My Kind of Country

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

Tag Archives: Vince Gill

Spotlight Artists : Overlooked Women of the 90s

After our look back at three male artists who emerged in 1996 (Daryle Singletary and Wade Hayes) we’re widening the net a little with our current spotlight. As we all now, it’s often harder for women to make it in country music, and that was the case even in the 1990s which might be regarded as the high point for female artists’ commercial success. For the next two months we will be talking about several female singers who tried to make an impact in the 1990s, and didn’t receive as much attention as they deserved. We hope you enjoy our selection.

Jann Browne was born in Indiana in 1954. She began performing in California in the 1970s, before joining stellar Western Swing band Asleep At The Wheel in 1981. Her heart was in more traditional styles of country music, and in 1989, with the neotraditional movement in full swing, she signed a solo deal with Curb Records. Perhaps she was just a little too late to the party, perhaps she was curbed by her label, or the fact that she continued to base herself on the West Coast, but a pair of top 20 country hits and two underrated albums were all she had to celebrate. A couple of independent albums followed later. She continues to tour locally in California, and her most recent recorded work was a Buck Owens tribute album in 2007. She is planning a new record for release this year.

Linda Davis was born in Texas in 1962. She moved to Nashville in the early 1980, and formed a duo called Skip & Linda with Skip Eaton, which released a few independent singles. Regular work singing advertising jingles and song demos got her noticed, and she secured a deal with Epic Records in 1988. After failing to make a breakthrough, she temporarily gave up her solo aspirations and joined Reba McEntire’s road outfit as a backing vocalist. That put her in the right place at the right time when Reba needed a strong female duet partner for the song ‘Does He Need You’. The song was a #1 hit and won a Grammy for the pair, and it allowed Linda another shot at solo success when she signed to Arista. While she never matched the success of the Reba duet, she has continued to tour and record, releasing several albums on different labels. She returned to prominence recently when she teamed up with her husband Lang Scott and daughter Hillary (known for her band Lady Antebellum) for a very successful country gospel project, billed as the Scott Family.

Dawn Sears was born in Minnesota in 1961. In her late 20s she was signed to Warner Brothers, releasing her critically acclaimed debut album in 1991. When this failed to launch her to superstardom, she became a backing singer for Vince Gill. Decca then picked her up in 1994, again with no lasting success, and she returned to working for Gill. She achieved non-mainstream success late in her career thanks to her role as one of the lead singers of The Time Jumpers. Tragically, she died of cancer in 2014.

Ronna Reeves was born in Texas in 1968. She was on Mercury in the early 1990s, but enjoyed limited radio success despite regular appearance on the Statler Brothers’ TNN TV show which helped her to sell enough records to stay on the label for several releases. Virginia’s Donna Ulisse released a single, excellent album on Atlantic Records in 1991. When her singles failed to gain traction despite her beautiful voice, she gave up on performing and began to concentrate on songwriting. She re-emerged 10 years ago as a bluegrass singer-songwriter, and has been forging a successful career in that vein ever since. Singer-songwriter Bobbie Cryner was born in California in 1961. She released two albums for Epic, and despite stellar vocals and material she too failed to appeal to country radio. She continued writing songs for other artists for a while but has not been active lately.

Ohio-born Kim Richey is an acclaimed singer songwriter who spent the second half of the 1990s as a semi-mainstream country artist on Mercury. She is still actively wriing and recording, and has just released a new album.
Mandy Barnett
, born in 1975 in Tennessee, was a throwback to the era and style of Patsy Cline. She made an impact as a teenager lying Patsy on stage, which enabled her to get a record deal of her own. Perhaps she was too retro for mainstream success in the second half of the 1990s despite massive critical plaudits, but she returned to her stage role with more success.

Julie Reeves, born in Kentucky in 1974, was more on the pop-country side. She had a deal with the short lived country imprint of Virgin Records. Her singles gained some airplay, and perhaps another label would have capitalised on that. As it was, marriage to comedy act Cledus T Judd sidelined Julie’s music career. The marriage ended in divorce and Julie is now a radio DJ. Finally, Chalee Tennison was born in Texas in 1969. A deal with Asylum Records in 1999 saw her touring with Alan Jackson, but her singles were only modestly successful despite strong vocals and material drawing on her varied life experience (teenage motherhood, failed marriages, and work as a prison guard).

