Album Review: George Strait - Here for a Good Time

Having been a successful country hitmaker for three decades, George Strait has at times been known to toe the line between consistency and repetition. That said, it's heartening to see that his 39th studio album finds him making new artistic strides, and delivering some of his strongest and most interesting work to date.

Kickoff track "Love's Gonna Make It" isn't exactly anything earth-shattering, but the catchy tune serves as a pleasant introduction to a very strong album. Though he had a former tendency to fill up his albums with cuts by established Nashville songwriters, Here for a Good Time includes a large portion of self-written material, with Strait and son Bubba claiming writing credits on seven of the album's eleven tracks. Strait also co-produces the album with longtime producer Tony Brown. As it turns out, putting his own pen to paper pays off, as it brings about an album characterized by a mature perspective.

The album deals with many oft-covered country music themes, but offers a take that is fresh and original, with "Drinkin' Man" being a foremost example. "Drinkin' Man" presents a sympathetic first-person portrayal of a man who grapples with alcoholism from his teen years onward, often dealing with the thoughtless remarks of those who underestimate the seriousness of his problem. The song emphasizes the struggle between willpower and weakness, summed up in the insightful hook "That's a hell of a lot to ask of a drinkin' man."

"Shame On Me" falters slightly by leaning a little too heavily on a hackneyed expression (similar to "The Breath You Take"), with the song's central phrase being "Fool me once, shame on you.... Fool me twice, shame on me." However, the song earns points for affording a level of self-realization to its narrative character as it applies the common expression to a marital relationship plagued by repeated infidelity.

Naive visions and dreams collide with cold hard reality in the Jesse Winchester composition "A Showman's Life." The stark portrayal of the ups and downs of show business ranks as one of the best lyrics on the album, as well as one of Strait's finest vocal turns, with Faith Hill's beautiful smoky background vocal elevating the track further.

"A Showman's Life" exemplifies the reflective tone that runs throughout the album, making it a work of notable cohesion. These are the songs of a man who's lived life, and learned some hard lessons firsthand. Thus, he invests a lived-in authenticity in his performances. Album highligh "Poison" finds the narrator looking back with regret on bad choices made in life, and reflecting on the ongoing consequences. The sparse acoustic and steel-driven arrangement adds to the song's punch. Then the clever and catchy title track steps in as a pleasant mood-breaker, in which Strait reflects on the shortness of life, and resolves to enjoy it while it lasts. The album closes on a high note with "I'll Always Remember," which finds the legend looking back fondly on thirty years in the music business, and reflecting appreciatively on the support of his loyal fans.

It's when George Strait draws on his experience and expanded perspective that he shines the brightest. That personal hands-on approach is a large part of a what makes Here for a Good Time one of his most substantially enjoyable and rewarding efforts.

GEORGE'S SCORE: 8

(Scores are given on a scale of 1 to 10)

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Album Review: Deborah Allen - Hear Me Now

Singer-songwriter Deborah Allen enjoyed a run of country hits in the early eighties, some of which achieved modest pop crossover success, with her best-known hit being "Baby I Lied." But she's also made a name for herself in songwriting, achieving cuts by a wide range of artists from Brooks & Dunn to Patty Loveless to Fleetwood Mac.

Though some of her early eighties hits have somewhat dated arrangements that haven't always aged well, her new album Hear Me Now is a fun, entertaining mash-up of genre styles - Approximately 60% country, 20% pop and rock, 20% gospel, and 100% Deborah Allen. Though electric, acoustic, and steel guitars, as well as fiddle and organ all make an appearance, the most unique and interesting instrument of all is Deborah's voice - raw, gritty, powerful, and so expressive.

Highlights include the just-found-true-love celebration "Hands On," which combines an unshakably joyous melody and performance with a subtle layer of sexiness. She travels similar lyrical territory with the following two tracks, but offers different musical variations. It goes from the light airy pop-country sound of "Hands On" to the soft bluesy vibe of "All Because of You," while "Never Gonna Run Out of Love" sounds like one big funky groovy jam session.

Just as the album is threatening to get a little too happy, Deborah takes a different direction with the sad acoustic ballad "Last Time for Everything." She gives a performance that is unpolished and imperfect, but that nails the most important aspect of a great country song - emotional sincerity. Also enjoyable is "Amazing Graceland," an effective tribute to the legendary Elvis Presley, inspired by Deborah's own visit to his hallowed mansion. She gives a nuanced performance with some interesting vocal flourishes, which further elevates the track.

