

“Take Me Home” was lifted from the soundtrack of a Francis Ford Coppola movie of the same name. The album consisted of duets and solo performances by Gayle and Tom Waits, who composed the songs himself. The ballad is stunning and excused from not being country at all, thanks to its origin.

Norman Saleet, another composer far outside the country realm, shows up on Cage The Songbird with “On Our Way To Love,” a ballad outside of my tastes. Saleet is best known for writing Air Supply’s “Here I Am (Just When I Thought I Was Over You)” and you can hear that influence in the melody here as well.

Of the prominent producers in country music through the years, I probably like Bowen’s work the least. He’s not distasteful to his artists, but his bland tendencies have marred his work significantly. His choices aren’t in the least bit country, either, which probably aids in my overall dissatisfaction. To that end, I really wanted to enjoy Cage The Songbird and I do find many of the album’s tracks, especially “The Sound of Goodbye” very appealing. But while I can mostly appreciate the crossover aspects, the majority of the ballads just don’t hold my attention.

Grade: B

Album Review: Tammy Wynette – ‘D-I-V-O-R-C-E’

mi0003064266Tammy Wynette, once again, teamed with Billy Sherill for her third album, D-I-V-O-R-C-E, released in 1968. It would be Wynette’s first chart-topping album, fueled by the success of the now-classic title track.

The Bobby Braddock and Curly Putman penned ballad was Wynette’s fastest rising single to date and quickly topped the charts. She had gained a reputation for selecting material highlighting the woman’s perspective, a fascist sorely lacking in mainstream country music at the time. I first became familiar with the song through Rosanne Cash, who recorded a more contemporary take for Tammy Wynette Remembered following her death in 1998.

As was customary at the time, the album features a bevy of covers. Wynette turns in a rather strong rendition of “Gentle On My Mind” and a fantastic cover of “Honey,” which I’d never heard from a woman’s perspective before. I wasn’t as crazy about “Yesterday,” which with a country arrangement just doesn’t work. “The Legend of Bonnie and Clyde,” however, is one of the record’s strongest cuts. “Sweet Dreams,” on the other hand, is much too maudlin for my tastes.

George Richey, Wynette’s widower co-wrote “Come On Home,” an excellent ballad about an ‘old faithful’ wife perfectly content with her husband’s cheating. Sherrill co-wrote “Kiss Away,” a fabulous steel-soaked showcase for Wynette’s impressive vocal range. The jaunty “When There’s A Fire In Your Heart,” also wonderful, was co-written by Merle Kilgore. The final cut, “Lonely Street,” another very good ballad, was co-written by country singer Carl Belew.

D-I-V-O-R-C-E is the rare 1960s country album that hits all the right notes. The covers worked well with Wynette’s voice and I really liked the arrangements. If you haven’t heard this one before, I highly recommend seeking it out.

Grade: A

Album Review: Asleep At The Wheel – ‘Back to the Future Now: Live at Arizona Charlie’s Las Vegas’

0000076113Asleep At The Wheel released their fourth live album, Back To The Future Now: Live At Arizona Charlie’s Las Vegas back in May 1997. The project, consisting of twelve tracks, opened with a spirited take on “Ain’t Nobody Here But Us Chickens.” They followed with “Miles and Miles of Texas” and “Roly Poly,” and “Ida Red,” which are equally excellent and feature guest vocals from Tracy Byrd.

The album was culled from a club date in December 1996. The sound of the concert captures the intimacy of the night perfectly, and there truly isn’t a wasted moment in the whole set. I very much enjoyed their spirited reading of “My Baby Thinks He’s A Train,” a song I tend to associate solely with Rosanne Cash’s hit recording. They tear through the Moon Mullican classic “Cherokee Boogie” and more than prove their prowess on “Fat Boy Rag.”

“The Letter That Johnny Walker Read” is a highlight and one of the strongest additions to their set. “Hot Rod Lincoln” is far more charged than the most traditional fare but the breakneck lyric fits in just fine. They also stun on “Boggie Back to Texas” and album closer “House of Blue Lights.”