These women offered a variety of styles of country music, but they share one thing: none really achieved the level of success they deserved. We hope you enjoy exploring their music.

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Album Review: The Oak Ridge Boys – ’17th Avenue Revival’

The Oak Ridge Boys started out as a gospel quartet, and after many years in country music have returned to their roots for this latest album, produced by Dave Cobb.

In many ways this is more of a traditional southern gospel record than a country one. It’s pretty good in that respect, although the guys’ advancing age is rather obviously showing in their vocals, particularly on the solos, although the harmonies are still stirring and they still have plenty of energy.

The opening ‘Brand New Star’, a rousing farewell to a deceased friend, is still highly enjoyable despite the vocal deficiencies. I also quite liked the traditional ‘Walk In Jerusalem’. The upbeat ‘God’s Got It, however,’ is a bit too bluesy for my taste.

‘There Will be Light’, written by Jamey Johnson, Buddy Cannon and Larry Shell, is a slow, churchy ballad with piano accompaniment. There are reverent takes on the Southern gospel hymns ‘I’d Rather Have Jesus’ and ‘Where He Leads Me I Will Follow’ which are quite effective.

A cover of Brandy Clark’s ‘Pray To Jesus’ sounds great musically with some fabulous Jerry Lee Lewis style piano and the best vocals on the album, but the semi-ironic lyrics feel out of place on this project.

Much more appropriate is the record’s most country track, Vince Gill’s Ashley Monroe co-write ‘If I Die Drinkin’’, which is emotionally sung with a gentle piano-led arrangement. This is excellent.

Also good is a cover of folk-blues legend Leadbelly’s ‘Let It Shine On Me’, which makes for an effective closing track.

One final note of disappointment: there are only nine tracks, and a total playing time of less than half an hour.

Grade: B

Classic Rewind: Vince Gill covers ‘I Can’t Be Myself’

Classic Rewind: Little Big Town ft Vince Gill – ‘Why Me, Lord?’

Christmas Rewind: Vince Gill – ‘Christmas Time Is Here’

The song starts at 3.30

Album Review: Conway Twitty – ‘Borderline’

Released in March 1987, Borderline marked Conway’s return to MCA after five year interlude with Elektra/Warner Bros. Frankly, other than the Lost In The Feeling album, I really had consistently disliked his recent output.

I received this album as a birthday present in April 1987. While I had high hopes for a return to the earlier Twitty sound my hopes were dashed when I read the back of the album and saw the following:

Musicians:

James Stroud – Drums
Emory Gordy, Jr. – Bass
John Jarvis – Piano
David Innis, Mike Lawler – Keyboards
Richard Bennett – Acoustic Guitar
Reggie Young, Fred Newll – Electric Guitar
Background Harmonies – Vince Gill and Conway Twitty

That’s right – no John Hughey, or any other steel guitar player for that matter.

My expectations suitably lowered I put the album on the turntable and played it. The album opened up with the first single release, John Jarvis-Don Cook song “Julia” which topped out at #2. This song is bland 80s ballad with cocktail lounge production. The song itself is not bad, but the production ruins it for me.

Brent Mason and Jim McBride collaborated on “Lonely Town”, a mid-tempo song about a one night stand. I would have picked this song as for single release. By the standards of this album, this was a country song

She gave into him last night
She thought he was Mr. Right
But he left like all the others
Before the morning came around

Same old story in lonely town
The sun comes up, the heart goes down
She’s tried everything she knows

Come so far and yet so close
She keeps searching for the magic
But it’s nowhere to be found
But that’s how it is in lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone

The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone
The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

Track three was “I Want To Know Before We Make Love” by Candy Parton and Becky Hobbs. Good advice no doubt – no point getting involved with a sociopath – but I think this song works better from the femine perspective. This song also reached #2.

