Country music from a fan's point of view since 2008
In 2006 Kenny Rogers once again found himself signed to a major label — an interesting turn of events for an almost 70-year-old artist. Water & Bridges was released by Capitol and produced by Dann Huff, who is not my favorite producer but I was pleasantly surprised by the fruits of their labors. Like most Kenny Rogers albums, this is a pop-country collection, but unlike a lot of his earlier work, there are no blatant pop songs. Everything is targeted for the mainstream country audience, such as it was a little over a decade ago. The production is polished, but not tastefully restrained.
The title track, which opens the album is a somber ballad written by Tim Nichols and Craig Wiseman, about life’s regrets and the need to accept them and move on. It was too serious for consideration as a single, but a very good song nonetheless. It had previously been recorded by Collin Rate a few years earlier. “Someone Is Me” is a bit of social commentary written by Josh Kear and Joe Doyle, which urges people to take action to correct the things that are wrong with this world instead of waiting for someone else to do it. “Someone Somewhere Tonight” is a little too slickly produced for my taste, but Sarah Buxton harmonizes well with Kenny. This song would later be recorded by Pam Tillis and Kellie Pickler, who took it to #49 on the Billboard country singles chart.
The album’s best song is its lead single “I Can’t Unlove You” which took Kenny to the Top 20 one last time. Peaking at #17, this break-up ballad would have been a monster hit if it had come along during Rogers’ commercial heyday. “The Last Ten Years (Superman)” was the next single. True to its title, it refers to a number of events that were in the news during the previous decade (1996-2006), making reference to events such as the Oklahoma City bombing, the Y2K hysteria, and the terrorist attacks of September 11, 2001, as well as name-checking several celebrities that passed away during that time, from Minnie Pearl, Johnny Cash and June Carter Cash to Ronald Reagan, Pope John Paul II, and actor Christopher Reeve. It’s a very good song, but as a stripped-down, serious ballad focusing on mostly unhappy events, it didn’t perform particularly well at radio, topping out at #56. “Calling Me”, a mid tempo number featuring a Gospel-like piano and duet vocal by Don Henley fared slightly better, peaking at #53. It’s a little more pop-leaning than the rest of the album but it deserved more attention than it received. It marks Kenny Rogers’ last appearance (to date) on the Billboard country singles chart.
Kenny’s voice shows some signs of wear and tear at times, but for the most part he is in good vocal form and I enjoyed this album a lot more than I expected to. It might have benefited from a little more uptempo material, but overall this is a solid effort. It’s available for streaming and worth checking out.
Grade: B
Arguably the most exciting news in country music this year was the recent announcement that Trisha Yearwood had inked a deal with RCA and was releasing a new single. “PrizeFighter” is her first single since 2008’s “They Call It Falling For A Reason”. It reunites her with her longtime producer Garth Fundis and with her pal Kelly Clarkson who provides harmony vocals on the track. The two had previously collaborated, along with Reba McEntire, on a recording of “Silent Night” for Clarkson’s 2013 Christmas collection.
I was so glad to hear that Yearwood was back, that the song itself almost didn’t matter to me. The tune, which was written by Jessi Alexander, Sarah Buxton, and Ross Copperman, is a midtempo empowerment anthem which stands as a metaphor for the uphill battle Trisha faces to get back on the charts and country radio. In lesser hands the overall “Yes, we can” message might sound trite. But her voice is as beautiful as ever, meshing well with Clarkson’s harmony vocals and that more than compensates for the lightweight lyrics. The production is tasteful, just layered enough to sound contemporary without being intrusive. It is not particularly country but Trisha was never a traditionalist. It is stylistically close enough to her big hits from the 90s that longtime fans will not be disappointed. It is in many ways, a play-it-safe choice, but that is understandable given the obstacles Yearwood faces as she attempts to relaunch her recording career.
