Posts Tagged 'Eric Church'
Single Review: Tenille Towns — 'Somebody's Daughter'
Tenille Townes
"Somebody's Daughter"
The newest acquisition to Nashville's storied Columbia label, which rebranded as Columbia Nashville in 2007 after it was purchased by Sony Music, is Tenille Townes, a 24-year-old country singer hailing from Grande Prairie, Alberta, Canada.
Over the summer, I had the honor of attending a private concert by Townes atop a prestigious vineyard in Napa Valley, CA. She was the featured entertainment for night one of a two-night wine auction I've been fortunate to attend for the past three years. She sang acoustic, with just a guitar, giving the audience a perfect sense of both her voice and her personality.
She opened the show with what has become her debut American single, "Somebody's Daughter," which went for adds at country radio just after Labor Day. As she explained at the event, the song tells the story of a homeless girl she spotted on the side of the road:
I drive home the same way
Two left turns off the interstate
And she's always standing
At the stoplight on 18th Street
She could be a Sarah
She could be an Emily
An Olivia, maybe a Cassidy
With the shaky hands
On the cardboard sign
And she's looking at me
Bet she was somebody's best friend laughing
Back when she was somebody's sister
Counting change at the lemonade stand
Probably somebody's high school first kiss
Dancing in a gym where the kids all talk about someday plans
Now this light'll turn green and I'll hand her a couple dollars
And I'll wonder if she got lost or they forgot her
She's somebody's daughter
Townes co-wrote the song with Barry Dean and Luke Laird, two of the better songwriters in Nashville at the moment. Laird is not without his critics, but he has won Lori McKenna's seal-of-approval, and the songs they've collaborated on together have been fantastic. He's also turned in above-average work with both Eric Church and Miranda Lambert. Dean has also worked with McKenna, penning some great songs.
I really like the story, especially the way the three of them crafted it, with utmost sincerity. The lyric cleverly jumps out at the listener, with nice turns-of-phrase, and the melody commands attention. "Somebody's Daughter" is It's hardly revelatory or destined to become a classic, but it is a great modern mainstream country record. It's a cut above typical and actually has something to say.
Problem is, for the most part, the listener cannot extract any of that. "Somebody's Daughter" was put through the Nashville machine in order to maximize its chances at airplay. Jay Joyce's production drowns the song in unnecessary noise that hinders Townes' ability to showcase her voice, or the lyric, properly. I can't fault Columbia Nashville for concentrating on their bottom line, as that's all label executives care about anyways, but they're doing Townes a disservice here. I don't dislike Joyce when he's working with Church, but he almost always fails every other artist he produces. They, more often than not, deserve better than his best inclinations.
There are some great bones here, and I wish Columbia Nashville had sought fit to pair her with Lambert's production team, Frank Liddell and Glenn Worf. They would've known how to make this a great record overall, much like they did with Lambert on "Heart Like Mine."
"Somebody's Daughter," in this state, is a missed opportunity. Townes has talent, and a great voice, but you'd hardly know it since it isn't being properly showcased here. Joyce has produced a record that is too loud and too processed. It's too bad.
Tags:Barry Dean, Eric Church, Frank Liddell, Glenn Worf, Jay Joyce, Lori McKenna, Luke Laird, Miranda Lambert, Tenille Townes
Album Review: Eric Church – 'Mr. Misunderstood'
Mr. Misunderstood
There's a quote from Marty Stuart that says the most rebellious thing you can do in Nashville is play actual country music. I'd go on to add that the second most rebellious thing you can do in Nashville is to record and release an album of your own volition on a major label without any executives getting in your way.
For his fifth album, the spellbinding Mr. Misunderstood, Eric Church was able to accomplish that second feat. In a handwritten letter published upon the album's surprise release last November, he relayed a touching story about finding inspiration through a guitar his son had named late last summer and the music that poured out of it as a result. In a brisk 30 days, Church had recorded the ten tracks that would comprise the strongest mainstream country album of the decade thus far.
Mr. Misunderstood triumphs on the strength of Church's willingness to mature as an artist and songwriter. He's letting the music speak for itself, forgoing egotistical pretense, and highlighting Jay Joyce's strength at elevating lyrical compositions without bombarding the audience with needless noise.
Nowhere is the pair more masterful then on "Knives of New Orleans," the album's blistering centerpiece. Written by Church, Travis Meadows and Jeremy Spillman, the song tells the tale of a fugitive wanted for a brutal murder he mercilessly committed without remorse:
Yeah, tonight, every man with a TV
Is seeing a man with my clothes and my face
In the last thirty minutes
I've gone from a person of interest
To a full-blown manhunt underway
I did what I did
I have no regrets
When you cross the line
You get what you get
Tonight, a bleeding memory
Is tomorrow's guilty vein
Your auburn hair on a faraway sea wall
Screams across the Pontchartrain
I'm haunted by headlights
And a crescent city breeze
One wrong turn on Bourbon
Cuts like the knives of New Orleans
It's far and away my favorite song on the project. I also equally adore Church's solo-penned "Holdin' My Own," an unapologetic acoustic masterclass in introspection. In just under four minutes, he brilliantly traces his career trajectory and stands firm against anyone who wants a piece of him:
Always been a fighter scrapper and a clawer
Used up some luck in lawyers
Like huck from tom sawyer jumped on my raft
And shoved off chasing my dreams
Reeling in big fishes
I had some hits a few big misses
I gave em hell and got a few stitches
And these days I show off my scars
With one arm around my baby
And one arm around my boys
A heart that's still pretty crazy
And a head that hates the noise
If the world comes knockin
Tell em I'm not home
I'm finally holdin my own
I've burned up the fast lane
Dodging drugs and divorce
If I'm proof of anything
God sure loves troubadour
Sometimes late at night
I miss the smoke and neon
Sneak out of bed grab a six string
Play what's still turnin me on
Like that tight old time rock n roll
Or that right down home country gold
I miss blues and soul
But not more than I miss being home
Also outstanding is "Three Year Old," a tender ballad Church wrote about his son Boone with Casey Beathard and Monty Criswell. It follows "Holdin' My Own" in showing a more mellow side of Church, the man behind the sunglasses and electric guitars. The trio relies on personal observances to frame the story:
Use every crayon color that you've got
A fishing pole sinks faster than a tackle box
Nothing turns a day around like licking a mixing bowl
I learned that from a three year old
A garbage can is a damn good spot to hide truck keys
Why go inside when you can go behind a tree?