Track four is the title track “Borderline” a decent song marred by cheesy 80s production. Walt Aldridge wrote this song. He wrote several #1 records for the likes of Earl Thomas Conley, Ronnie Milsap, Alabama and Travis Tritt.

Track five (the last track on side one of the vinyl album) concludes with “Not Enough Love To Go Around”  a slow R&B ballad that is nice but ultimately uninteresting.

Track six is “Snake Books”, written by Troy Seals. Troy wrote many great songs, but this wasn’t one of them. This is followed by “I’m For A While” by Kent Robbins, a generic song about a man who swears that he is not looking for a one night stand.

Most songs written by committees stink, but “Fifteen To Forty-Three” by Don Goodman, Frank Dycus, Mark Sherrill and John Wesley Ryles is a terrific ballad about a fellow sorting through a box of memories and regrets. This has a very country feel to it and would have made a great single.

<blockquote>I just cut the string
On a dusty old shoe box
And opened a door to the past
Now I’m sittin’ here with my souvenirs
And these faded old photographs.

Fightin’ back tears
Lookin’ back through the years
And wonderin’ why dreams fade so fast
Now the young boy I see
Don’t look like the me
Reflected in this old looking glass.

The man in the mirror
Sees things so much clearer
Than the boy in the pictures
With his eyes full of dreams
Oh, the men that I’ve tried to be
From fifteen to forty-three
Never believed that they’d end up like me.

The ninth track “Everybody Needs A Hero” was written by Troy Seals and Max D Barnes. It’s a great song that Gene Watson released as a single. Although Conway does a nice job with the song, it is not quite as nice as Gene’s version (I like the production on Gene’s record better).

The album closes with Gary Burr’s “That’s My Job”, the last single released from this album. The single reached #6 but deserved a better fate. It is one of the best songs Conway ever recorded

I woke up crying late at night
When I was very young.
I had dreamed my father
Had passed away and gone.
My world revolved around him
I couldn’t lay there anymore.
So I made my way down the mirrored hall
And tapped upon his door.

And I said “Daddy, I’m so afraid
How will I go on with you gone that way?
Don’t want to cry anymore
So may I stay with you?”

And he said “That’s my job,
That’s what I do.
Everything I do is because of you,
To keep you safe with me.
That’s my job you see.”

Borderline was one of Conway Twitty’s last big hit albums, reaching #25, higher than any subsequent Conway Twitty studio album would reach. There are some good songs on this album, but the filler truly is filler and the production sounds as phony as most late 1980s country production. This album is somewhere between a C and a C+.

Album Review: Bradley Walker – ‘Blessed’

Bradley Walker’s second religious album, and third overall, leans towards traditional hymns and other well known material. A beautiful, measured reading of ‘Amazing Grace’ opens the album. Carl Jackson and Val Storey add harmony vocals, and a little steel guitar ornaments the track. A thoughtful, sincere version of ‘The Old Rugged Cross’, also introduced with some gorgeous steel, is even better. Jimmy Fortune and Ben Isaacs help out here.

From the southern gospel tradition, Alison Krauss adds an angelic harmony to ‘Angel Band’. Vince Gill and Sonya Isaacs help on ‘Drifting Too Far From The Shore’, another lovely track. ‘I’ll Fly Away’ has energy and commitment, as does ‘Victory In Jesus’. The Gaithers’ more recent ‘Because He Lives’ is a melodic ballad.

A few classic country and bluegrass gospel tunes are included. The Oak Ridge Boys lead into ‘Family Bible’ with a line from ‘Rock Of Ages’. Some may not know that ‘One Day At A Time’ was co-written by Kris Kristofferson and Marijohn Wilkin). Bradley’s version is earnest and tasteful, with a lovely harmony from Rhonda Vincent. Ricky Skaggs and Sharon White provide harmonies on the Stanley Brothers’ ‘Who Will Sing For Me’.