The big question mark is whether country radio will welcome back into the fold a female artist whose last Top 10 hit was 13 years ago, and who turns 50 years old in a little more than two weeks’ time. If this record is successful, Yearwood will become one of a very select number of female artists to score a hit after the age of 50. This is presumably why the much younger Clarkson is credited as a featured guest, to appeal to younger audiences. Hopefully the strategy will work, because although “PrizeFighter” doesn’t rise to the level of Yearwood’s very best work, hers is still a voice that deserves to be heard. Hopefully we’ll be hearing much more from her in the near future.
Grade: B+
LeAnn Rimes’ chart fortunes have been wildly inconsistent since she emerged on the country scene as a 13-year old. Her turbulent private life has also exposed her to a great deal of public criticism in recent years with her romance with new husband Eddie Cibrian breaking up two existing marriages and the home of two small children. Her excellent Vince Gill-produced covers album reignited my interest in her as an artist, and now she returns with her first records of all-new material in some years. She wrote many of the songs with her co-producer and frequent collaborator Darrell Brown, and it is the most personal and honest material she has ever recorded. She acknowledges that on the album cover, giving it the subtitle “the truth, in no particular order”. In other words, it is effectively a concept album about her affair, divorce and remarriage – meaty reality-based material which makes it a rare example of its kind in today’s market. Musically it’s not as traditional as Lady And Gentlemen but it is recognizably country music, with breathing space for LeAnn’s vocals.
The best songs are the more reflective ones where she shows some self-awareness. Candid cheating songs used to be a staple of country music but have fallen out of favor in recent years. ‘Borrowed’ is a guilt-ridden cheating song set during the affair, this one addressed to her new lover and dealing with her jealousy of his wife.
The remorseful ballad ‘What Have I Done’ (perhaps the outstanding song on the album) addresses the wrong she has done to her first love, who is “not her last”. It is an excellent song with a beautiful melody, with Alison Krauss and Dan Tyminski adding harmonies and subtle steel and fiddle.
What have I done?
I broke the sweetest heart
Of the only man that’s ever loved meI don’t know what I’ve become
I need to get back to where I’m from
Gotta smash every mirror in this empty house
Cause like you I don’t want to see myself
Oh, what have I done?
Both of these songs were released as singles late last year, but have failed to chart.
The haunting ‘Where I Stood’ (written by Australian AC singer-songwriter Missy Higgins) tackles the same theme, opening with the words “I don’t know what I’ve done” as she faces the loss of her husband and contemplates his finding someone new.
A heavy drumbeat leads into the less subtle ‘I Do Now’, which again addresses her cheating, but with less evident remorse, with LeAnn taking comfort in listening to Hank Williams and Merle Haggard but unfortunately not borrowing from them stylistically, instead going for a rock-influenced mid-tempo sound without much melody.
‘A Waste Is A Terrible Thing To Mind’ is another fine song written by LeAnn, as she ponders over her choices. It is one of the most traditional sounding songs on the album. Her diction is a bit muddy on this one (a problem she has sometimes suffered from in the past) so it takes some concentration to decipher the story, but it recounts the protagonist’s regret at separating from husband or lover:
I threw him out like the trash one night
The dumbest thing I’ve ever done
He was the best thing that I’ll ever find
Yeah, a waste is a terrible thing to mind
Darrell Brown contributed ‘Who We Really Are’ (a co-write with Sarah Buxton), a pretty ballad on which Leann’s vocals sound nice but again the words (about discovering oneself through the vicissitudes of love) are hard to make out.
The aggressive ‘Spitfire’ lets loose against a rival in love, and is a little spiteful, calling her rival not only a “dirty little liar” but a brainless one. It’s a brave choice as the album opener and title track as it doesn’t paint LeAnn in the best light and the obviously autobiographical nature of the material elsewhere makes this open to interpretation as a personal attack on her husband’s former wife, so making it the entry into the album could antagonize some listeners (but perhaps those most offended won’t be listening anyway, on principle?). Divorced from its likely context, it’s not a bad song in assertive vein.
She definitely addresses her husband’s ex-wife elsewhere, claiming to be ‘Just A Girl Like You’, acknowledging “he may break my heart too”, but I didn’t like this one much – it feels a bit disingenuous, there is far too much vocal noodling and the instrumentation has a slightly tinny feel. ‘You’ve Ruined Me’ also sounds a bit over-produced and over-wrought vocally.