The centerpiece of the show is the set’s sole ballad, “God Bless The Child.” The song is perfection, clocking in at seven plus minutes. It also uses the fullness of the band in all its glory. There aren’t enough good things I can say about the project, one I strongly recommend. It may be redundant as far as Asleep At The Wheel live albums go, but on its own, it’s definitely worth seeking out.

Grade: A

Album Review: Asleep At The Wheel – ‘Asleep At The Wheel’

mi0001667918Asleep At The Wheel recorded their only album for MCA Nashville in 1985. The project, their second to be self-titled, didn’t have any singles released to radio. The album features an eclectic selection of material, interspersing covers and original tunes.

Bob Wills and his Texas Playboys originally recorded three of the album’s songs. The versions found here are excellent, with “Deep Water” and “Your Red Wagon” being highlights. Junior Brown provides Lap Pedal Steel on the former, his first recorded appearance. I also enjoyed “Across The Alley From the Alamo” even though I don’t have a connection to the Texas landmark.

I was disappointed in opening number “Cotton-Eyed Joe,” a traditional song that typically shreds much harder than their slightly somber interpretation. Chris O’Connell joins Benson for a duet of John Hiatt’s “This Is The Way We Make A Broken Heart,” a tune Rosanne Cash would take to #1 a few years later.

O’Connell is similarly terrific singing lead on both Paul Young’s sinister “Baby” and the rip-roaring “Switchin’ In The Kitchen.” Willie Nelson contributes harmonies to his “Write Your Own Songs,” a lyric he penned in response to the record executives who dared interfere with his artistic process. The final two numbers, “Liar’s Moon” and “Shorty” are Benson originals and both are quite good.

There exists a dated sheen to this album, which is to be expected given its age (it was released 31 years ago). But the musicianship and their tightness as a band nicely shine through the slightly warmed over tones. I don’t regard Asleep At The Wheel as an exceptional album, but it is very, very good and worth seeking out.

Grade: A

Week ending 1/30/16: #1 singles this week in country music history

hqdefault-41956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Jukebox): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Disc Jockeys): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1966: Giddyup Go — Red Sovine (Starday)

1976: Convoy — C.W. McCall (MGM)

1986: Never Be You — Rosanne Cash (Columbia)

1996: It Matters to Me — Faith Hill (Warner Bros.)

2006: Jesus, Take The Wheel — Carrie Underwood (Arista)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Die a Happy Man — Thomas Rhett (Valory)

Week ending 9/12/15: #1 singles this week in country music history

Bryan-White-300x2671955 (Sales): I Don’t Care — Webb Pierce (Decca)

1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Is It Really Over — Jim Reeves (RCA)

1975: Feelin’s — Loretta Lynn & Conway Twitty (MCA)

1985: I Don’t Know Why You Don’t Want Me — Rosanne Cash (Columbia)

1995: Someone Else’s Star — Bryan White (Asylum)

2005: Mississippi Girl — Faith Hill (Warner Bros.)

2015: House Party — Sam Hunt (MCA)

2015 (Airplay): House Party — Sam Hunt (MCA)

Album Review: Emmylou Harris & Rodney Crowell – ‘The Traveling Kind’

81BsXZt8UsL._SX522_Whether the medium is literature, film or music, sequels rarely live up to the reputations of the original projects they follow. For that reason and because both Emmylou Harris and Rodney Crowell have been known to experiment with a variety of musical styles, I wasn’t quite sure what to expect when I heard that they were teaming up for a second duets album. While The Traveling Kind isn’t quite as good as 2013’s Old Yellow Moon, it’s an example of a sequel done properly. It also, thankfully, finds them sticking more closely to their country roots than many of their post-commercial peak projects.

Recorded in Nashville last July and produced by Joe Henry, The Traveling Kind consists of eleven tracks. Rodney had a hand in writing nine of them, three of which include Emmylou as a co-writer. While I didn’t much care for the bluesy “Weight of the World”, their other two compositions (with co-writer Corey Chisel — the title track and the steel guitar-laden “You Can’t Say We Didn’t Try”, are excellent. I particularly enjoyed the duo’s take on “No Memories Hangin’ ‘Round”, Rodney’s 1979 composition that was originally a Top 20 hit for Rosanne Cash and Bobby Bare.