Walking barefoot through the mud will knock the rust right off your soul
You can be a cowboy on the moon
Dig to China with a spoon
Talk to Jesus on the phone
Say "I love you" all day long
And when you're wrong, you should just say so
Church balances the self-examination with some primed-for-radio hits. "Round Here Buzz" it's about the self-destruction after she's left the hometown he's hell-bent on staying in. He's also without his woman on "Record Year," but instead of turning to alcohol he's drowned his sorrows in a 'three-foot stack of vinyl.'
On his last tour, Church won raves for including artistic-driven Roots and Americana artists as his opening acts. The mutual admiration continues with Rhiannon Giddens joining Church for powerful background vocals on "Kill A Word," a slice of social commentary about destroying words that aren't good for our society. "Mixed Drinks About Feelings" is a full-fledged duet with Susan Tedeschi that mixes blues and rock. It's not my favorite track on the album, but it is very good.
I also have mixed emotions about "Mistress Named Music," which Church also wrote with Beathard. The vibe of the track is very good, Church gives a powerful vocal performance and the use of organ wonderfully sets the tone for the moody ballad. I just don't seem to go back to it that often. The same goes for "Chattanooga Lucy," which I flat out don't get. It's easily the most esoteric track on the whole album. I don't hate the title track, either, but it has grown repetitive on repeated listenings. That said, I fully stand behind the song's message.
The only thing truly misunderstood about Church is the whole point of his musical journey over the past ten years. He hasn't won any favors with country purists nor has he gone out of his way to please those put off by his egotism. But he has built a career on real music that bucks every trend. He stands out because he knows exactly what he's doing.
Church isn't dumb nor is he a maniac. At the end of the day he's an authentic artist releasing his own music. He's getting massive airplay for songs that shouldn't even be breaking through at all. He's the last real country singer standing in mainstream Nashville. He may have an edge, but he can stand tall with the best of them. Mr. Misunderstood proves that in spades.
Tags:Casey Beathard, Eric Church, Jay Joyce, Jeremy Spillman, Marty Stuart, Monty Criswell, Rhiannon Giddens, Susan Tedeschi, Travis Meadows
Top 10 Singles of 2015
What does it say about me that the highest charting single on my list took eight months to peak at #9? I've continued to broaden my tastes as I've aged while continuing to closely follow the artists I've always admired. There was some stunning music this year and these ten selections are only the tip of the iceberg. Leave a comment and let me know what you think.
10. I'm With Her – 'Crossing Muddy Waters'
I'm With Her (Sara Watkins, Sarah Jarosz, and Aoife O'Donovan) is one of the more unique collaborations of the year and their cover of the fifteen year old John Hiatt song is the amuse-bouche to a main course full-length album that may come within the next few years. This track is too faithful to be a doozy but it more than proves they have the potential to be an artistic force should they go down that road. I really hope they do.
9. Trisha Yearwood – 'I Remember You'
Every Trisha Yearwood album has its own personality and PrizeFighter: Hit After Hit lies on the more Adult Contemporary side of the country spectrum. "I Remember You," a tribute to her mom, is far from the most dynamic ballad she's ever recorded. But it shows off a tender side of her voice we've never heard before. Yearwood is a vocal chameleon able to adapt to any style and work within any parameters. She's still a master after twenty-five years. I cannot wait to see what she has in store for us next.
8. Chris Stapleton – 'Traveller'
"Tennessee Whiskey," the early 1980s George Jones hit he sang on the CMA Awards, is the standout showcase for his gifts as a vocalist. "Traveller," showcases his talents as a songwriter. This autobiographical mid-tempo ballad casts Stapleton as a vagabond who knows his path but cannot see his destination. Like any great artist he's spent his time paying his dues and working the system until he could shine in his own light. He may always be a "Traveller," but I bet he has a much clearer picture of where he's headed now that the world finally knows his name.
7. Jason Isbell – '24 Frames'
"24 Frames" is a 1990s inspired gem that owes more to R.E.M. than Alan Jackson, bringing the same addictive quality (minus the mandolins) that made "Losing My Religion" so intoxicating. "24 Frames" is a fantastic meditation on relationships, cumulating with a chorus that compares God to an architect and declares, "he's something like a pipe bomb ready to blow."
6. Punch Brothers – 'I Blew It Off'
The coolest track from The Phosphorescent Blues is this plucky slice of bluegrass-pop, a style Chris Thile and the boys have perfected over the course of their four albums. They returned after a three-year hiatus to find Thile with a 'bad case of twenty-first century stress,' which is about the only thing he can't shrug off. He's furious yet knows he isn't alone, declaring by the end that modern technology is having an effect on everyone, not just him. "I Blew It Off" is as simple as any song could be saying a lot in a very tiny space. That's often where the most valuable riches can be found.
5. Maddie & Tae – 'Fly'
Not since "Cowboy Take Me Away" has a fiddle driven pop-country ballad reached these artistic heights. At a moment when Maddie & Tae had to show the world what else they could do, they blew away the competition with their exquisite harmonies and pitch perfect lyric. They aren't the Dixie Chicks by any means, but they're pretty darn close.
4. Dierks Bentley – 'Riser'
Even in the face of commercial pressures, Dierks Bentley sticks to his convictions. "Riser" is a sweeping tale of overcoming odds and one of his finest singles. I have no clue why he hasn't risen (no pun intended) to the upper echelon of country greats at a time when he's bucking trends and releasing worthy songs to country radio. He's one of the best we have and deserves to be compensated as such.