Buddy and Julie Miller’s frenetic ‘Gasoline And Matches’ is done as a duet with rock singer Rob Thomas, and is quite entertaining, although it definitely leans more in the rock direction than country; rock guitarist Jeff Beck also guests. In the context of this album, it presumably reflects the passion wrought by her relationship with her new husband.
The equally fast-paced ‘You Ain’t Right’ written by Liz Rose with another husband-and-wife team, Chris Stapleton and Morgane Hayes, has a hardworking woman complaining about her layabout man’s lack of effort. It’s a good song, but lacks melody and feels out of place thematically.
I assume the judgmental ‘God Tales Care Of Your Kind’ is an older song as it was written with Leann’s ex-husband Dean Sheremet; it too seems a curious choice for this record unless she is addressing it to herself. Finally ‘Bottle’ is surprisingly bland for a Gary Burr tune.
It seems fairly clear that LeAnn’s personal life has caused a backlash against her music, and this album (apparently her last for Curb) will probably not get the radio play it needs to do well commercially. However, it is a serious artistic work rooted in real life. Perhaps a little too much so at times.
Grade: B+
When a successful actor turns his hand to music, the result is often met with accusations of vanity projects. But I thought John Corbett’s first album, back in 2006, was a good record on its own merits, with the actor showing off a smoky voice with an interesting tone and although he doesn’t write he clearly has a good ear for material. His latest effort is also worthwhile. The album is produced by Gary Paczosa with Corbett’s friend Jon Randall Stewart, who wrote the best song on Corbett’s first project (‘Cash’) and also contributed most of the songs on this one – and that level of quality material helps make the album stand out. Corbett’s smoky voice is fairly distinctive, backed up by the harmonies of Randall, Sarah Buxton, Jessi Alexander and John Cowan, while the overall sound is contemporary but not over-produced.
Perhaps my favourite track is the dark-timbred Western story song ‘El Paso’ (not the Marty Robbins classic of the same name but perhaps a sequel) which Randall wrote with John Wiggins. The narrator is falsely accused of murder:
There ain’t no judge and jury
And there damn sure ain’t no proof
But the sheriff’s needing someone in that noose
Even though I told the truthI wasn’t even in El Paso
When they gunned that cowboy down
I was in the arms of Rosa
Sleeping safe and sound
So remember when you hang me
All I’m guilty of
Drinking cheap tequila
And falling in love
The track is given a Western style production and allows Corbett to show off the lower extent of his vocal range, and is a real highlight.
Wiggins also co-wrote the reflective metaphorical ‘Me And Whiskey’ about a man’s ongoing on-and-off problems with alcohol. This is another excellent song. ‘Cocaine And Communion’, a Leslie Satcher co-write, tells the age old story of the struggle between addiction and God with a mother’s prayers eventually winning out:
I’ve hung out with the Devil
Like I never knew the Lord
But I was not raised a rebel
And I don’t wanna be a rebel any more
The tenderly sung and very touching story song ‘Dairy Queen’ tells a story about a woman who never forgets her first love (who died in Vietnam), and despite a happy marriage
There’s a part of her still belongs to him
‘Steal Your Heart’ is a likeable breezy declaration of love which opens the album to confident effect, written by Randall with Gary Nicholson and Paul Overstreet. A line from the song lends the album its title.
‘Name On A Stone’ was written with Bill Anderson, and relates a father’s funeral with no mourners beyond family, prompting the protagonist to decide he must leave something of substance behind when his own time comes.
The upbeat ‘Backside Of A Backslide’ was written with Randall’s wife Jessi Alexander and Chris Stapleton, about a husband begging his wife to let him back yet again. Its irrepressible optimism has a lot of charm, and I wouldn’t bet against it succeeding.