My favorite track is “Just Pleasing You”, a Crowell co-write with Mary Starr that sounds a lot like an old Hank Williams song with a tune that faintly resembles “I Can’t Help It (If I’m Still In Love With You)”. Almost as good is “If You Lived Here You’d Be Home Now”. Both are sure to please fans who miss the way country music used to sound.

Only two tracks come exclusively from outside songwriters: “I Just Wanted To See You So Bad” is an uptempo and quite enjoyable Lucinda Williams song, and “Her Hair Was Red”, is a Celtic-tinged number by Amy Allison which is a perfect vehicle for Emmylou.

The entire album is tastefully and sparsely produced, with an emphasis on acoustic instruments, with very little assistance from backing vocalists. Unlike a lot of “duet” projects, Harris and Crowell actually sing with — as opposed to around — each other. It is a quiet album that never allows the production to get in the way of the songs. I highly recommend it for fans of both artists, as well as for any country fans are dissatisfied with modern country radio’s typical offerings.

Grade: A

Classic Rewind: Rosanne Cash – ‘The Way We Make A Broken Heart’

Rosanne Cash, winner of three Americana Grammies on Sunday, from her days as a country star:

Predictions for the 57th Annual Grammy Awards

It’s early February, which means it’s time for the annual Grammy Awards telecast, airing this Sunday at 8pm on CBS. Look for performances from Eric Church and Miranda Lambert, plus winners in the Country and American Roots categories.

GiveMeBackMyHometownBest Country Solo Performance

Consisting of four former winners, who have proven perennial Grammy favorites, this couldn’t be a more predicable group of nominees. Miranda Lambert won the CMA Award so she has less of a chance of winning here, but really everyone has a very good chance of walking away with the trophy.

Should Win: “Give Me Back My Hometown” – The buzz surrounding The Outsiders coupled with the fact he’s never won a Grammy, should be enough to push him over the top.

Will Win: “Something In The Water” – With a win for “Last Name,” the Grammy voters proved they would award Carrie Underwood for just opening her mouth. She made quite a splash this year, so look for her winning streak to continue.

Little-Big-Town-Day-DrinkingBest Country duo/group performance

A banal group of mainstream fare, these nominees are far more flash than artistry. The Band Perry has the best song, but Kimberly’s feathery vocal, likely from screaming too much during the Pioneer era, hinders their Glen Campbell cover.

Should Win: “Meanwhile Back At Mama’s” – Although it wasn’t much of a duet, Tim & Faith should be rewarded solely for McGraw’s artistic comeback.

 Will Win: “Day Drinking” – Miranda and Carrie won the CMA, which dramatically hurts their chances here. That’ll leave room for Little Big Town to swoop in and claim victory with their anathematic earworm.

10523141_295010450688997_7271262647762240217_nBest Country Song

A sentimental nod for Glen Campbell gives these nominees, which are otherwise tethered to mainstream fare, a bit more variety. He could very easily win on principal, which would be a wonderful thing to see.

Should Win: “I’m Not Gonna Miss You” – a win now for Campbell would indeed be wonderful, especially after all he’s been through.

Will Win: “American Kids” – Grammy song categories are always surprising, as the substantive ballad doesn’t always emerge victorious. Kenny Chesney’s hit is an offbeat choice, but crazier things have happened. If Chesney doesn’t win, I could see Eric Church easily taking this home.

12 storiesBest Country Album

The strongest of the country categories, with five worthy nominees, including two that should be duking it out to the finish.

Should Win: It’s a statistical dead heat between 12 Stories and The Way I’m Livin.’ Brandy Clark and Lee Ann Womack turned in stellar recordings that, in their own right, each deserve this award.

Will Win: The Outsiders – Eric Church’s wildly uneven fourth album has a buzz that cannot be ignored. It’s a good project, but nowhere near the artistic caliber of Clark and Womack’s sets.

UnknownBest American Roots Performance

I’m not as well versed here, but Rosanne Cash and Nickel Creek turned in valiant efforts and Alison Krauss is featured on a track.

Should Win: “Destination” – Nickel Creek came back together after nine years, bringing with them their artistic gains from solo and side projects. Their astounding growth shouldn’t be ignored. 