3. Jana Kramer – 'I Got The Boy'
Leave it to Jamie Lynn Spears, of all people, to write the strongest hook of the year: 'I got the boy, you got the man.' Leave it to Jana Kramer to sell the pain and conviction felt by the scorned ex who is seeing the boy she loved transformed into the man she always wanted him to be.
2. Eric Church – 'Like A Wrecking Ball'
When Eric Church brought the idea for this song to co-writer Casey Beathard he balked. At the time, Miley Cyrus was hitting big with her similarly titled smash. Church, who cannot be under estimated, knew exactly what he was doing. This tour de force is the most original song about making love to hit any radio format in recent memory. It's also the coolest one-off artistic statement since Dwight Yoakam hit with "Nothing" twenty years ago. Eric Church is the strongest male country singer in the mainstream right now.
1. Lee Ann Womack – 'Chances Are'
What needs to be said about Lee Ann Womack wrapping her exquisite voice around a pure country weeper? She came into her own on The Way I'm Livin' and finally found the space to create the music in her soul. The album's third single is a shining example of the perfect song matched with the only artist who has enough nuance to drive it home. Lee Ann Womack is simply one of the greatest female country singers ever to walk the earth.
Tags:Aoife O'Donovan, Casey Beathard, Chris Stapleton, Chris Thile, Dierks Bentley, Dixie Chicks, Eric Church, George Jones, I'm With Her, Jamie Lynn Spears, Jana Kramer, John Hiatt, Lee Ann Womack, Maddie & Tae, Miley Cyrus, Punch Brothers, REM, Sara Watkins, Sarah Jarosz, Trisha Yearwood
Favorite Country Singles of 2013: 10-1
It was just a few months ago, I was in panic mode. How the heck am I supposed to compile and rank a list of favorite singles when the majority of country music, especially mainstream terrestrial radio country, left me numb? Hell, I don't even have a can't-live-without favorite single from 2013. I don't know when the tide turned, but I was once again able to rank a list I'm very happy with. None of these were big hits (although #8 did chart top 15), but they were the artistic statements that should've ruled the airwaves. The genre would've been better off if they had.
10. Bruises – Train Feat. Ashley Monroe
Two high school classmates run into each other for the first time since graduation ten years ago. He marvels at her ability to retain her beauty after having two kids, while she's glad to hear he's finally left their suffocating small-town. Lovers or not, they'll always be linked by their bruises – those moments in life resulting in a stumble on the path to enlightenment.
Hailing from San Francisco and making his mark in pop music, Train's Pat Monahan is forgiven for recycling Phil Vassar's "Carlene" just about word-for-word. This take on the tale stands out, though, because he gives voice to the female perspective through Monroe who turns in a buttery vocal that's one of her finest moments she's ever committed to record.
9. Sober – Little Big Town
The centerpiece of Tornado, "Sober" proves there's life beyond Karen Fairchild whose position as the band's lead singer has left little diversity in their radio offerings of late. Whether or not this turns into the hit it deserves to be, it's good to see the criminally underrated Kimberly Schlapman given her due. She's more then just a pretty face, and is finally able to prove that here.
8. All Kinds of Kinds – Miranda Lambert
Lambert's best single since "The House That Built Me" is Don Henry's timeless ode to diversity that makes a strong statement without seeming preachy or political. These are the types of quality records that helps Lambert stand above her competition, schooling them on how to challenge the listener with substance while honing the artistic image that's made them famous.
She howls, 'When I stood up in Geometry and everybody stared at me as I tossed my test into the trash' with the same bite she brings to her revenge anthems, but you feel the weight of maturity from an artist who isn't afraid to grow in a market that rewards stagnation around every corner. Lambert is a fully modern country singer, but "All Kinds of Kinds" proves she isn't done pulling new tricks out of her sleeve.
7. Blue Ridge Mountain Song – Alan Jackson
Leave it to Alan Jackson, three years after being blackballed by country radio, to release one of his greatest singles – an old fashioned testament to true love sprinkled with trademarks of the bluegrass tradition. He may move the story a little too quickly, in order to get to the twist towards the end, but he does everything else right. May this mark the beginning of an exciting new chapter in his career.
6. Over When It's Over – Eric Church
With Luke Bryan and Jason Aldean facing deserving near-constant criticism for their shallow lyrics and douche bag behavior, their "Only Way I Know" counterpart Eric Church has been givin the space to forge his own path. Instead of rapping about trucks and dirt roads, he has consistently crafted original compositions that possess a decidedly rock edge, but are cut from the cloth of classic country ("The Outsiders" notwithstanding).
"Over When It's Over" is a sparse reflection on a relationship gone sour, with both parties going their separate ways through a seething fog of regret. What the track lacks in production is compensated for in Church's tour-de-force vocal conveying the perfect amounts of anger and sadness. It's the best track from Chief, and while it could've used accents of pedal steel in its execution (and how cool would've been if Natalie Maines could've provided the backing vocals?) what we have is just enough to make it stand out from the pack.
5. Stripes – Brandy Clark
Shane McAnally had the idea to write a song called "Orange" about a woman who stops short of killing her cheating husband because she doesn't look good in the titular prison color. He brought the idea to Clark, stuck on the fact nothing rhymes with his clever hook. She turned it around saying "but everything rhymes with stripes."
Their meeting of the minds resulted in a wickedly smart cheating song littered with originality and quirky turns of phrase ("there's no crime of passion worth a crime of fashion") that reveal the underlying humor underscoring the uptempo numbers on 12 Stories. Clark's ability to find comedy in some of life's most despairing moments is one of her greatest skills as a songwriter.
4. Blacktop – Alan Jackson
"I was glad to see the blacktop, no more dust in my eyes" and with that Jackson lays down the gauntlet in opposition to bro-country with an act of striking civil disobedience. How refreshing is it that twenty-four years into his storied career Jackson still has something meaningful to contribute to the country music landscape?