Jon Randall’s songs are rounded out by a few obscure but interesting covers; the Bellamy Brothers’ ‘Rainy, Windy, Sunshine’ (a rodeo rider’s letter from the road to a lover) is pretty good with a relaxed vocal. ‘Satin Sheets’ is not the Jeanne Pruett hit but a sardonic Southern rocker about the celebrity lifestyle written by Willis Alan Ramsey which Waylon Jennings recorded in the 70s; it’s probably my least favorite track here but performed with enthusiasm.
The only new outside song without Jon Randall’s hand is also good. ‘Tennessee Will’, written by Pat McLaughlin and Adam Hood, which has a relaxed feel, rootsy arrangement and atmospheric southern mood.
If Corbett was serious about pursuing a country music career, this is radio-friendly enough for commercial success. As a labor of love, it is a highly enjoyable record, and as a bonus, it is an effective showcase for the songs of one of Nashville’s finest songwriters.
Grade: A
Being the grand-daughter of Hank Williams (and to a rather lesser extent the daughter of Hank Jr) is a lot for a young singer-songwriter to live up to. Holly’s first two major label albums had some fine songs, but I was not quite convinced she was a fully formed artist. Now in her 30s, she has made the leap and produced a truly excellent collection of songs, released on her own label. Holly’s sultry alto voice is compelling as she portrays a variety of characters or bares her own soul. In a vague modern Americana singer-songwriter style with frequent use of a cello giving a richer, less sweet sound than the more familiar fiddle, it is tastefully produced by the artist with Charlie Peacock, best known for his work with critical favourites The Civil Wars.
Among the best songs is the bleak ‘Giving Up’, which she announces as “the saddest damn story you’ve ever seen”. It is a weary plea addressed to an alcoholic friend who keeps on claiming to be tackling her problem, a wife and mother so far gone, “the doctor said you’d die if you had another drink”. But that doesn’t seem to get her beyond platitudes, and Holly notes, incisively:
Well, I wonder if it scares you
I wonder if you think about
The daughter that you’re leaving
The man you used to love
And the son that cries for you
..
Well I guess this is it
Oh yeah, you must be giving upYou put us all through a living hell
A thousand excuses for your liquor trail
But my compassion is fading fast
Another rehab, and you break another glassBottles in driers
Bottles in shoes
There are even bottles in the baby’s room
You’re losing everything that you ever had
Your life is one thing all that money can’t buy back
This hits very hard, and sounds as if it was inspired by a specific person.
The powerful, pained ‘Drinkin’ tackles a drinking, cheating, abusive husband to ask him why, and is another of the strongest songs, with Holly’s compelling vocal grabbing attention.
Another highlight is ‘Waiting On June’ a tender reimagining of Holly’s maternal grandparents’ love story, which is very touching, with added poignancy from the death of the grandfather’s WWII comrade. The acoustic arrangement and actress Gwyneth Paltrow’s backing vocals give it a homespun feel.
Also based on her family, the quietly mournful ‘Gone Away From Me’ is a beautifully observed recollection of a small town childhood blighted by the loss of family members, and is another highlight. Jackson Browne sings backing vocals, but it is Holly’s emotional vocal which really bring this alive.
‘Railroads’ picks up the tempo with a disconcertingly upbeat tone musically belying the dark first-person story of a sinful preacher’s wild son.
‘Happy’ is a mournful reverie about a past relationship the protagonist now regrets throwing away, with the cello sounding almost menacing as Holly bemoans:
The truth is I loved you all the same
That night I broke your heart
And the day you cursed my name
And the truth is I never really knew
You were everything to me
Until it was much too late
Cause you’re the only one who makes me
The only one who makes me happy
Like the stripped-down acoustic bluesy folk ‘Let You Go’, it is written by Holly with Chris Coleman, her rock drummer husband. With Cary Barlowe, the pair also wrote ‘Til It Runs Dry’, a cheerful-sounding mid-tempo number featuring Dierks Bentley’s backing vocals.
‘Without You’, written with Lori McKenna, looks back to past searching for love and life, from a position of fulfilment. Jakob Dylan sings backing vocals, and a stately cello gives a mature feel befitting the literary allusions in the lyric. Sarah Buxton co-wrote ‘A Good Man’, a sweet love song with a striking acappella first verse and stately melody.
