My Kind of Country

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

Tag Archives: Vince Gill

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

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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)

Classic Rewind: Vince Gill covers ‘Jesus Take The Wheel’

EP Review: Jenny Gill – ‘The House Sessions’

the-house-sessionsThe House Sessions, Jenny Gill’s debut EP, finds her drawing on personal experience as she strives to establish her own voice separate from her esteemed pedigree. Her father, who most everyone knows is Vince Gill, produced the album at the home studio for which the six-song set finds its name.

The material that comprises The House Sessions finds Gill transported to the past while specific memories tied to the lyrics. The gorgeous “Whisky Words,” a ballad concerning an ex who’s all talk, was birthed from her time working at a publishing company tasked with pitching songs to others. It comes across as a record that would’ve been popular in the early-2000s when it likely would’ve done quite well.

“Lean On Love” finds Gill exercising her bluesy side in homage to Bonnie Raitt whom she cites as a primary influence. The tune is excellent, tastefully produced and subtly evocative. “Lonely Lost Me,” the lead single, which features harmonies by Sheryl Crow, is a jazzy ballad that settles into an intoxicating and memorable groove.

Gill’s husband, Sony/ATV executive Josh Van Valkenberg, inspired the title of “Look Where Loving You Landed Me” when he sang the line on their honeymoon. The track is a terrific ballad melding her blues and jazz influences with the personal touches (references to the beach) that keep the song from feeling generic.

The most adventurous track on The House Sessions is Motown classic “The Letter,” which was originally recorded by The Box Tops fifty years ago. I do find it strange that Gill would choose to add a cover song to an EP when she could’ve added another original instead, but she handles the track with ease while showcasing additional aspects of her voice.

Gill freely admits that the gospel-tinged “Your Shadow” is the album’s most personal number. The song tackles the heavy emotions surrounding her good fortune at being Vince’s daughter. The track also contains the most memorable line on the whole project:

And someone will say, I’ll never compare

And I’ll pour my heart out and no one will care

And I’ve got to find a dream that will shine on its own

In the light of your shadow

While it is easy to compare an offspring to their famous parents, Gill doesn’t have that problem on The House Sessions. She makes the album her own with an authentic sound true to her voice and influences. She recorded the album in a week; utilizing studio time her father gave her as a Christmas present. I’m glad he was involved in shaping the sound of the record because the final mixing is clear and clean, devoid of excess. He let each song breathe and find itself musically, which rewards the listener with a rich experience that puts the song, and not ego, front and center.

The House Sessions, which has been available digitally since September, is getting another push this month with renewed publicity and a video for “Lonely Lost Me.” I wouldn’t categorize the project as country per se, as it melds those sensibilities with jazz and blues to find its own place within the musical space. Ultimately genre classification doesn’t matter since The House Sessions wonderfully succeeds in showcasing Gill as a fully formed artist and writer. I look forward any new music she chooses to release in the years to come.

Grade: A

Paul W. Dennis’s favorite albums of 2016

real-country-musicBeing the old man of the blog, I suppose it is inevitable that my favorite albums would differ from those of Razor X and Occasional Hope. There is some overlap, however, and where overlap exists I will not comment on the album

(#) on Razor X’s list / ($) on Occasional Hope’s list

15) Tracy Byrd – All American Texan (#)

14) Mark Chesnutt – Tradition Lives (#) ($)

13) Rhonda Vincent – All The Rage, Volume One

Alison Krauss fans notwithstanding, Rhonda is the Queen of Bluegrass music and is also adept at country and western swing numbers. Rhonda has a great band and all of the members are featured. Her guitar player, Josh Williams, is on a par with any acoustic player currently going.

12) Balsam Range – Mountain Voodoo

Balsam Range has been around for about a decade, winning the 2014 IBPA “Entertainer of The Year” and Vocal Group of The Year” awards. Their newest album was nominated for several awards. This band is renowned for their vocal harmonies. Their current single “Blue Collar Dreams” is being played on Bluegrass Junction on XM Radio – it’s a goodie and indicative of their material.

11) John Prine – For Better Or Worse ($)

the-life-and-songs-of-emmylou-harris10) Various Artists – Life and Songs of Emmylou Harris
I suspect that Emmylou Harris is the most highly revered female country singer, particularly for younger country fans and pop music fans. The epitome of elegance and grace, Emmylou has also been a champion of traditional country music. This album contains nineteen tracks with a vast array of admirers who gathered at DAR Constitution Hall in Washington DC on January 10, 2015 to pay tribute. Emmy sings on a few of the tracks but mostly the guests sing songs at least loosely associated with Emmylou. Guests include Sheryl Crow, Alison Krauss, Buddy Miller, Rodney Crowell and others.