The rocked-up ditty "It Better Be Big" stands out as a bit of an oddity on the album, offering a musical take on the "Big girls need big diamonds" philosophy which may connect more with female listeners than males. Either way, Deborah's rapid-fire delivery is enjoyable, and the song also earns a point or two for creativity in rhyming "Lexus" with "a Rolex the size of Texas." Lead single "Anything Other Than Love," written in response to her stepdaughter's remark that she writes too many love songs, finds an emotionally-bruised narrator who has sworn off love, only to become perturbed when she finds those feelings of infatuation welling up inside of her once again. The danceable two-step style fits the witty lyrics like a glove.

With organic musical arrangements and consistently showstopping vocal performances, Hear Me Now is a fun and engaging listen that is most definitely worth hearing.

DEBORAH'S SCORE: 8
(Scores are given on a scale of 1 to 10)

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Album Review: The McClymonts - Wrapped Up Good

"Are you ready to kick it up?"

That's the first thing you here when you pop in the second album by Australian family act The McClymonts.  It's a fitting indicator of the fact that Wrapped Up Good is largely dominated by an overwhelming tendency to play the catchy card, to varying degrees of success.  Opening track "Kick It Up" doesn't accomplish much, mostly because it sounds like it's trying too hard.  The melody is forgettable, while lyrics demanding truck beds full of beer and ice, and a declaring that "This party ain't for shrinkin' violets," sound too forced to make for a genuinely fun song.  Party songs are all good and fine, but in this case the chemistry doesn't ignite, and it just doesn't quite click.  Meanwhile, the Nathan Chapman-produced title track "Wrapped Up Good" attempts to be a fun, sexy "Let's get it on" number, only to be obliterated by bloated, overwrought pop-country production and overprocessed vocals, which sours the sweetness in the sisters' bloodline harmonies.

Fortunately, things finally start coming together on the third track, "He Used to Love Me" - a track that shoots for catchiness, and actually hits the target.  It begins as a slow acoustic tune as Brooke McClymont laments "I had me a good one, but he got away..." and then the song morphs into an upbeat fiddle-rocker (with a catchy "woo-ooh" hook to boot) as she determines to "Get in my car, track him down."  The track taps into the vein of the almost slightly delusional female narrator who will let nothing get in the way of her getting a hold of true love, and it ends up a genuinely amusing and engaging listen.

A distracting bass line gets in the way of a clever hook, as Brooke deems her on-again-off-again lover "The Boy Who Cried Love."  But we find the girls in good shape all around on "Take It Back," in which a laid-back acoustic arrangement exposes a raw vulnerability in Samantha McClymont's emotional lead vocal.  Similarly, she sings in a hushed whisper as she delivers the slow-burning, beautifully-metaphoric "A Woman Is a Flame."  The two ballads arguably rank as the album's strongest tracks.

But not all of the up-tempos are duds.  An infectious guitar hook turns "Rock the Boat" into a broadly enjoyable earworm of a tune, while the playful steel-laden romp "I'm Not Done with You Just Yet" gives the girls plenty of room to show some spunk and personality.  Without a doubt, it's the album's 'countriest' track as well.

Overall, Wrapped Up Good is something of a mixed bag.  The talent is there, but it shines brightest when it's not hampered down by poor production choices.  But while it has its share of clunkers, the album's best tracks show that when all the right pieces fall into alignment, the results are extremely satisfying.

THE MCCLYMONTS' SCORE:  7
(Scores are given on a scale of 1 to 10)

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Album Review: Dolly Parton - Better Day

If there's one recurrent theme in the new Dolly Parton album Better Day, it's definitely a message of positivity.  Throughout its twelve tracks, Better Day proclaims the virtues of living life to the fullest, and displaying a "can-do" attitude.  But at least Dolly's happy songs are good happy songs, making use of poetic imagery rather than inspirational cliches.

The theme becomes evident right from the opening track.  "In the Meantime" definitely seems like a relevent composition in this day and age, given the recent brouhaha surrounding the expected "end of the world."  Backed by an upbeat piano and harmonica-driven arrangement, Dolly urges us all not to be "so consumed with the fear of dyin'/ The joy of livin's lost."  With her signature attitude, she calls for all to "Drop this Doomsday attitude and git on with the show!"  Things become slightly less sunny on tracks like "I Just Might" and "Get Out And Stay Out," but even these comparitively somber tracks carry traces of that same theme.  The former is a song of dawning positivity in the midst of heartbreak, while the latter is a strong-woman's declaration that she is leaving her abusive spouse, and "taking back [her] life."