The title track was the least compelling song, but the weakest song on an album this strong is still pretty good. here Holly fondly recalls the period she was on the road with her music.
This is an excellent set which should appeal to fans of literate female singer-songwriters with country and Americana connections, like Matraca Berg, Lori McKenna and Mary Chapin Carpenter, but for my money this is the most appealing record of its kind I’ve heard in a long time.
Grade: A
1952: Let Old Mother Nature Have Her Way — Carl Smith (Columbia)
1962: Walk On By — Leroy Van Dyke (Mercury)
1972: Carolyn — Merle Haggard (Capitol)
1982: I Wouldn’t Have Missed It For The World — Ronnie Milsap (RCA)
1992: Love, Me — Collin Raye (Epic)
2002: Where Were You (When The World Stopped Turning) — Alan Jackson (Arista)
2012: Let It Rain — David Nail featuring Sarah Buxton (MCA)
Country music has always happily mixed the sacred with the secular, and country musicians have often included religious songs on their records, or released fully fledged Christian albums. With their secular country career floundering in the new millennium and having lost their deal with Arista, Diamond Rio moved to Christian label Word. Although they had previously recorded some religious material in their own style, rather than making a Christian country record for Word, they chose instead to follow the template of Christian radio with 2009’s The Reason. The end result is far from satisfactory, and deeply disappointing.
It is, in fact, extremely disappointing musically, with the band’s trademark harmonies replaced by anonymous praise and worship band unison singing buried some way back in the mix, although lead singer Marty Roe is in good voice and sounds invested in the material. The band’s sparkling instrumental playing is also absent, sounding flat and generic, while the songs themselves are all rather the same.
Band members did at least contribute to the album by co-writing most of the material assisted by some names which are unfamiliar to me but who are, I presume, Contemporary Christian songwriters. Marty Roe and Jimmy Olander co-wrote six of the songs with their new friends. The single ‘God Is There’ is a little over-dramatic, and the production is heavy-handed and has too much echo. When I originally heard this I was very disappointed with their new direction; but it is, sadly, actually one of the better tracks, as Marty tells us God is present even in the hardest moments of life.
The title track has a nice low-key piano intro, passionate lyric about a penitent sinner who has turned to God, and a heartfelt lead vocal from Roe, but by the chorus it develops into something more like a church modern praise song. The very pop-oriented and over-produced ‘This Is My Life’ (the second single) is almost unlistenable thanks to the technological production tricks. ‘Wherever I Am’ and ‘Into Your Hands’ are decent songs of their kind with likeable vocal performances from Roe, but, once more, the overall mix is far too heavily processed, especially on the latter. ‘Just Love’ is even less listenable.
‘Moments Of Heaven On Earth’ (written by the band’s piano/keyboard player Dan Truman with Don Pfrimmer) is a pleasant pop song about marital love with a bit of religion tacked on in the second verse. Bassist Dana Williams co-wrote the idealistic ‘What Are We Gonna Do Now’, which is not bad.
Worship song ‘Reaching For Me’ is boring, but the other outside songs are better. ‘My God Does’, written by Sarah Buxton, Craig Wiseman and Bob DiPiero, is the only track to sound anything the band’s earlier work, and, while not their best work, is pretty good, and the most listenable track here. ‘In God We Still Trust’ (written by Bud Lee and Bill and Kim Nash) adds a little patriotism by affirming the US to be a Christian nation at heart. They had previously recorded this on their Greatest Hits Vol 2.
Bizarrely, this fundamentally misjudged project, won the band their first ever Grammy (for Best Southern Country or Bluegrass Gospel Album, although I certainly can’t detect much country or bluegrass). If you love the quintessential sound of Diamond Rio, you’ll barely recognize them here, with everything that made the group’s music distinctive missing.
Grade: D
If you’re still interested, used copies are available exceptionally cheaply for such a recent release.