09) Karl Shiflett & Big Country Show – Sho Nuff Country

Although focusing on bluegrass, this veteran outfit has a strong propensity to record country music of the period before 1980, and they perform it well. For me the highlights are “Six Pack To Go” and “Why Baby Why”, but I really enjoyed the whole album.

08) Nitty Gritty Dirt Band (& guests) – Circling Back: Celebrating 50 Years
Knowing that this ban has been around for fifty years is making me feel old, since I purchased several of their early albums when they originally came out. This album was recorded live at the Ryman on September 14, 2015 and features the current membership (Jeff Hanna, Jimmie Fadden, Bob Carpenter and John McEuen) augmented by friends Sam Bush, Jerry Douglas and Byron House. The guest vocalists include former band members Jimmy Ibbotson and Jackson Browne with John Prine, Alison Krauss, Rodney Crowell and Jerry Jeff Walker also making appearances. Highlights include Alison Krauss singing “Catfish John” , Vince Gill singing “Tennessee Stud” and Sam Bush and Vince Gill teaming up on “Nine Pound Hammer”.

07) Willie Nelson – For The Good Times: A Tribute To Ray Price (#) ($)

06) Time Jumpers – Kid Sister (#)

05) Dallas Wayne – Songs The Jukebox Taught Me ($)

things-we-do-for-dreams04) Trinity River Band – Things I Do For Dreams
I find it odd that Callahan, Florida, a town of about 2000 people, has produced two of my favorite new bluegrass bands in Trinity River Band and Flatt Lonesome. Trinity River Band was nominated for the Emerging Artist award at the recent International Bluegrass Music Association award a few months ago. They play well, sing well and present an effective stage show.

03) Dale Watson – Under The Influence
Had he been born in the 1930s or 1940s, Dale Watson would have been a huge mainstream country star. This album finds Dale tackling a wide array of country and rockabilly classics from bygone years. My favorites from this disc include Dale’s take on the Eddie Rabbitt classic “Pure Love” and his take on the Phil Harris song from the 1940s “That’s What I Like About The South”.

02) Flatt Lonesome – Runaway Train
Flatt Lonesome won the IBMA Vocal Group of The Year award for 2016. They are just flat[t] out good. Their take on Dwight Yoakam’s “You’re The One” has to be heard to be believed, but my favorite track is their cover of the Tommy Collins tune “Mixed Up Mess of A Heart”.

01) Gene Watson – Real. Country. Music ($)
Okay, so I lied, but I cannot let the #1 album go by without the comment that I consider Gene Watson to be the best country male vocalist alive today and that I pray that 2017 sees another new release from Gene.

Top 10 hidden gems of 2016

drinking-with-dollyIn previous years, I’ve compiled a top 10 singles list, but although there have been some encouraging signs on country radio, I didn’t feel inspired by this year’s releases. Instead I want to highlight some of the best individual songs which appeared on albums which didn’t make my top 10 albums list, together with the odd single not yet featured on a full length release.

10. ‘What I’d Say’ – Lorrie Morgan
Realising her voice was in decline, Lorrie took steps to get it back to something approaching its best. This gorgeous reading of the classic was the highlight of her new album.

9. ‘I Never Will Marry’ – Loretta Lynn
Loretta goes old-time country folk on this track from Full Circle. A delight.


8. ‘Pawn Shop’ – Shelley Skidmore

A great Brandy Clark story song about hard lives and broken dreams reminiscent of the best country songs.

7. ‘Can’t Be That Wrong’ – Dolly Parton
A ballad about cheating, guilt and refusal to repent.

6. ‘Drinking With Dolly’ – Stephanie Quayle
A truly delightful wistful reimagining of the lives of country stars of the past.

5. – ‘It’s Just A Dog’ – Mo Pitney
A heartbreaker about the love of a rescue dog.

4. ‘Had A Thing’ – Curtis Grimes
The best song from Curtis’s excellent eight-track EP/album which, with a few more songs would have had a shot at making my top 10 list.

3. ‘Lonesomeville’ – William Michael Morgan
A lovely neotraditional lost love ballad from a young man who is starting to make real headway in the mainstream. Very reminiscent of early Joe Nichols.