Will Win: “And When I Die” – I never bet against the obvious, Alison Krauss is featured here, but I could easily see Rosanne Cash taking this home as well. 

rosannecashBest American Roots Song

I’ve only heard Rosanne Cash’s track, and while good, it isn’t “When The Master Calls The Roll.”

Should Win: “A Feather’s Not A Bird” – I’d still give this one to Cash

Will Win: “Pretty Little One” – Steve Martin wins without even trying, so he has the edge here. Jesse Winchester, who passed away last year, could also claim the sentimental vote.

Rosanne CashBest Americana Album

All hail the might God that is Sturgill Simpson. Most were furious he wasn’t in the Best Country Album category, since his album has Country Music in its title, but its experimental nature makes it a perfect fit here. I haven’t been able to get into him (sacrilege of the highest order) but I can appreciate his artistry.

Should Win: The River & The Thread – Rosanne Cash’s impeccable ode to her family legacy is one of the year’s true masterworks 

Will Win: The River & The Thread – Cash has the name recognition to pull this off and it couldn’t be more deserved. But she isn’t Simpson, and that could hurt her, and everyone else in this category.

81Yyaq+5nDL._SL1500_Best Bluegrass Album

This is quite the substantive category, with at least three nominees that could emerge victorious.

Should Win: I honestly don’t have any idea

 Will Win: Only Me – Rhonda Vincent is the biggest name here, a fact that usually secures a win

Top 20 Albums of 2014: A Hidebound Traditionalist’s View

Rosanne CashWe didn’t get a chance to run this before the end of the year, but we figured our readers wouldn’t mind reading Paul’s year in review a little late. — Razor X

1. Rosanne Cash – The River & The Thread

This album came out fairly early in the year, and yet I was fairly sure it would be the best new album I would hear in 2014. Elegant and insightful would be the terms I would think best describe this album.

2. Working Man’s Poet: A Tribute to Merle Haggard

So timeless are the songs are the songs of Merle Haggard that even marginal talents such as Jason Aldean and Jake Owen couldn’t mess up the songs. If fact I would regard Aldean’s take on “Going Where The Lonely Go” as he best recording he’s ever made. This tribute album is largely composed of modern country artists (Toby Keith, Parmalee, Dustin Lynch, Kristy Lee Cook, Randy Houser, Joe Nichols, Jake Owen, Jason Aldean and James Wesley) with Merle’s son Ben thrown in for good measure and Garth Brooks on the physical CD available at Walmart. The two tracks by Thompson Square (“You Take Me For Granted”, “Let’s Chase Each Other Around The Room”) are given a playful reading and are my favorite tracks, but every artist keeps the spirit of the Hag alive with these songs.

3. Kelly Willis & Bruce Robison – Our Year

The follow-up to Cheater’s Game dishes up another nice serving of real country music with more focus on newer material but with some covers including a nice take on the Statler Brothers classic “I’ll Go To My Grave Loving You” .

4. Jerry Douglas – Earls of Leicester

An instant classic, this album is almost a theatre piece with various stellar musicians cast in the roles of the members of the classic Flatt & Scruggs lineup of the 1950s and 1960s, doing a program of classic Flatt & Scruggs material. Starring Jerry Douglas on dobro, Barry Bales on bass, Shawn Camp on acoustic guitar and vocals, Johnny Warren – fiddle, Tim O’Brien – mandolin, & Charlie Cushman – banjo and guitar. Johnny Warren is the song of longtime F&S fiddler Paul Warren.

5. Carlene Carter – Carter Girl

Carlene Carter pays tribute to her musical heritage with a classic collection of Carter Family tunes plus a pair of original compositions. These recording have a modern sound that differs from, but is true to, the spirit of the originals.

6. Ray Price – Beauty Is

I wanted to call this the best album of 2014 and if Ray had been in top vocal form I would have, but this is the swan song of a dying man who knows the end is but months away. The album is elegant and heartfelt, in many respects a valentine to his wife of many years.