So many of my perennial favorites released new material this year that no room was left on the top 10 for new faces. It wouldn’t have been hard to double this list as I bought twice as much music as last year, and had even more than that sent to me, and I found myself enjoying more and more of it as the months went on. This always makes listing your favorites in order a task to undertake. So this year, I simply ranked my albums list according to their plays on my iPod and the 2 media players on my computers. So here then, are my favorite and my most-played albums of 2010.
10. Alan Jackson – Freight Train
The ever-dependable Jackson released one of the best sets of music Nashville offered this year. Too bad more of these songs weren’t released to radio since this is likely the best Alan Jackson album most people will never hear. If you haven’t yet, listen to ‘Tail Lights Blue’, ‘Till The End’, and the title track.
9. Sarah Buxton – Sarah Buxton
Four years in the making, Sarah Buxton’s first full-length album was finally released earlier this year, though 6 of the songs were released digitally in 2007. In addition to Buxton’s original take on the Keith Urban hit ‘Stupid Boy’, this disc features the raspy-voiced singer-songwriter’s four top 40 radio hits, and will likely continue to be mined for future hits by more A-listers.
8. Willie Nelson – Country Music
Nelson’s sedate take on these country standards and other songs from the Great American Songbook, including more than one hymn, are each one sublime. My personal favorites are ‘Pistol Packin’ Mama’, ‘You Done Me Wrong’, and an almost-hushed take on ‘Satisfied Mind’.
7. Reba – All The Women I Am
Aside from that ghastly first single, Reba’s newest album is either half-full of good songs or half-empty, depending on how you look at it . Either way, the few tracks that do hit home pack a mighty punch. ‘The Day She Got Divorced’ stands as McEntire’s finest recording in years, while the weeping ‘Cry’ and the horn-infused title track remind us there’s still a gifted vocalist behind all that makeup and leather.
6. Coal Miner’s Daughter: Tribute to Loretta Lynn
Tribute albums? Meh. That’s usually my reaction too. But very rarely does a multi-artist collection offer so many one-time gems. (Think: Common Thread: The Songs of the Eagles.) The usual suspects are all here – Reba’s awesome slice of western swing with ‘If You’re Not Gone Too Long’ is flawless – while even the likely Faith Hill and the unlikely Kid Rock step up to competence with Loretta Lynn’s material. Added kudos for pairing Lynn with Miranda Lambert for the title track.
5. Jamey Johnson – The Guitar Song
Jamey Johnson’s epic follow up to his career-making That Lonesome Song doesn’t pack the knockout punch of that first record. Instead, these 25 songs deliver their message with subtle dark overtones, and the stories told here are the kind you just can’t make up. Check out ‘Lonely At The Top’, ‘Can’t Cash My Checks’, and ‘Playin’ The Part’.
4. Gary Allan – Get Off On The Pain
Allan’s eighth album is another installment of the gritty, pathos-infused West Coast country that only Gary Allan is doing. These songs find a man addressing the harsher realities of everyday life; lyrics driven all the way home with Allan’s competent vocal work throughout. Favorites include ‘Kiss Me When I’m Down’, ‘Along The Way’, and ‘No Regrets’.
3. Marty Stuart – Ghost Train: The Studio B Sessions
Stuart’s throwback to country’s first golden era is highlighted mostly by warm musicianship, which features up heaping dollops of fiddle and steel while keeping that signature Bakersfield-meets Mississippi sound that made Stuart’s early recordings so engaging. Choice cuts include the high-octane ‘Bridge Washed Out’ and ‘I Run To You’ with Connie Smith.
2. Chely Wright – Lifted Off The Ground
Lifted off the Ground finds Chely Wright ably making the leap to a mature, serious, and literate artist in the vein of Mary Chapin Carpenter and Rosanne Cash, with a brilliant blend of country and folk with tinges of rock and pop, aided in part by Rodney Crowell, who urged Wright to pursue her inner songwriter, and also produced the set.