2. ‘Still A Child’ – Dori Freeman
25 year old Dori Freman from Virginia is a folk-country singer-songwriter whose self-titled debut album was produced by British folk musician Teddy Thompson. Not all of it is perfect, but her pretty, fragile voice shines, and the best song by far is this graceful waltz. A gentle melody belies a hard hitting lyric rejecting a man who just can’t grow up. Excellent.

1. ‘Sad One Coming On’ – Vince Gill
Vince’s latest solo album was a sad disappointment, but it was almost redeemed by this superb, heartfelt tribute to George Jones, which is an instant classic.

Jonathan Pappalardo’s Favorite Singles of 2016

My favorite singles of the year run the gamut from commercial to obscure and everything in between. Keep reading for career moments from Tim McGraw and Reba McEntire to shining examples of why Lori McKenna and Brandy Clark are more than expert songwriters.

unknown10. Chris Young Feat Cassadee Pope – ‘Think Of You’

Young deserves credit for searching within his own genre for a female collaborator. He deserves praise for co-writing a song that doesn’t use Pope as
window dressing, but rather as a means of furthering the story. This tale of a once-great couple isn’t revelatory, but it’s catchy as hell.

 9. William Michael Morgan – ‘Missing’

The influence George Strait said was absent from country radio came roaring back to life with William Michael Morgan’s follow-up to “I Met A Girl.” “Missing” is an astonishing single in that it makes little compromise to the modern landscape. Warner Bros deserves credit for releasing something this country to radio. Time will tell if they respond favorably.

 500x5008. Kelsey Waldon – ‘All By Myself’

Among its many achievements, a few of which you’ll see highlighted further down, 2016 introduced Kelsey Waldon, a killer traditionalist, to the masses. “All By Myself” is a stern warning to fakers, a biting assessment of authenticity and a woman’s empowerment anthem for the current generation. 

7. Mary Chapin Carpenter – ‘Something Tamed, Something Wild’

The most common criticism I’ve heard about Mary Chapin Carpenter’s more recent works is she ‘lacks a pulse.’ It may be true to an extent, but I’m not hearing it here. This introspective examination of existential curiosity is one of her finest in recent memory. The parent album it comes from is her best in more than a decade.

6. Time Jumpers – ‘Kid Sister’

Vince Gill’s tribute to Dawn Sears is both personal and touching.

record-year-cover5. Eric Church – ‘Record Year’

Not since “The Song Remembers When” has a song about songs been this clever or powerful. Church proves he’s a master once again, name checking legends at every turn and laying out a jovial tale of heartbreak both ear catching and believable. “Record Year” is undoubtedly the best mainstream single of the year.

 4. Lori McKenna – ‘Wreck You’

The lead single from The Bird and the Rifle is this masterful look at sabotage in which the woman is admitting fault, with brutal candor – “Something between us changed, I’m not sure if its you or me But lately all I do seems to wreck you.”

unspecified-13. Tim McGraw – ‘How I’ll Always Be’

2016 found Tim McGraw in an artistic renaissance, with his strongest back-to-back singles in twenty years. He succeeded in a climate unfavorable to substance without conceding to modern pressures. “Humble & Kind” is the better lyric. But “How I’ll Always Be” shines melodically. Not since “Just To See You Smile” has McGraw sounded this good on record. 

2. Brandy Clark – ‘Love Can Go To Hell’

The genius is in the delivery. Brandy Clark sings this so deadpan, it’s easy to miss the dark humor underneath the surface. I totally missed it, but when it hit me, I never heard this the same way again.

reba-1024x10241. Reba McEntire – ‘Just Like Them Horses’

Tim McGraw wasn’t the only one in the throws of an artistic reawaking in 2016. This tale of a dying man giving positive reassurance to the loved one he’s leaving behind may’ve been too much for radio to bare, the unique take on ‘if you love me, let me go’ too smart for the masses.

Reba eulogized her father with this tune before committing it to record, which only solidified the emotional undertones she brought forth in her performance, her strongest vocal since “If I Had Only Known” twenty-five years ago. “Just Like Them Horses” is just that good, a bone-chilling highlight from a career with far too many to count.

Album Review: Tammy Wynette – ‘Higher Ground’

tammywynette_highergroundTammy Wynette spent the better part of the late 1970s and 1980s seeing her commercial fortunes begin to wane. Actress Annette O’Toole portrayed Wynette in a television movie, Stand By Your Man, in May 1981. Her singles were routinely charting top twenty during this time and she returned to the top ten when her cover of Dan Hill’s “Sometimes When We Touch,” a duet with Mark Grey, peaked at #6 in 1985.