3. Elephant – Jason Isbell
The mark of a great songwriter is their ability to take well-worn themes and make the listener feel like they're hearing them for the first time. In an era saturated with an "I'm Gonna Love You Through It" mentality, where hair is replaced with "Skin" and women are "Tough," Isbell is just trying to ignore the elephant in the room and let his woman enjoy what little life she has left – letting her get drunk and high, joke about her harsh reality, and sing although her voice is nearly gone.
He's the truest of friends, there for her but not a burden. He just wants one night where they both forget the bitter truth staring them squarely in the face, an impossible proposition seeing as he's an emotional wreck bursting at the seams, a levee that miraculously hasn't breached. Never has the word "somehow" been packed with so much meaning.
2. Hangin' Up My Heart – Emmylou Harris & Rodney Crowell
The best track from Old Yellow Moon is this ripped from the 1970s traditional number penned by Crowell for Sissy Spacek's lone early 1980s country album. The pair sound invigorated here, with a renewed freshness that showcases what the resulted album could've and ultimately should've been.
1. Follow Your Arrow – Kacey Musgraves
The most important country single of 2013 is a gay-rights battle cry openly embracing a love who you love mentality in a genre where anything 'gay' is almost non-existent. Musgraves is a new age Loretta Lynn not afraid to speak her mind and be open towards her beliefs. Her boldness is refreshing and hopefully the seed that gives her fellow contemporaries the guts to bring substance to their music again.
Tags:Alan Jackson, Ashley Monroe, Brandy Clark, Emmylou Harris, Eric Church, Jason Aldean, Jason Isbell, Kacey Musgraves, Little Big Town, Luke Bryan, Miranda Lambert, Natalie Maines, Rodney Crowell, Shane McAnally, Train
Favorite Country Singles of 2013 Part I: 20-11
It was just a few months ago, I was in panic mode. How the heck am I supposed to compile and rank a list of favorite singles when the majority of country music, especially mainstream terrestrial radio country, left me numb? Hell, I don't even have a can't-live-without favorite single from 2013. I don't know when the tide turned, but I was once again able to rank a list I'm very happy with. Here's part I, 20-11:
20. That Girl – Jennifer Nettles
Back in "Stay" mode, Nettles is once again the other woman. Sequels often pale in comparison to the original, as "That Girl" does, but Nettles scores points for writing the first answer song to Dolly Parton's classic "Jolene" and pulling it off with ease.
19. Someone, Somewhere Tonight – Kellie Pickler
Treading hallowed ground, Kellie Pickler tackles one of Pam Tillis' greatest vocal performances ever by covering one of the best songs she's ever recorded. Finally stripped of her caricature image thanks to Dancing With The Stars, Picker plays it smart by making "Someone Somewhere Tonight" her own. While it pails in comparison to Tillis' brilliant rendition, Pickler more than makes up for it with a mature performance that marks her growth as a singer and a person.
18. Your Side of the Bed – Little Big Town
So what if the third single from Tornado is a rip-off of a Gretchen Wilson album cut? Husband-and-wife Karen Fairchild and Jimi Westbrook bring stunning conviction to this tale of a relationship breaking down from both sides of a king sized bed.
17. Don't Let Me Be Lonely – The Band Perry
This must be a trend – when The Band Perry's debut album came out, they placed one single apiece on both my best and worst lists. They've done the same again. Their best? This little ode to spreading your wings when you're young. It's a bit too loud towards the middle, but it works for me nonetheless.
16. Enough – Joey + Rory
Originally written by Rory for a Kraft commercial, "Enough" is a sweet tale about family values and having "just enough to get by on." There's nothing revelatory about its sentiment (especially after "That's Important To Me") but it exudes charm nonetheless.
15. Hush, Hush – Pistol Annies
How many of us have been there? You're at the dreaded family reunion and just as you expected, no one is speaking to anyone. Brother is just out of rehab, daddy's obsessed with the end of the world, and mom is sneaking vodka just to cope with it all. "Hush, Hush" is family dysfunction at it's best with some vivid characters to boot.
14. Travelin' Alone – Jason Isbell
The best truckin' song of the year is Isbell's ode to loneliness on the road. He just wants someone to share it all with. Is that really too much to ask?
13. Blowin' Smoke – Kacey Musgraves
The shortsighted working poor come roaring back to life courtesy of Musgraves and her team of diner waitresses who are dreaming of a better life. Kelly may've gotten out, and hitched a ride to Vegas, but the others will forever be blowing smoke, and not just what comes from their cigarettes. It's mystifying how fully formed Musgraves' perspective on life is for a twenty-four year old.
12. Mama's Broken Heart – Miranda Lambert
Brandy Clark and Kacey Musgraves' greatest success in 2013 came from writing this biting look at breakups from the standpoint of a generational gap between a mother and daughter. She's cutting her bangs, screaming his name, and contemplating revenge while mom, who raised her better, wants her to "Cross [her] legs and dot [her] eyes and never let 'em see [her] cry." Lambert has never played this type of conflict so well.
11. Like Jesus Does – Eric Church
Another example of Church proving he's an artist, not just a puppet of the country music industry. I will always reward those who show some effort and Church pulls out the effort in spades here. One of his finest singles.
Tags:Brandy Clark, Eric Church, Gretchen Wilson, Jason Isbell, Jennifer Nettles, Joey + Rory, Kacey Musgraves, Kellie Pickler, Little Big Town, Miranda Lambert, Pistol Annies
Posted in Country Music, Country Music Coutdowns | Leave a Comment »
Album Review: The Band Perry – "Pioneer"
"Daddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest" – Kimberly Perry
It's no secret that "If I Die Young" is one of my favorite singles of this decade, no matter how much airplay it receives. Nathan Chapman's simple production combined with Kimberly's sweet vocal is an irresistible combination, difficult for me to resist.