7. Jeff Bates – Me and Conway

For as popular as Conway Twitty was during his heyday (think George Strait), he has been almost entirely forgotten. A tribute to Conway Twitty is long overdue and while I think a multi-artist album would be nice, if it has to be a single artist tribute album, there is no one better to do it than Jeff Bates, whose voice can sound eerily similar to that of Conway Twitty. The album is about half Conway Twitty songs and half new material including the title track. My favorite tracks are the title track, “Lost In The Feeling” and Jeff’s duet with Loretta Lynn on “After The fire Is Gone” .

8. Mandy Barnett – I Can’t Stop Loving You: The Songs of Don Gibson

Mandy is a masterful singer, if somewhat addicted to slow songs. Don Gibson was a top-drawer song writer, as well as a soulful performer. This album, initially available as a Cracker Barrel exclusive is proof that when you pair great songs with a great singer that very good things can happen. Don’s been gone for over a decade so it’s nice to see someone keep his songs in front of the American public.

9. Ray Price – A New Place To Begin

I am mystified that the tracks on this album went unreleased on an album for so long. During the mid 1980s Ray Price and Snuff Garrett collaborated on a number of successful singles (some of which were used in movie soundtracks) plus some other songs. True, producer Snuff Garrett fell ill somewhere along the line and retired, but Garrett was a big name producer and you would think these would have escaped somehow. This CD features seven chart singles that were never collected on an album, and seven other songs that were never released on an album. Sixteen tracks from one of the masters most featuring more steel guitar than was common for Ray during this period .

10. George Strait – The Cowboy Rides Away (Deluxe Edition)

This album has some flaws including what sounds like auto-tune on some tracks and the standard issue of the album doesn’t warrant a top twenty listing since it has only twenty songs on it. The Deluxe Edition, however, plants you into the middle of a George Strait concert – twenty-eight songs on the two CD set plus the entire 40 song set on the concert DVD with some bonus features. George never did tour extensively and when he hit town, the tickets were expensive and sold out quickly so I never did get to see him live in concert. This set is the next best thing. While the studio recordings are better, this is still worth having.

11. Chris Thile & Edgar Meyer – Bass & Mandolin

This album is a little hard to characterize – it’s not exactly bluegrass, folk, jazz or classical music, but it is all of them and more on the ten featured tunes, all of them co-writes. Meyer plays piano on a few tunes but mostly plays bass. Thile shines on the mandolin. The listener exults in the magic.

12. Sammy Kershaw – Do You Know Me: A Tribute To George Jones

True, Sammy is a distant cousin to Cajun pioneers Rusty and Doug Kershaw, but Sammy’s musical muses were Mel Street and George Jones. Here Sammy pays tribute to George Jones and does it well. My favorite among the dozen Jones hits (plus two new songs) covered is “When The Grass Grows Over Me”.

13. Joe Mullins – Another Day From Life

Joe Mullins has been around the bluegrass scene for a while, but this album was the first of his albums I happened to pick up. It’s very good and I’ll be picking up more of his albums when I hit the bluegrass festival in Palatka, Florida on February 20.

14. Rhonda Vincent – Only Me

Half country/half grass but 100% excellent. I wish that Rhonda would do an entire album of western swing and honky-tonk classics. It was silly to split this up into two six song discs, but I guess that the ears of the bluegrass purists needed protection from the country classics. My favorite track is “When The Grass Grows Over Me” which was also my favorite George Jones song. Rhonda’s takes on “Once A Day” and “Bright Lights and Country Music” are also highlights.

15. Lee Ann Womack – The Way I’m Livin’

It is good to see new music from Lee Ann. I don’t regard this as highly as I did her first few albums, but it is a welcome return to form.

16. Willie Nelson – Band of Brothers

Death, taxes and a new Willie Nelson album are the only things you can really count on seeing every year. This one is up to the usual standards, with Willie having written nine of the fourteen songs on the album.

17. Secret Sisters – Put your Needle Down

I actually liked their debut album better, but this one will appeal more to younger listeners. At this rate they won’t be a secret much longer. Buy it at Cracker Barrel as their version has two extra songs.

18. Sturgill Simpson – Metamodern Sounds in Country Music

A lot has been written about this album, but the truth is that words really don’t adequately describe it. This album requires repeated listening.

19. Dierks Bentley – Riser

I like this album, but I keep expecting more of DIerks Bentley. “Drunk On A Plane” and “I Hold On” were the big radio/ video singles but I don’t think they were the best songs on the album.