Our coverage resumes in 1987, which found mainstream country deep in the throngs of a traditional renaissance. Wynette followed suit accordingly with Higher Ground, her twenty-eighth album, produced by Steve Buckingham. While any momentum she may’ve gained from her previous album had cooled, it didn’t stop Epic from pushing ahead with three singles from the set.

The dobro drenched “Your Love,” a mid-tempo ballad featuring Ricky Skaggs hit #12. The neo-traditional “Talkin’ To Myself Again,” with an assist from The O’Kanes, peaked at #16. Both are very good although not memorable enough to stand out amongst iconic hits from the era.

They hit the artistic jackpot with final single “Beneath A Painted Sky,” which found Wynette in perfect harmony with Emmylou Harris. The somewhat kooky lyric details the true love of a daddy to his little girl:

There never was a little girl more wanted than me

I had all the love a child could ever want or need

Daddy gave me everything he could afford to buy

An’ on the ceilin’ in my room, he painted me a sky

 

Beneath the painted sky, that’s where I want to be

A place to go when this old world gets the best of me

A place where dreams come true

And no one ever says ‘goodbye’

Oh, I wish that I could live again, beneath the painted sky

The remainder of the album finds Wynette assisted by a plethora of country’s finest. Gene Watson provides harmony on “Tempted” while Vince Gill, in one of his earliest solo performances, lends his signature falsetto to “I Wasn’t Meant to live my Life Alone.” Ricky Van Shelton, among others, helps liven up the proceedings with the jovial “A Slow Burning Fire.” The Gatlin Brothers are the perfect accompaniment to the title track, a song that feels tailored to their trademark style.

Higher Ground, as a whole, is a gorgeous album. Wynette is still at her peak and the arrangements haven’t aged in the least. I would’ve liked songs that were more memorable, though, or even packed more of a punch. Despite her status as an icon, it’s easy to see how this album fell under the radar – her contemporaries were releasing stronger music that was easier to get noticed. But this is an album that shouldn’t be overlooked. It’s well worth checking out.

Grade: B+

50th CMA Awards: Grading the Twenty Performances

Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:

20.

imrs-phpBeyoncé Feat. Dixie Chicks – Daddy’s Lessons

The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.

Grade: F

19.

Kelsea Ballerini – Peter Pan

I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.

Grade: F 

 18.

362x204-q100_121d9e867599857df2132b3b6c77e0c8Luke Bryan – Move

Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.

Grade: F 

 17.

Florida Georgia Line feat. Tim McGraw – May We All 

Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.

Grade: F  

16.

gettyimages-620669440-43407842-8b2a-437b-a6e4-f643a1b5b104Carrie Underwood – Dirty Laundry

The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.

Grade: D+

15.

Thomas Rhett – Die A Happy Man

The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.

Grade: B- 

14.

362x204-q100_b63432d74b677e29d35917efd7490170Keith Urban – Blue Ain’t Your Color

A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.

Grade: B

13.

Dierks Bentley feat. Elle King – Different for Girls 

At least Bentley wasn’t showcasing the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.

Grade: B

 12.

landscape-1478192054-gettyimages-620693852Martina McBride, Reba McEntire, Kacey Musgraves, Jennifer Nettles and Carrie Underwood – Dolly Parton Tribute 

I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.

Grade: B

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Classic Rewind: Asleep At The Wheel ft Vince Gill – ‘Corrina Corrina’

Album Review: John Prine and Friends – ‘For Better, Or Worse’

for-better-or-worseBack in 1999 singer-songwriter John Prine released a charming collaboration with a group of country and folk female singers, singing classic country duets. 17 years later here comes a sequel, which is just as delightful. Prine’s gruff vocals are set off by his duettist’s much better voices, and the combinations work very well.

Most of the collaborators are different, with the exception of Fiona Prine (John’s wife) and Iris De Ment. The latter featured on no less than four tracks on the first album, and two here, both originally recorded by Loretta Lynn and Ernest Tubb. The tongue in cheek opener ‘Who’s Gonna Take Your Garbage Out’ has Iris throwing out her good-for-nothing husband. He complains of being henpecked, while she declares,

Calling a man like you a husband’s like calling an ol’ wildcat a pet

They take a broken marriage more seriously in the sad ‘Mr And Mrs Used To Be’.