So about a year ago now, I was thrilled when The Band Perry announced they'd be working with Rick Rubin on their sophomore album. The veteran producer who famously resurrected Johnny Cash's career in the final two decades of life, he also produced the final Dixie Chick record Taking The Long Way, possibly my favorite album from them. In addition, they expressed their intent to work with songwriting genius (and Semisonic front man) Dan Wilson based on his involvement with "Someone Like You" and "Don't You Remember" from Adele's 21 (He also had a lot to do with the genius of the Chicks' album). The Perry siblings even spoke openly of their love for those two songs, which made me very excited, as I love them, too.
So, what the heck went so horribly wrong? Well, it seems like the their label had other ideas. Kimberly has explained that Rubin "in his current incarnation" is a minimalist, but "we also knew that to accommodate all of the goals that we had, the best producer was Dann Huff." One can assume, reading between the PR fog, that Republic Nashville didn't approve of Rubin's artistry, and wanted the band to go with a producer that would keep them firmly within the good graces of country radio. In other words, an intelligently articulate record wouldn't be supported in today's Nashville in the same ways an overproduced Huff-led record would.
And is Pioneer ever overproduced. Huff works his usual magic, suffocating the songs until they are one click away from needing life support. The rock production has even affected Kimberly's voice, the band's crowning instrument, which is now sadly showing the wear of extreme overuse. I wasn't expecting to hear such breathy vocals from her, and like Carrie Underwood's newly acquired rasp, it's kind of sad. What ever happened to simply singing?
Pioneer is what happens when country music becomes too commercial. Every aspect of the product is grossly overdone in an attempt to appeal to the arena and stadium crowd, and while the songs may work well live; they fail as a listening experience on an album. Luckily, though, this isn't the atrocious mess it could've been and they did find (and write) some decent songs, even if nothing here lives up to the singles from their debut.
I quite like "Don't Let Me Be Lonely," despite the somewhat muffled production and "I Saw The Light" is possibly my favorite song on the whole project. The title track is as folksy as they seem to get, and "Back To Me Without You" is nicely restrained although it gets a bit power ballad-y by the end. I don't have a huge issue with thick production at all when it's done correctly (here's looking at you, Eric Church). Huff's style actually works well on "Forever Mine Nevermind," which has noticeable country elements in the choral melody.
I'm also enjoying the tender "Mother Like Mine," which the trio wrote as a declaration of what the world would look like if everyone had been raised by their mom:
So the wars would all be over
'Cause she'd raise us all as friends
And no one would ever wonder if somebody wanted them
We'd walk on grass that's greener
And our cares would all be freer
If the world had a mother like mine
The no wars line is a bit predictable, and Kimberly's vocal shows the wear of shouting too much on stage, but overall it's a very touching song that would work well as a single. Their southern gothic tribute "End of Time" isn't as revelatory as I would've liked, but it's probably closest to the sound on their debut. "Night Gone Wasted" is a mess in this form, but I can hear the honky-tonk elements beneath all the noise, especially on the chorus. If any song ever called for an acoustic makeover, this would be it.
The rest is just plain dreck. I do get why some would praise "Chainsaw" for being a country romp, but it sounds to me like something Huff would've done with Rascal Flatts circa 2004. There's just nothing new in the production to peak my interest. The lyric is typical Band Perry but the melody sounds very dated. Even the Target exclusive tracks are marred by unintelligent choices in both vocals and production, and can hardly be appreciated for the quality songs they probably are.
To call me disappointed in Pioneer would be an understatement. I'm thankful this isn't an obvious clichéd attempt at commercialism, but this record could've been and deserved to be so much more. The songs are there but you wouldn't know it based on all the distracting elements hindering overall enjoyment. Pioneer will rightfully get The Band Perry to that next level they so deserve to ascend to, but it comes at far too big a price for the fans that loved the simplicity of their debut. Hopefully, they'll be able to find a happy medium next time.
Tags:Adele, Carrie Underwood, Dan Huff, Dan Wilson, Dixie Chicks, Eric Church, Johnny Cash, Kimberly Perry, Nathan Chapman, Rick Rubin, Semisonic, The Band Perry
Posted in Music Reviews | 2 Comments »
Album Review – Little Big Town – "Tornado"
You'd think the combination of irresistible four part harmonies and a keen sense of song would be the makings of country music royalty, but Little Big Town have had more starts and halts in the past ten years than just about any mainstream act. They more than won the respect of the industry, but never quite latched onto the fans and country radio.
Their fifth album, a deliberate attempt to reverse those fortunes, is the group's first to utilize producer-of-the-moment Jay Joyce, a smart decision that presents the quartet in a new and exciting light. Thanks to a stellar collection of songs tastefully sung and framed, Tornado blows recent releases by Dierks Bentley, Carrie Underwood, and Zac Brown Band out of the water and is easily the best mainstream country album since Eric Church's Chief (also helmed by Joyce) came out a year ago.
Tornado works because it tampers with their core formula without sacrificing the qualities that have endeared them to the country audience for the past ten years. Platinum selling lead single "Pontoon," a Luke Laird, Natalie Hemby, Barry Dean co-write about summertime fun on the water got them off on the right foot, and recently became their first number one.
Anchored by Karen Fairchild's commanding lead vocal and a slinky ear-catching beat, the song works because it isn't a mid-life ploy at reclaiming adolescence, but rather three minutes of harmless fun aboard a boat. The second verse should've been developed more fully, but it works really well as a concept, and the arrangement is one of my favorites of any single this year.
Tornado matches the exuberance of "Pontoon", but in most cases exceeds it. I'm really enjoying the album's opening four tracks, each one a showcase for a different member of the group. Jimi Westbrook takes the lead on "Pavement Ends," Fairchild on "Pontoon," Kimberly Schlapman on "Sober" and Phillip Sweet on "Front Porch Thing."