20. Cornell Hurd Band – Twentieth Album

In some ways the Cornell Hurd Band is like Asleep At The Wheel, a very versatile band that can handle anything. Both are terrific swing bands but AATW leans more to the jazzy side while the CHB is more honky-tonk and more prone to novelty lyrics. All of their albums are filled with many and varied treasures.

Jonathan Pappalardo’s Top Ten Albums of 2014

For whatever reason, I always find it easier to tackle a singles list than one dedicated to albums. It’s easier to dive into the creative merits of a song for me than to look at a whole album, at least where a ranked list is concerned. As country music has veered off course in recent years, I’ve noticed my tastes have shifted away from the mainstream as I’ve filled my ears with the sounds of independent or Americana leaning artists, who still make music for themselves, and not for the corporate machine.

My top ten includes an artist who staged a wonderful comeback, another who treated us to his second album this decade, a group who reunited for their twenty-fifth anniversary, and a duet pairing who’ve spoiled us with riches two years in a row. All are strong artistic triumphs and prove, once again, that incredible country music continues to see the light of day.

71Pl0cfcAZL._SL1500_10. Nickel Creek – A Dotted Line

Nine years after breaking off in different directions, Sara, Sean, and Chris reunite showing astonishing artistic growth. A Dotted Line doesn’t eclipse their breathtaking 2000 debut, but it’s just so great to have them back.

Key Tracks: “Destination,” “Hayloft,” “Love Like Mine”

9. Kelly Willis & Bruce Robison – Our Year11183_JKT

The married couple follow-up 2013’s stellar Cheater’s Game with a traditional delight that packs on the steel and Willis’ once in a lifetime voice with Robison’s brilliant songwriting. It doesn’t get much better.

Key Tracks: “Carousel,” “Anywhere But Here,” “This Will Be Our Year”

MirandaLambertPlatinum8. Miranda Lambert – Platinum

The de facto mainstream entry goes to Lambert’s latest set, which balances progressive sensibilities while remaining nostalgic for times gone by.

Key Tracks: “Automatic,” “Pricilla,” “All That’s Left (with Time Jumpers)”  

RF.EISHS-117. Radney Foster – Everything I Wish I’d Said

Foster’s latest covers wide ground – the grip of creativity, love for the Golden State, and racism, et al – but it all works, thanks to his sharp songwriting and blistering production.

Key Tracks: “Whose Heart You Wreck,” “California,” “Not In My House”

lm_album6. Lori McKenna – Numbered Doors 

The first of three stellar collections from female singer-songwriters to land on the list comes from McKenna, singing exquisitely about small-town life. It’s always a treat when she releases a new set, and Numbered Doors is no exception.

Key Tracks: “The Time I’ve Wasted,” “Stranger In His Kiss,” “What A Woman Wants”

angaleena-presley-album-american-middle-class-2014-08-1000px5. Angaleena Presley – American Middle Class 

Holler Annie’s voice is an acquired taste and her production choices aren’t entirely conventional, but her songwriting is vividly clear and features the focused prospective of a woman breathing every last word.

Key Tracks: “Grocery Store,” “Life of the Party,” “Better Off Red”

don-williams-album-reflections-2014-400px4. Don Williams – Reflections

And So It Goes was a wonderful reintroduction to Don Williams for a new generation, as a man in his 70s. Fully reacquainted, Williams has released the collection of his life – ten reflections on life from a man who’s lived and breathed every word.

Key Tracks: “I’ll Be There In The Morning,” “Working Man’s Son,” “Talk Is Cheap”

81jry8GphML._SL1425_3. Rodney Crowell – Tarpaper Sky

Rodney Crowell is irrefutably one of the greatest songwriter/artists of the past forty years. He’s done it all in his astonishing career, yet he continues to surprise at a point in his profession where artists either hang it up or coast on their success. He’s at the peak of his ability with no signs of slowing down. All the better for us, and the greater good of the country genre.