There is some newer material as well. ‘I Will Someday’, written by two sets of spouses (Morgane Hayes and Chris Stapleton, and Ronnie and Garnet Bowman), is a nice upbeat song about absolute faith. The Isaacs contribute backing vocals, and there is a sprightly acoustic guitar and piano backing. ‘Cast the First Stone’ is an Isaacs song from a couple of decades ago with a Bible based lyric and strong bluegrass feel. Another Isaacs tune is the beautiful ballad ‘Say Something’.

This is a perfect example of a country religious album. The vocals are exceptional and the instrumental backings and arrangements delightful.

Grade: A

Classic Rewind: Patty Loveless ft Vince Gill – ‘Wine, Women And Song’

Cover of a Loretta Lynn classic:

Classic Rewind: Vince Gill covers Haggard’s ‘I Can’t Be Myself’

Classic Rewind: Loretta Lynn and Vince Gill – ‘Table For Two’

Album Review: Nathan Carter – ‘The Way That You Love Me’

Nathan Carter, born in Liverpool to Northern Irish parents in 1990, followed a similar path to that of Lisa McHugh. He moved to Ireland on his own at just 18 with the aim of making a career in country music. His very pleasing smooth tenor voice is ideally suited to both country ballads and Irish songs, with its lovely tone and timbre.

The Way You Love Me, his second album (the first, Starting Out, was released when he was just 17), is a very assured and mature record from such a young artist. The title track is a likeable mid-tempo shuffle of a love song with a Bakersfield feel. This theme is revisited a little less successfully with a Buck Owens medley, which unfortunately ends up feeling rather karaoke; I feel tackling a single song would have worked better. Nor does he quite convince on the Nitty Gritty Dirt Band’s ‘story song ‘Face On The Cutting Room Floor’, although there is a lovely fiddle solo.

‘After All These Years’ is a lovely ballad, a cover of a song popularised by veteran Irish country duo Foster & Allen. The song really suits Nathan’s voice. The Patty Loveless hit ‘Mr Man In The Moon’ also works very well, allowing him to soar vocally. His take on Vince Gill’s ‘I Still Believe In You’ is just gorgeous and, perhaps surprisingly, rivals the original, although the orchestral arrangement is a bit too much in the later stages.

Another nice cover is of ‘Break My Mind’, which was originally written by John D Loudermilk and had been recorded by dozens of country singers over the years, with Vern Gosdin’s version being the one I am most familiar with. Nathan’s version of the Gene Watson hit ‘Got No Reason Now for Going Home’ is also very good. ‘How Could I Love Her So Much’, a Johnny Rodriguez hit from the early 1980s, is another great song, in which the narrator has a little chat with his old flame’s new love. I also quite enjoyed a catchy version of Joe South’s ‘Games People Play’.

‘My Dear Ireland’ is a pretty Irish folk style paean to the country. Also in the same style is an enjoyably sprightly medley of ‘The Leaving Of Liverpool’, ‘Star Of The County Down’ and ‘Donegal Danny’, which is very entertaining and probably a live favorite.

I was really impressed by this album. I like Nathan’s voice a lot, and if I had not known he was only 20 when this album was released I wouldn’t have believed it. Although the selected songs are all covers (with the possible exception of the title track), they are a well chosen group, and the arrangements are excellent.

Grade: A

Album Review: Lisa McHugh – ‘A Life That’s Good’

Lisa McHugh released her sophomore album, A Life That’s Good, in October 2014. The title track, co-written by Sara Siskind and Ashley Monore, is a sweet ballad about personal fulfillment that first appeared early on in the second season of Nashville.

The album is ripe with covers. McHugh opens with “Applejack,” in which she more than adequately channels Dolly Parton. She turns to Trisha Yearwood with “She’s In Love With The Boy,” wrapping her innocent twang around the timeless tale of Katy and Tommy’s burgeoning love. As if to cover all ends of the spectrum, McHugh turns in a fine rendition of “Any Man of Mine,” which typically sounds like cheesy karaoke outside of Shania Twain’s hands.