Westbrook, the thinnest vocally of the group, is adequate on "Pavement Ends," Jason Saenz and Brent Cobb's rollicking ode to dirt road partying, one of the more exciting songs on the subject matter. His male counterpart, Sweet (one of my favorite male vocalists in contemporary country), is excellent on "Front Porch Thing," a wonderful banjo-led song about kicking back on a front porch with an old guitar and a song to sing.
But Schlapman is a revelation on the beautiful "Sober," easily the album's standout number. Written by Liz Rose, Hillary Lindsey, and Lori McKenna, the mandolin centric track is a sweet ballad about being drunk on love. I thoroughly enjoy how Joyce masterfully stands back and uses a less is more approach, allowing the gorgeous four part harmonies, and stunning chorus, to steal the show.
Other album highlights include the first-rate title song and second single, a sinister Bobbie Gentry-like ballad about a woman seeking vengeance on her cheating boyfriend. Written by Hemby and Delta Maid, and effectively sung by Fairchild, the track blows away Underwood's latest (which tackles a similar theme) and works thanks to the tasteful spooky guitars and moody vibe.
I also love the Westbrook fronted "Leavin' In Your Eyes," which Joyce turns into a 1970s inspired soft rock opus, complete with a simple driving beat. The use of Fairchild and Schlapman on harmony vocals was a brilliant decision, as it helps to make the song more interesting than if the foursome sang together.
"Can't Go Back," written by Hemby with Kate York and Israeli-born Rosi Golan is another striking ballad and a fine showcase for the band's signature harmonies, while album closer "Night Owl," written by the band with Hemby, is a gorgeous reverse of "Leavin' In Your Eyes" in which Fairchild and Schlapman take the lead while Westbrook and Sweet take the harmonies. "Night Owl" is another of my favorites sonically and nicely frames the group's delicate vocals with lush acoustic guitars
Not all the tracks work, however. Sung as a duet by husband and wife Westbrook and Fairchild, "Your Side of the Bed" is a rip-off of Gretchen Wilson's "The Bed," down to the story of a failing marriage under the microscope in the bedroom. I'm having a difficult time believing the couple's pain and the use of harmonies in the chorus. A better decision would've been to have Westbrook or Fairchild sing it solo, as the harmonies dilute the song's emotional heft. I love the idea of the track as a duet, but it plain doesn't work for a four-part group.
"On Fire Tonight" is an attempt at amped up rock that's well presented and sung, and should work wonderfully in a live setting. But on record the Laird co-write with band comes off as underwhelming and a bit subpar for the group that has proven (even on Tornado) they can do a lot better.
I'm also having trouble getting into "Self Made," which probably has a nice message, but is overtaken by a disastrously cluttered production that's so bombastic, its hard to hear what the group is singing. Joyce, who should've kept with the rest of the album and continued with the less is more approach, failed Hemby and Jedd Hughes's co-write with Westbrook and Fairchild.
All and all, Tornado is an excellent mainstream country album and the strongest so far this year, bar none. I'm finding it impossible to drum up excitement for mainstream country these days but Little Big Town has managed to do that for me. I was so afraid they were on the path to compromising themselves at the price of commercial viability, but thankfully I was wrong.
Tornado isn't a masterwork like Kathy Mattea's Calling Me Home, but I'm confident in saying it stands next to the likes of Sugarland's Love On The Inside, Miranda Lambert's Revolution, and Trisha Yearwood's Heaven, Heartache, and the Power of Love as some of the best mainstream fare released in the past five years.
Tags:Barry Dean, Bobbie Gentry, Brent Cobb, Carrie Underwood, Dierks Bentley, Eric Church, Gretchen Wilson, Hillary Lindsey, Jason Saenz, Jedd Hughes, Jimi Westbrook, Karen Fairchild, Kate York, Kathy Mattea, Kimberly Schlapman, Little Big Town, Liz Rose, Lori McKenna, Luke Laird, Miranda Lambert, Natalie Hemby, Phillip Sweet, Rosi Golan, Sugarland, Trisha Yearwood, Zac Brown Band
The 2012 CMA Nominations: The year that, well, just couldn't
Such as they are, here's the CMA nominees list for 2012 with my comments and Will Win / Should Win picks:
The usual solid, yet unspectacular group. The lack of Carrie Underwood will have all her fans fuming as usual and everyone else will bark at the inclusion of Swift, a two time winner and the incumbent, for her increasing lack of country credibility.
Will Win: Taylor Swift – I'm betting on the safest choice this time around. She's the most likely to pull off a win, her third. Chesney may've had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.
Should Win: Luke Bryan, but he wasn't nominated. As an all around entertainer, he's so much better than Aldean, the only one who stands to keep the award out of Swift's hands.
Kelly Clarkson, really? I adore her but she hasn't fully embraced a career in country music…yet. But she did score a #21 hit with the country version of "Mr. Know It All" so her nomination is somewhat, albeit very marginally justified. McBride is a snoozer scoring her 14 consecutive nomination and 15th overall as her career takes a downward spiral.
See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.
Will Win: Lambert – she's at the top of the heap and the countriest of the big 3
Should Win: While I'd love to see this award go to Clarkson, she's a pop singer who's done a bang up job covering country songs in concert. That's it. I'll say Lambert because of her intuition with Pistol Annies
Another somewhat standard list until you take into account Urban is here in place of the red hot Dierks Bentley. His exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should've joined Brad Paisley and been made to sit this one out this year.
Will Win: Shelton – there's seemingly no stopping him right now despite one mediocre single after another.
Should Win: Bryan. While I love Church, Bryan is the most exciting male vocalist to come along in years and a personal favorite of mine.
On chart hits alone, all five deserve to be here this time around. It's nice to see the exclusion of Rascal Flatts as their already bland material has only gotten worse in recent years.
Will Win: Lady Antebellum – is there any reason to bet against them?
Should Win: Little Big Town – Their latest single "Pontoon" isn't just their biggest single, but its country music's song of the summer. Zac Brown Band has also yet to score a deserving win, but LBT has been waiting for their time in the spotlight for far too long.