Key Tracks: “The Long Journey Home,” “God I’m Missing You,” “The Flyboy & The Kid”

the way im livin2. Lee Ann Womack – The Way I’m Livin’ 

A new Lee Ann Womack album is a cause for celebration, and while I wasn’t blown away by her latest set, there were some incredible moments throughout. It also doesn’t hurt that she’s championing pure country music, especially at a time when the genre is poppier than it’s ever been.

Key Tracks: “Fly,” “Same Kind of Different,” “Sleeping With the Devil”

Rosanen-Cash-The-River-The-Thread-300x3001. Rosanne Cash – The River & The Thread

The third consecutive release in which she mines her family legacy is Cash’s masterpiece, the brilliant singer-songwriter project that comes wholly from the soul of its creator. Through twelve immaculate southern-themed songs, Cash vividly paints her landscapes and introduces us to those who call this region of the country home.

Key Tracks: “When The Master Calls The Roll,” “Night School,” “The Sunken Lands”

Album Review: Kelly Willis – ‘Easy’

KellyWillisEasyMy first exposure to Kelly Willis came around 2002 when the video for “I Left You” was featured on CMT’s fantastic TRL inspired Most Wanted Live video countdown program. The single led Easy, Willis’ second album for Rykodisc Records and first batch of new material in three years. Gary Paczosa, who’s gone on to produce Joey + Rory and Kathy Mattea among others, co-produced with Willis.

The two singles from the album, neither of which charted, remain a couple of my favorite songs from the 2000s still today. Willis wrote “If I Left You,” an acoustic guitar soaked masterpiece about a woman running through how she’d act if she left her man, in the wake of him actually leaving her. Her gorgeous cover of UK singer-songwriter Kirsty MacColl’s “Don’t Come The Cowboy With Me, Sunny Jim!” is even better; a stunning waltz about a woman’s stern warning to a man that she’s done being taken advantage of by players. Her vocal on the Spanish-flavored tune is perfection, a great example of Willis’ ability to wrap her distinct twang around a song.

Beyond “If I Left You,” Willis had a hand in writing three more tracks solo. “Not What I Had In Mind” is a mournful ballad about a woman “loving you now, though you’re no longer mine.” It’s a great lyric, but the production is lacking in steel guitar, an oversight leaving the track feeling unfinished. “Reason To Believe” is lush lullaby equating a woman’s ability to let go and live with the start of a romantic relationship. Willis’ vocal is the star here, a master class of control. The track forces her to whisper more than belt and she mostly pulls off the restraint with little difficulty. The title track, the final number Willis penned solo, is excellent, even though the melody could’ve stood for a bit more distinction.

Willis co-wrote two more tracks on Easy. “Getting to Know Me” “Getting to Me” is a mid-tempo mandolin drenched number penned alongside Gary Louris, a founding member of The Jayhawks, and a prominent co-writer on Dixie Chicks’ Taking The Long Way album. It’s a good song, but feels like a second-rate “If I Left You” sonically. “Wait Until Dark” found Willis collaborating with Rosanne Cash’s husband John Leventhal. The ballad is excellent, with Willis and Paczosa dressing it in a fabulous mandolin and acoustic guitar driven arraignment reminiscent of the work Cash would come to produce later in the decade.

Willis turned to her husband Bruce Robison for “What Did You Think,” an excellent ballad, and one of the strongest tracks on Easy thanks to its full melody and strong lyric. Paul Kelly wrote “You Can’t Take It With You,” Willis’ sole detour into bluegrass, a shift that would’ve benefited from a more energized vocal, but is great nonetheless. Blues Pianist and singer Marcia Ball wrote “Find Another Fool,” a steel and fiddle centric ballad about a woman done with a no good man that allows Willis to soar vocally.

I actually downloaded the two singles from Easy long before I went back and purchased the whole album. They remain my favorite of the tracks, likely due to their more commercial bent. The remainder of Easy is a mixed bag, more ballad driven than I was expecting with far less interesting arrangements than I thought would be here given how great the singles sounded. But Easy isn’t a bad album by any means and well worth revisiting if you’ve never heard it or haven’t given it a listen in a while.