A Life That’s Good proves McHugh to favor bright and uptempo material, which makes Vince Gill’s “Feels Like Love” the perfect addition to this set. Also excellent is Red-era Taylor Swift’s “Stay Stay Stay.” McHugh improves on Swift’s album track with a far more organic arrangement and mature performance vocally. Kacey Musgraves’ “My House” is also a delight, although I wish McHugh had settled for a bit less mimicry in her inflections.

On an album of curious covers, closing track “On The Road Again,” which has always been one of my favorite songs, stands above the rest. Her version of the Willie Nelson classic is excellent, infusing her own personality while keeping the essence of the song alive.

“Ireland” continues the album’s bright vibe, with an uptempo love song brimming with gorgeously ear catching fiddle. The cautionary “Hey I’m A Woman” finds McHugh delivering a stern warning to her man that she’s not just one of the guys. “What You Get Is What You See” might just be my favorite vocal of McHugh’s on the whole album. “Night Train to Memphis” is bluegrass in mainstream 1990s country style and every bit as wonderful as you might expect. “Hillbilly Girl” is cheesy but not without its charms.

McHugh does slow the pace on occasion, although those moments are rare. “Home to Donegal,” a power ballad, has good intentions but is way too loud and feels a bit staged. “All of Me” is a misplaced cover of John Legend’s song, far too pop, for placement on such a solidly country album. Steel Guitar-laced ballad “Left to Love,” which perfectly displays her sweet voice, is much better.

McHugh is a delight and I quite enjoyed listening to A Life That’s Good. It’s impossible to listen to her and not fall under her spell. There’s truly nothing not to like about what she’s given us here. I only wish she wasn’t so reliant on covering such well-known songs and was putting the focus, instead, on developing her own artistry. But I really can’t complain when an album sounds this good and this country.

Grade: A

Album Review: Robert Mizzell – I Don’t Want To Say Goodbye

When the group here at My Kind of Country opted to focus on Irish country acts, I certainly was not displeased as I became quite familiar with the Irish version of American country music during my years living in London (1969-1971). Unfortunately, before the days of the internet, it was nearly impossible to keep up with the more contemporary Irish artists. For the most part, the Irish artists I recall are deceased, retired or else really old. Louisiana-born Robert Mizzell is the exception to that statement in that a friend of mine brought back three Robert Mizzell cassettes for me after a visit to the emerald island some years ago. Since I rarely listen to cassettes anymore, I had forgotten about them. I pulled them out, listened to them and decided to digitize them.

Robert Mizzell is indeed an exceptional singer, so I was looking forward to reviewing his newer material. I Don’t Want To Say Goodbye was released in December 2013; unfortunately, music purchased via digital download does not come with liner notes (or any other useful information for that matter), so while I suspect that a few of these songs may be original to Robert Mizzell, I recognize most of these songs as exquisitely performed covers.

The album opens up with “Louisiana Red Dirt Highway”, a 1990 solo endeavor by William Lee Golden. The song did not chart for WLG but it was a video hit, an excellent song and worthy of revival:

Pulled out the driveway
Passed an old tar paper shack
Standing at her mailbox
An old woman waves as I look back
I’m going to miss my family
And I’ll need all the letters that they’ll send
It’s going to be a long time before I travel doen this red dirt road again

Louisiana Red Dirt Highway
I’ve been down a million times
Where the tin barns and the pine trees
I’m going to take them with me in my mind
I’m gonna take them to the city
Where a man could make good money so they say
I’m already pretty lonesome and my tires ain’t even swung off all the clay

“Little White Line” is not the Shooter Jennings song of a few years ago but it is a well performed mid-tempo song of youthful indiscretion.

“The Colour Of Your Dreams” is a gentle ballad about the loss of a brother.

“Wham Bam!” was as featured as a Buck Owens duet with son Buddy Alan on the 1972 album Too Old To Cut The Mustard. The song is given the same up-tempo treatment that Buck gave it.

“Your Man” was a 2005 US hit for Josh Turner. While Mizzell’s voice is not as low pitched as Turner’s, he does have a nice resonant voice and does an outstanding job with the song.