1. Zac Brown Band – You Get What You Give
It’s been a fairly slow build for me, but the Zac Brown Band have firmly planted themselves as one of my favorite mainstream country acts today. I’m not sure why their sometimes warm and fuzzy, sometimes humorous, always charming kind of country took two albums and half a dozen singles for me to get them, but I think I finally do. These guys are the opposite of what so many are trying to do in Nashville right now: these are legitimate southern rock stars recording actual country music (as opposed to the imposters with their ‘I’m country’ lyrics and hard-rocking guitars). Here’s a band that can out-island Kenny Chesney – ‘Settle Me Down’, ‘Let It Go’, out-country Strait – ‘Cold Hearted’, and probably out-Hollywood Tim McGraw if they chose to, but at the moment they’re making music. Substantial, memorable music full of hooks and melodies. I really like these guys.
Sarah Buxton seems to have been around for ages, but in fact this is her debut album. It has taken her label, Lyric Street, so long to get her to this point, because radio has been surprisingly resistant to her brand of bright pop-country despite her releasing some very good songs as singles. Five of the tracks here were previously digitally released as part of a digital EP Almost My Record as long ago as 2007, and these older tracks are the ones I enjoyed the most which is discouraging in regards to her future direction. Sarah’s distinctive throaty voice with a hint of gravel is very listenable, and she is a talented writer.
The best songs are perhaps the most familiar. The best known is ‘Stupid Boy’, which Keith Urban covered a few years ago. The reproach to the folly of a man and the damage he has done to his girlfriend (and to his own chances of happiness) by constraining her comes across a little differently from a woman’s voice than it did in Keith’s more forceful version. It is a well-written song (composed by Sarah with Dave Berg and Deanna Bryant) and although it doesn’t sound very country structurally it is well worth hearing:
She laid her heart and soul right in your hands
And you stole her every dream
And you crushed her plans
She never even knew she had a choice
That’s what happens
When the only voice she hears is tellin’ her she can’t
Stupid boy
Berg also helped to write (together with Jeremy Stover and Georgia Middleman) Sarah’s debut single, the sweetly nostalgic look back at lost ‘Innocence’, which is full of charm as she reminiscences about teenage romance and the girl she was. The vocals sound a little compressed, though, at times on this track.
The former single ‘Space’ is delivered a little breathy but is a fine song with a bitter edge, written by Sarah with husband-and-wife team Lari White and Chuck Cannon, about a man unwilling to commit:
Does it make you feel free
Make you feel young
How does it feel not to need anyone
You say you want space
Well, I’ll give you spaceYou need your own bed
You need your own room
How about an island
I bet you could find one
On the dark side of the moonThen you won’t have to deal
With anything real
Cause I won’t be here
I’ll just disappear
This is by far my favorite track.
Australian Jedd Hughes is prominently billed singing harmony on a number of tracks here, with a full-scale duet on his own pretty love song ‘Big Blue Sky’ which closes the set and is the only song not written or co-written by Sarah. ‘Wings’, another of the songs with Jedd on harmony, is pleasant but forgettable.
I like the optimistic autobiographical opening track ‘American Daughters’ which Sarah wrote with Bob DiPiero. It strikes a nice balance between country and pop influences, with a pretty tune, although the spoken list of places borders on shouting.
The bright recent single ‘Outside My Window’ (Sarah’s biggest hit to date) is a bit too far in the pop direction for me, and the newly recorded ‘Radio Love’ (with Jedd) and ‘For Real’ are even more so, and over-produced to boot, and do not interest me at all. ‘Love Like Heaven’ (featuring Sarah on harmonica) meanwhile is warmer and more engaging although it is not the strongest of lyrics. I don’t care for the self-consciously chirpy and occasionally shouty ‘That Kind Of Day’ with its too-many squealed heys and yeahs, although Sarah sounds engagingly like Dolly when she sing-speaks, and the lyric is better than the production. This track palls quickly.
Sarah is a very talented artist with a distinctive sound who deserves to do well, even if her chosen style is not altogether to my taste. It is hard to see where her career will lead her, though, as the best tracks on this album have already been released to radio and failed to make a major impact.
Grade: B-
Sarah’s debut is available everywhere, in CD form and digitally from amazon for only $5.99.
My Kind of Country 