The wonderful Lee Ann Womack is ethereally sweet on ‘Storms Never Last’. She is even better on ‘Fifteen Years Ago’, a pained tale of long lasting heartbreak, which was a hit for Conway Twitty. Turning it into a duet transforms the song from one of solo heartache (a la ‘He Stopped Loving Her Today’, but with no end in sight) to one of mutual regret, which is almost more poignant. This is my favourite track.

‘Cold, Cold Heart’ doesn’t work as well as a duet lyrically, but the cut shows duet partner Miranda Lambert can do traditional country with a lovely sounding and emotional vocal. Kacey Musgraves hams it up a bit on the ultra-retro ‘Mental Cruelty’, but the track is fun. Holly Williams is good on the sassy back-and-forth of ‘I’m Telling You’, although the song is very short (less than two minutes).

The pure voice of Kathy Mattea makes two appearances. ‘Dreaming My Dreams With You’ is gorgeously tender and romantic, while ‘Remember Me’ is pretty with a little melancholy undertone. Alison Krauss guests on the gently pretty ‘Falling In Love Again’. Probably the least known singer to a general audience is Morgane Stapleton (wife of Chris), but I’ve loved her voice since she was briefly signed to a major label a decade ago. Her performance on Vince Gill’s ‘Look At Us’ is lovely, and very reminiscent of Lee Ann Womack.

A very pleasant surprise for me was Susan Tedeschi, a blues/rock singer who does an excellent job on ‘Color Of The Blues’. Although she’s not the greatest vocalist, Americana artist Amanda Shires is also decent on ‘Dim Lights, Thick Smoke’ (one of my favourite songs), and adds a bit of quirky personality.

It’s fair to say that Fiona Prine is not in the same class as the other ladies vocally, but her duet, ‘My Happiness’, is quite pleasant. There is one solo track, the closing ‘Just Waitin’’, a surprisingly entertaining narration.

This is an excellent album which is vying to be my favorite of 2016.

Grade: A+

Retro Album Reviews: New and old music from some veteran artists in 2007

last of the breedBack in the days writing for the 9513 Blog, I would post occasional reviews on Amazon. We are republishing updated versions of some of those reviews here.

LAST OF THE BREED – HAGGARD, NELSON & PRICE

This may be the Holy Grail of classic country recordings. Three legendary figures in Ray Price, Willie Nelson and Merle Haggard, singing twenty-two selections containing some of the greatest country songs ever written, although not necessarily the biggest hits of Willie, Ray or Merle (except a cover of Ray’s “Heartaches by the Number”). On eleven (11) of the tracks all three artists appear. Ray and Merle each have a solo (Ray’s with Vince Gill assisting), and the rest feature two of the three (with Kris Kristofferson assisting on “Why Me”). The backing band consists of top current session men and some legends who played in the bands of the legends such as Buddy Emmons and Johnny Gimble. Plus the legendary Jordanaires can be heard on several tracks.

Ray Price has had the lowest profile of the three over the last ten or so years, but even at 81 years of age, he is one of the most effective singers on the planet. It is no knock on either Willie or Merle to say that neither is in Ray Price’s league as a pure singer – no one else is either. Maybe this CD will sell well enough to introduce a new generation to the music of Ray Price. If so, it will have done everyone a big favor.

To summarize: Buy It.

Grade: A+

THE RAY STEVENS BOX SET

Good recordings of classic Ray Stevens material but quite a few remakes that lack the sparkle of the originals. In a nutshell, if it was originally issued on Curb or Clyde, it’s probably the original recording but if it was issued on Mercury, Barnaby, Monument, MCA or RCA then it’s likely a remake.

If you haven’t heard these recordings before, or its been a long time since you’ve heard them, beware – you may bust a gut laughing.

Even with the remakes, it’s well worth purchasing.

Grade: B+

16 BIGGEST HITS – JIMMY DICKENS

While it could have been better, this collection gives a balanced look at Jimmy’s career. Best known for his diminutive size and novelty tunes, Jimmy was a superior ballad singer as tunes such as “My Heart’s Bouquet”, “Just When I Needed You”, “Take Me As I Am (Or Let Me Go)”, “We Could” and “Violet And A Rose” amply demonstrate. Yes, the novelties are here as well as a few of the jump tunes, but it’s the ballads that will enhance your appreciation of Little Jimmy Dickens. I would like to see a more encompassing collection, including more of his hillbilly boogie and his recordings on MCA /Decca, but until that happens this is a fine collection.

Grade: A-