Baby, lock the doors and turn the lights down low
Put some music on that’s soft and slow
Baby, we ain’t got no place to go
I hope you understand
I’ve been thinking ’bout this all day long
Never felt a feeling quite this strong
I can’t believe how much it turns me on
Just to be your man

Travis Tritt and Marty Stuart had a fine recording of “The Whiskey Ain’t Workin’ Anymore”. Mizzell keeps the buddy feel of the song with duet partner Chuck Owens

“Loving You Could Never Be Better” comes from the George Jones song bag, a #1 (Record World) hit for George in 1972. Doing George Jones material can be tricky – the shadow of the Possum tends to hang over the material, particularly when covering the more familiar material. This was not one of George’s more famous (or best remembered) songs so the shadow is lessened. Mizzell does a very good job on this song, which will undoubtedly be new to many listeners. George’s recording was given the full ‘Nashville Sound’, which is missing here.

Well here we are, again, tonight alone just us two
Where the lights are dim and true love is comin’ through
There’s no one else in this whole world as far as we’re concerned
We’ve built ourself a fire, so let it burn

When you look at me like you do right now I go to pieces
Because I know what’s on your mind, it’s just me
You’ve got that love-me-look in your eyes like you’ve had so many times and how
Loving you could never be better than it is right now

“I Love A Rainy Night” was a #1 pop and country smash for the smiling American of Irish descent, Eddie Rabbitt. Rabbitt, who died much too young at age 57, seems largely forgotten. While retaining the basic rocking rhythm of Rabbitt’s recording, the instrumentation is much more country.

Another George Jones classic “Wild Irish Rose” is next up. Whether the song is considered anti-war or is simply the story of a combat vet who returned as damaged goods, I will leave up to the listener to decide:

They sent him to Asia to fight in a war
He came back home crazy and asking, “What for?”
They had him committed oh, medals and all
To a mental hospital with rubber walls

They cut off the funding oh, they cut off the lights
He hit the street runnin’ that cold winter night
Now the streets are the only place he can call home
He seems, oh so lonely, but he’s never alone

“One More Last Chance” was a 1993 Vince Gill hit. Mizzell’s voice is pitched lower than Vince’s and it doesn’t seem to work as well on this song. Don’t get me wrong, Mizzell’s recording is quite decent but pales next to the original:

Give me just a one more last chance
Before you say we’re through
I know I drive you crazy baby
It’s the best that I can do
We’re just some good ol’ boys, a makin’ noise
I ain’t a runnin’ ’round on you
Give me just a one more last chance
Before you say we’re through

I never saw the film Brokeback Mountain, but my wife said she recognized “I Don’t Want To Say Goodbye” from the movie so I looked it up and found that the song was written by Teddy Thompson. It’s is a nice ballad sung well by Robert Mizzell

“Sweet Home Louisiana” may be original material. The song is upbeat, up-tempo and has a definite Cajun feel complete with accordion. I really liked the song.

“Down On The Bayou” is another upbeat up-tempo Cajun-flavored song. This is not the Creedence Clearwater Revival song, but perhaps original material.

This album is excellent. I wish I knew the names of the musicians so I could give them proper credit. The musicianship is both real country and excellent. Robert Mizzell has a great voice and knows how to use it.

I look forward to hearing more from him.

A

Classic Rewind: Vince Gill – ‘A Good Woman’s Love’

Vince sings bluegrass:

Classic Rewind: Eddie Rabbitt ft Vince Gill – ‘She’s An Old Cadillac’

Album Review: Jason Eady – ‘Jason Eady’

Jason Eady has been one of my favorite singer songwriters for a while, so I was looking forward to this album. I was delighted to find it is a truly excellent record from start to finish.

‘Barabbas’ is an excellent, thought provoking portrait of the criminal pardoned in place of Jesus, which Jason wrote with the help of Larry Hooper, Adam Hood, and Josh Grider. Jason’s imagined Barabbas is grateful for the opportunity of a second chance in life:

The guilt hangs twice as heavy when its followed by surprise
I’d surrendered, I was ready to give up and do my time
I did not know his name
Did not know why he was there
But on this side of forgiveness we both have our cross to bear

I know that I am free cause they did not like his kind
The man who preaches peace is always looking for a fight

Wife Courtney Patton adds a haunting harmony vocal.