Unlike her previous effort (2008's Backwoods Barbie), which found Dolly covering both Smokey Robinson and the Fine Young Cannibals, Better Day is composed entirely of self-written songs (though Mac Davis also shares a writing credit on country-pride anthem "Country Is As Country Does," which I enjoy about as much as I could enjoy a country-pride anthem).  Dolly Parton ranks as one of the most consistently excellent singer-songwriters in country music, and it's clear that her pen hasn't run out of tricks just yet.  On a similar note, it's nothing short of astounding to hear an artist in such remarkably fine voice at the age of 65.  Throughout the album, Dolly's vocals sound consistently fantastic, whether pouring her pipes into a rousing up-tempo or a sorrowful torch ballad like the achingly beautiful "Somebody's Missing You," which includes background vocals from Alison Krauss and Emmylou Harris.

Stylisitically, Better Day sounds quite similar to Backwoods Barbie, in that it sounds largely modern and contemporary, but still shows a connection to traditional country music, with influence from other genres as well.  The album takes on a gospel-oriented direction near the end, particularly on the soulful title track.  The only instance in which production becomes an issue is on leadoff single "Together You and I" - a contemporary pop-country love song like you'd expect to hear on the radio today, but with some cluttered and distracting production.  The song has grown on me since I reviewed it last month, but "Together You and I" remains the weakest track on the album.  Producer Kent Wells adds his own voice to the album on the full-fledged duet "Holding Everything," which takes the form of a romantic power ballad, but with the production maintaining just enough restraint to avoid being overly bombastic.  Kent and Dolly's voices mesh together well, with their dynamic performances making "Holding Everything" an album highlight.

Of course, it should be noted that sad songs have a long and prestigious history in country music, but that's one end of the emotional spectrum that Better Day doesn't tread on very heavily.  That means that if you're down and out, and just looking for good old barroom weeper to cry in your beer to, there aren't any songs on this album that would suit that particular purpose.  The album works better as the soundtrack to a cheery summer day than to a self-pity party.

To Dolly's credit, however, the songs carry a measure of substance such that the glass-half-full anthems do not ring vague or hollow.  Though it could benefit from a little extra thematic variance, Better Day ultimately works as a solid if not special entry into Dolly Parton's extensive album discography.

DOLLY'S SCORE:  7
(Scores are given on a scale of 1 to 10)

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Album Review: Gary Nicholson - Texas Songbook

Being the seasoned songwriting talent that he is, it's no surprise that Gary Nicholson's new album Texas Songbook is characterized by some mighty good songwriting.  Indeed, he's written hit songs for the likes of Patty Loveless, Montgomery Gentry, Vince Gill, and a host of other artists.  Sonically, the light production is primarily influenced by traditional Texas-style country, but carries traces of other genre styles as well, including Western swing and jazz.  In addition, Texas Songbook includes guest appearances by a variety of collaborators, including Randy Rogers, Lee Roy Parnell, Marcia Ball, among others.

Though currently based in Nashville, it's clear that Gary Nicholson remains a Texas boy at heart.  Genuine love and appreciation for the Lone Star State is a recurring theme that runs throughout the set.  This is particularly apparent in songs that celebrate the little peculiarities of the state of Texas and its people.  "Talkin' Texan" depicts the wild imagination of a Texan man, explaining that "He ain't lyin'/ He's just talkin' Texan."  In a similar vein, the humorous "She Feels Like Texas" tells of a woman who's "in a Lone Star state of mind everywhere she goes," calling the Eiffel tower "the biggest oil rig I ever seen."

Texas Songbook opens with "Texas Weather," a song that draws on the erratic weather patterns of Texas as a metaphor for a relationship that has seen dramatic shifts between ups and downs. (With the word "Texas" or "Texan" appearing in the titles of five of the thirteen songs, it's definitely no secret that the man loves Texas) "Texas Weather" is a fine example of Gary's notable proficiency in utilizing figurative language to create vivid lyrics.

The subject of cheating is addressed more than once, with "Fallin' & Flyin'" (a song previously performed by Jeff Bridges in the film Crazy Heart) portraying a narrator swept along by temptation, only to be abruptly brought back down to reality when faced with the consequences of his betrayal.  With "Woman In Texas, Woman In Tennessee," Gary chides another man for his shameless two-timing antics.  With interesting, cleverly-crafted lyrics, both tunes are excellent additions to the extensive catalog of country cheating songs.

The album could do without "Texas Ruby," which is an ode to a curvaceous female stripper body.  With a great deal of over-the-top imagery, the lyrics are more likely to inspire cringing than singing along.  Still, with doses of saxophone and accordion, the track is enjoyable on a sonic level.  Likewise, name-dropper "Listen to Willie" might appeal to some of Willie Nelson's biggest fans, but might not garner much repeat listening.

Closing track "Somedays You Write the Song" (previously recorded by Guy Clark) is one of the album's finest.  Backed by little more than an acoustic guitar and a harmonica, Gary expresses the value of songwriting in helping one to sort out confusing emotions, with his vocal performance exuding raw sincerity.  The song's ultimate point is summed up in the unshakable hook "Somedays you write the song, somedays the song writes you."