Big & Rich
Love and Theft
The Civil Wars
Thompson Square
Another interesting list. Sugarland shot themselves in the foot with Incredible Machine and thus are the least likely to repeat in this category. Love and Theft just scored their first #1, and Thompson Square have the ACM momentum.
Will Win: Thompson Square – they've yet to repeat the monster success of "Are You Gonna Kiss Me or Not" in their last two tries, but they're far from one hit wonders. Shawna may not be the most flashy female vocalist, but she's the most akin to the genre's traditions.
Should Win: The Civil Wars – there isn't a more ear catching duo in country music right now
If we ever needed proof country music is in a rut, this is it. No one on this list has proven truly outstanding in anything they've done to date, and none have displayed the integrity to correctly push the genre forward.
Will Win: Brice, Gilbert, and Hayes are so even I can't predict between the three. That may give Thompson Square the edge.
Should Win: Thompson Square – of this group, they're the best of the bunch
Luke Bryan, Tailgates and Tanlines
Eric Church, Chief
Miranda Lambert, Four the Record
Dierks Bentley, Home
Lady Antebellum, Own the Night
The significance of this category is huge. For the first time since his MCA debut When I Call Your Name, Vince Gill isn't nominated. Guitar Slinger was one of the best country records of 2011 and deserved to be on this list. Also missing are George Strait's Here For A Good Time, despite the fact his last two albums won, and Pistol Annies for their excellent Hell on Heels.
But rest assured, we get Own The Night. The category wouldn't be complete without it now would it?
Will Win: Own The Night – if its good enough to get a Best Country Album Grammy, than it can't loose here, right?!
Should Win: Chief – The Church album is the best of this list and the most original commercial country album of 2011. Four The Record was good, but nowhere near the caliber of Chief.
Song of the Year (Award goes to songwriters)
"Even if It Breaks Your Heart" – written by Will Hoge and Eric Paslay
"God Gave Me You" – written by Dave Barnes
"Home" – written by Dierks Bentley and Jon Randall Stewart
"Over You" – written by Miranda Lambert and Blake Shelton
"Springsteen" – written by Eric Church, Jeff Hyde and Ryan Tyndell
Another boring list. The exclusion of "So You Don't Have To Love Me Anymore" is a travesty, and George Strait should've been honored for his songwriting contributions to Here For A Good Time. But the inclusion of "Springsteen" is all that matters to me.
Will Win: "Over You" – I can already see Lambert and Shelton accepting this together and I'm very happy about it
Should Win: "Springsteen" – its the best song of this bunch hands down
Single of the Year (Award goes to artist and producer)
Jason Aldean, "Dirt Road Anthem"
Blake Shelton, "God Gave Me You"
Little Big Town, "Pontoon"
Eric Church, "Springsteen"
Aren't the nominations for Aldean's awful rap over? Shelton, meanwhile, has been nominated for one of his grossest productions ever. Bentley's patriotic anthem is wonderful, and Church's ode is his best single yet.
Will Win: I'm leading towards, "Home" but could also see "Springsteen" sneak in a win. But as far as singles of the year go, "Pontoon" is about as big as it gets
Should Win: "Pontoon" – sure its frivolous, but unlike the Aldean hit its harmless fun, and LBT deserve anything the CMA decide to throw their way
"Dixie Highway," Alan Jackson and Zac Brown Band
"Feel Like a Rock Star," Kenny Chesney and Tim McGraw
"Roll Me Up and Smoke Me When I Die," Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
"Safe and Sound," Taylor Swift featuring the Civil Wars
"Stuck on You," Lionel Richie and Darius Rucker
The most thought out and interesting list, by a wide margin. The Jackson duet is his most exciting song from Thirty Miles West, the Swift duet is the most compelling single of her career, and the Nelson song is an hilarious classic in the making. The reworking of Richie's classic suits him and Rucker well while the only clunker is the awful excuse for Chesney and McGraw to sing together on stage this past summer.
Will Win: "Feel Like A Rockstar" – the CMA can't resist when two genre superstars team up
Should Win: "Safe and Sound" – putting Swift aside, its the most compelling track and another reason why The Civil Wars are currently the genre's best duo.
Kenny Chesney, "Come Over"
Miranda Lambert, "Over You"
Toby Keith, "Red Solo Cup"
Of these, Church has the best video, followed by LBT. What's so remarkable about the whole "Pontoon" thing is LBT haven't caved into any pressure to act like 20 year olds. They're being completely themselves all the while making millions.
Of the others, The Keith video is stupid fun, Chesney is all sex and no substance, and Lambert is as boring and depressing as the song.
Will Win: "Red Solo Cup" – as stupid as the song, but captures it perfectly
Should Win: "Pontoon" – lets have fun with this one, and this video is pure fun in the sun. But if Church only ones award, it'll likely be this one
Dann Huff
Mac McAnally
The award I know the least about, but all talented musicians. Can't go wrong with any of them.
Will Win: Mac McAnally – too strong to bet against
Should Win: Sam Bush – for some variety
Tags:Alan Jackson, Big & Rich, Blake Shelton, Brad Paisley, Brantley Gilbert, Brent Mason, Carrie Underwood, Dan Huff, Dan Wilson, Darius Rucker, Dave Barnes, Dierks Bentley, Eric Church, Eric Paslay, George Strait, Hunter Hayes, Jamey Johnson, Jason Aldean, Jeff Hyde, Jon Randall Stewart, Keith Urban, Kelly Clarkson, Kenny Chesney, Kris Kristofferson, Lady Antebellum, Lee Brice, Lionel Richie, Little Big Town, Love & Theft, Luke Bryan, Mac McAnally, Martina McBride, Miranda Lambert, Paul Franklin, Pistol Annies, Ryan Tyndell, Sam Bush, Snoop Dogg, Sugarland, Taylor Swift, The Band Perry, The Civil Wars, The Eli Young Band, Thompson Square, Tim McGraw, Toby Keith, Vince Gill, Will Hoge, Willie Nelson, Zac Brown Band
Posted in Awards Predictions and Commentary, Country Music | 2 Comments »
It's a good day to be a Little Big Town fan
There aren't many announcements in modern country worth even a modicum of excitement, but news of brand new music from Little Big Town (Tornado, their fifth album, hits Sept. 11) is worth shouting from the rooftops.