Grade: B

Classic Rewind: Rodney Crowell ft Rosanne Cash and Emmylou Harris – ‘Shame On The Moon’

Classic Rewind: Rosanne Cash and Johnny Cash – ‘That’s How I Got To Memphis’

Album Review – Radney Foster – ‘Everything I Should’ve Said’

RF.EISHS-11To record his first album of original material since 2009, Radney Foster traveled to Dockside Studios in Lafayette, Louisiana, a converted whorehouse lacking modern amenities. Working alongside musicians he’s collaborated with during his two plus decades making music, Foster has crafted some of the most personal work of his career.

As a result, Everything I Should’ve Said radiates with rejuvenated energy from an artist roaring with passion and contemplating sizable ache. The rough edginess producer Justin Tocket brings to the proceedings displays a palpable urgency, even if the slightly dusty dirt penetrating the tracks comes off a little heavy-handed at times.

Self-penned stunner “Whose Heart You Wreck (Ode To The Muse),” which opens the album, finds Foster tipsy and ravished at the mercy of creativity, and not the hands of a woman: “You saunter in at 2 am and whisper poetry.Sensuous, whiskey-soaked and breathless next to me.You’ll sneak out before the dawn, but what should I expect? ‘Cause you don’t really give a damn whose heart you wreck.” That thematic twist is a stroke of brilliance and turns what could’ve been just an average heartbreaker into something far deeper and more impactful.

“The Man You Want” and “Holding Back” are two more numbers Foster wrote solo and both are excellent love songs. “The Man You Want” is also a glorious moment of self-reflection, with Foster laying bare his character traits only to admit his greatest life accomplishment is being the man his woman wants him to be. His girl is his kryptonite on “Holding Back,” a beautiful sentiment about the depths of affection.

My favorite of his five solely written numbers is “California,” a delicate love song about two gypsies starting over in the Golden State. The two wayward souls aren’t a couple, just like-minded people, which make the story all the more alluring. Foster also nails the simple yet oh-so-true hook: “Can’t you hear California calling your name, a siren song that once you hear it you’ll never be the same.

Foster teams up with Jay Clementi on two numbers, the jaunty “Hard Light of Day” and pulsating “Lie About Loving Me.” Both incorporate the wall-of-sound production technique that mares too much of mainstream music and gives the tunes a rockish feel that engulfs any distinctive qualities within the melodies. Fortunately the lyrical content is top-notch on both songs with “Lie About Loving Me” acting as somewhat of an addictive earworm. Another in this vein is his solely written “Unh, Unh, Unh,” an insufferable piece of dreck I skip whenever listening to the album.

The rock flavored production actually adds a dimension of anger to “Not In My House,” a generational number inspired by his a conversation with his fifth grade aged daughter about the meaning of the word ‘slut.’ Foster and co-writer Allen Shamblin broadened the song to incorporate themes of world injustice and put forth their mid-50s southern man prospective on hate and bigotry. The song is effective without being offensive and a strong lyric that needed to be said.

Two additional standout tracks find Foster co-writing with Gordie Sampson and Jim McCormick. “Noise,” may also employ the wall-of-sound recording technique but I don’t mind it as much thanks to Foster’s vocal, which cuts through nicely. “Keep Myself From Falling” is also in the same vein musically, but has a fabulous lyric that wouldn’t have been out of place on mainstream country radio (by the likes of Dierks Bentley) just five years ago and should be mainstream enough now if Bro-Country hadn’t taken over. The same goes for the title track, co-written with Darrell Brown, which has Foster laying bare his regrets in a relationship.

On the opposite end of the spectrum is “Mine Until The Morning,” a duet with Patty Griffin co-written with Darden Smith. A delicate piano-laced ballad, “Mine Until The Morning” is a gorgeous love song with Griffin’s guest vocal adding a beautiful richness to the track.

By most respects, Foster has turned in another wonderfully strong album both vocally and lyrically with Everything I Should’ve Said. Highlights abound left and right and “Whose Heart You Wreck (Ode To The Muse)” and “Not In My House” are two of the most powerful songs you’ll hear all year. The only misstep comes from Justin Tocket’s far too loud rockish production, which doesn’t render most tracks unlistenable, it’s just intrusive where it doesn’t need to be. Other than that, Everything I Should’ve Said is a solid album belonging in the company of Rodney Crowell and Rosanne Cash’s recent releases.

Grade: B+