Jason wrote or co-wrote all but one of the songs. That exception, ‘Black Jesus’, is a fascinating story song from Channing Wilson and Patrick Davis, which recalls a friendship which develops one summer between a teenage country boy and his workmate, an African American veteran. A lovely arrangement with super fiddle and very nice harmonies adds the final touches.

‘Drive’, written by Jaspn with Jamie Lin Wilson and Kelley Mickwee, is about a man gradually getting over an ex. Fidlder/mandolinist Tammy Rogers joins Courtney in providing harmonies on a track which might be described as muscular bluegrass with his loneseome wail and rhythmic banjo-led groove.

Vince Gill guests (though not very audibly) on the gorgeous steel-laced ballad ‘No Genie In This Bottle’, a deeply sad song about regret for past choices and the protagonist’s fruitless recourse to drinking as a solution for his pain:

If I had three wishes my first would be for a second chance
To do all those little things I didn’t do
Take the poison off my tongue
Stand strong when I cut and run
And be a better man than the one you knew

There ain’t no genie in this bottle
And I’ve been looking with every pour
As I get closer to the bottom
I find it just as empty as the one before

Jason wrote this one with Josh Grider.

Even better, and perhaps my favorite track, is ‘Where I’ve Been’, an incisive look at a troubled relationship on the verge of ending, set to a gentle melody.

She said “I haven’t been thinking ‘bout leaving
As much as I used to
In fact I haven’t been thinking too much at all
And I sure ain’t been thinking about you”

This is not what I wanted
I’d rather be home but a home takes more than me
So if you ever get tired of lonely
I’m only as gone as you want to be

She said “You ain’t been giving me the kind of love I’m needing
And you just ain’t been living like the man that I once knew”

So I’m giving up and giving in
Taking what I need every now and then
And if you ever decide you ever want to try again
Well, I’ll be here in the morning
Just don’t ask me where I’ve been

‘Why I Left Atlanta’ is a breezy story song about running away from the end of a relationship. ‘Waiting To Shine’ is an upbeat tune about finding inspiration as a songwriter. ‘Rain’ sounds like a mixture of Celtic, bluegrass and blues influences and has a hypnotic feel.

‘Not Too Loud’ is a touching and very personal song about fatherhood as Eady’s teenage daughter heads off to college. It has a beautiful steel dominated arrangement.

The album closes with ’40 Years’, another excellent song about experience, life, and the lessons learned so far, supported by a lovely fiddle line.

The past will leave you burning
If you don’t let it go
Tomorrow’s what you make it
You really do reap what you sow

This is an extremely good album, which I highly recommend to anyone who appreciates thoughtful country singer-songwriters.

Grade: A+

Classic Rewind: Vince Gill – ‘Sight For Sore Eyes’

Classic Rewind: Vince Gill and the Time Jumpers – ‘Six Pack To Go’

BREAKING NEWS: Alan Jackson is the 2017 ‘Modern Era’ Country Music Hall of Fame Inductee

Jerry Reed (Veteran Era) and Don Schliltz (Songwriter) round out the class of 2017. Here’s the press conference:

 

Week ending 3/18:17: #1 singles this week in country music history

1957 (Sales):Young Love/You’re The Reason I’m In Love — Sonny James (Capitol)

1957 (Jukebox): Young Love — Sonny James (Capitol)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: Where Does The Good Times Go — Buck Owens (Capitol)

1977: She’s Just An Old Love Turned Memory — Charley Pride (RCA)

1987: Baby’s Got A New Baby — S-K-O (MTM)

1997: We Danced Anyway — Deana Carter (Capitol)

2007: Ladies Love Country Boys — Trace Adkins (Capitol)

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

2017 (Airplay): Sober Saturday Night — Chris Young feat. Vince Gill (RCA)