Why? Because their the most consistently good and highly underrated band in country music gunning for radio airplay. Their brilliance as a tight unit has led to some of this century's most interesting singles from "Boondocks" and "Bring It On Home" to "Fine Line" and "Little White Church."
That keen ear for song selection looks to continue with Tornado as the crop of writers chosen to pen the songs are among Nashville's strongest from Lori McKenna to Jedd Hughes to Luke Laird.
The overwhelmingly intoxicating "Pontoon" has exploded as the lead single, hitting the top 15 in eleven weeks while also sitting atop the iTunes country chart for most of the last two months.
So what accounts for the change of heart from radio and fans?
A modification in sound for one. Out is Wayne Kurkpatrick, the mastermind behind their Road to Here-Place To Land-Reasons Why albums and in is Jay Joyce, the man behind Eric Church's style of country. This change has lit a fire within and created a hunger missing from their previous music. There's a new determination now to force country radio to stop ignoring them, once and for all.
Only time will tell if subsequent singles match the buzz of "Pontoon." I'm in love with the sound of this song for sure, but the very underwhelming second verse, which misses (as well as desperately needs) a second half, irks me to no end and displays the laziness penetrating most of the lyrics in modern country. But, I'll be darned if there is a cooler sounding song currently vying for radio airplay.
Thankfully, though, to hear Jimi Westbrook talk about Tornado, there's a lot to get worked up about:
"I am so excited for people to hear this new record. "Jay really pushed us to be in the moment. There was such an amazing energy between all of us in the studio and I think you can feel it."
Here's the album's cover, complete with their rebranding campagin:
Here's the track list:
1. "Pavement Ends"
Jason Saenz/Brent Cobb
2. "Pontoon"
Barry Dean/Natalie Hemby/Luke Laird
3. "Sober"
Liz Rose/Hillary Lindsey/Lori McKenna
4. "Front Porch Thing"
Chris Stapleton/Adam Hood
5. "On Your Side of the Bed"
Lori McKenna/Karen Fairchild/Jimi Westbrook/Kimberly Schlapman/Phillip Sweet
6. "Leavin' in Your Eyes"
Brett Warren/Brad Warren/Jay Joyce/J.Westbrook/K.Fairchild/K.Schlapman
Natalie Hemby/Delta Made
8. "On Fire Tonight"
Luke Laird/P.Sweet/J.Westbrook/K.Fairchild/K.Schlapman
9. "Can't Go Back"
Natalie Hemby/Kate York/Rosi Golan
10. "Self Made"
Natalie Hemby/Jedd Hughes/J.Westbrook/K.Fairchild
11. "Night Owl"
Natalie Hemby/J.Westbrook/K.Fairchild/K.Schlapman/P.Sweet
Is it too much to ask for September 11 come just a bit faster, please?
Tags:Adam Hood, Barry Dean, Brad Warren, Brent Cobb, Brett Warren, Chris Stapleton, Delta Made, Eric Church, Hillary Lindsey, Jason Saenz, Jay Joyce, Jedd Hughes, Jimi Westbrook, Karen Fairchild, Kate York, Kimberly Schlapman, Little Big Town, Liz Rose, Lori McKenna, Luke Laird, Natalie Hemby, Phillip Sweet, Rosi Golan, Wayne Kurkpatrick
Top 40 Worst Country Singles of 2011
Here you go. My least favorite country singles of 2011. You'll see some huge hits here. But remember it isn't about chart performance, but rather about quality:
40. Ronnie Dunn – "Bleed Red"
On his solo debut Dunn could've worn any hat. But he choose to go down the route of being over-produced and turned into a pop balladeer. And "We all bleed red" is such a statement of the obvious, it hardly bares drugging up in a song.
39. Jason Michael Carroll – "Numbers"
This is exactly why people hate country music. A laundry list of numerical symbols? Seriously, just how lazy can songwriting get?
38. Keith Urban – "You Gonna Fly"
On its own this isn't a bad song. But I'm including it here for the simple fact it showcases an artist continuing to coast on their merits with yet another sound alike rocker that has become the norm. Urban will always be hailed for his guitar playing and entertaining abilities but not for his diversity in song selection. He just isn't exciting anymore.
37. Luke Bryan – "I Don't Want This Night To End"
A guy and a girl are rockin' in a truck as if no other modes of transportation exist. Of course, she's "so damn hot" he can't stand it. He may not want this night to end, but this song surely can.
36. Jake Owen – "Barefoot Blue Jean Night"
A marriage of 80s rock with banjos coupled with a disposable tale of having fun with not only your buddies but the requisite hot babe, too. I Don't Wanna Grow Up may be the smartest line in a country song all year.
Tags:Alabama, Alan Jackson, Blake Shelton, Brad Paisley, Brantly Gilbert, Craig Morgan, Dallas Davidson, Darius Rucker, Dierks Bentley, Eli Young Band, Eric Church, Gretchen Wilson, Gwyneth Paltrow, Hank Williams Jr, Hunter Hayes, Jason Aldean, Jason Michael Carroll, Joe Nichols, Julie Roberts, Justin Moore, Kenny Chesney, Kris Kristofferson, Luke Bryan, Martina McBride, Montgomery Gentry, Natasha Bettingfield, Rascal Flatts, Reba McEntire, Rodney Atkins, Ronnie Dunn, Shania Twain, Sugarland, The Peach Pickers, Thompson Square, Tim McGraw, Toby Keith, Trace Adkins
Posted in Country Music, Country Music Coutdowns | 11 Comments »