There are no unnecessary bells and whistles here, just straight-up honky tonk-style country music delivered from the heart.  With strong lyrical content, and organic musical arrangements throughout, Gary's Texas Songbook is a highly enjoyable listen.

GARY'S SCORE:  8
(Scores are given on a scale of 1 to 10)
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Album Review: Gene Watson & Rhonda Vincent - Your Money and My Good Looks

Don't these two just sound like they were meant to be together?  When Gene Watson and Rhonda Vincent met for the very first time, they were scheduled to perform together on a televised portion of WSM's Grand Ole Opry.  Due to a plane delay, their first meeting took place on stage when they performed together without having rehearsed or even having met before that night.  And yet, when they blended their two unique voices together, it was obvious that they had something special.  After a few one-off duets on various projects, and after touring together, Gene and Rhonda have finally joined forces on a full album of duets.

Your Money and My Good Looks combines the talents of the finest male vocalist in country music with those of the finest female vocalist in bluegrass music, forming a traditional country album that is an absolute gem.  The song material is consistently excellent, with the two vocalists giving showstopping performances, both individually and in harmony.  Producer Herb Sandker backs them up with stone cold country arrangements that don't make the tracks sound like relics of a bygone era, but rather that make them sound timeless.

The album opens with the title track "Your Money and My Good Looks" - a fun flirty up-tempo track laden with fiddle and steel.  Afterwards, we are treated to some spectacular country ballads with poignant messages about love lost, love found, and love rediscovered.  "Gone for Good" finds two spouses lamenting the deteriorated state of their relationship, while coming to the solemn realization that "If we keep lettin' things go bad, they'll soon be gone for good."  Another highlight is "Alone Together Tonight" - written by Billy Yates, Ashley Monroe, and Terry Clayton - a cleverly-written tale of two brokenhearted individuals coming together.

Your Money and My Good Looks also finds Gene and Rhonda digging back into the archives for some well-chosen and well-executed cover tunes.  It contains a remake of one of Gene's own hits, "You Could Know As Much About a Stranger," reworked as a duet.  Such a reinterpretation turns out to be very fitting.  The lyrics work well in the form of two lovers discussing their mutual lack of familiarity with one another.  "Sweet Thang" (That's "Sweet Thang," not "Sweet Thing" like the Keith Urban song) was a hit for writer Nat Stuckey in 1966, but his version was eclipsed by that of the dynamic duo of Ernest Tubb and Loretta Lynn.  Gene and Rhonda deliver a competent updating of the classic tune, with Rhonda taking on the Lynn-esque attitude quite well.  Particularly enjoyable is their cover of the Hank Williams classic "My Sweet Love Ain't Around," which ranks as one of the finest displays of the emotional connectivity that both vocalists excel at.

Rhonda Vincent is one female artist in particular who displays remarkable vocal power combined with an impeccable ability to control her vocal abilities.  She knows how to draw on her vocal power without beating us over the head with it, while also channeling the emotions of a song, and displaying extraordinary interpretive abilities, thus giving a truly outstanding vocal performance.

When the album reaches its final track, Rhonda says "Hey Gene, let's get outta here and let these guys play one," and then we are treated to the rousing instrumental bonus track, "Ashes of Mt. Augustine," showcasing the top-notch musicianship of Michael Rojas (piano), Stuart Duncan (fiddle), Mike Johnson (steel guitar), Michael Rhodes (bass) and James Mitchell (guitar).

Seeing the high caliber of material and performance that Your Money and My Good Looks displays, I would hardly expect 2011 to produce a better album than this one.  All of the finest qualities of the country genre are on full display on this exquisite set, from proficient storytelling to deep emotional impact.  Though the mainstream brand of country continually offers a poor representation of the genre, Gene and Rhonda have created a set that could be just the album to make you fall in love with country music all over again.

GENE AND RHONDA'S SCORE:  10
(Scores are given on a scale of 1 to 10)

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Album Review: Brad Paisley - This Is Country Music

I am not going to attempt to sugar-coat this.  Brad Paisley's recently-released ninth studio album This Is Country Music is an uninteresting, unfocused, scattershot affair in which missteps are numerous, and genuine highlights are very few.

Brad Paisley is not an artist who is known for reinventing himself a great deal.  He often falls into a repetitive pattern of self-impressed novelty ditties and generic love ballads.  The repetition continues with This Is Country Music, a record that could easily have been named This Is Everything That Ben Foster Dislikes About Brad Paisley's Music.  Okay, maybe that title is a bit too long, but fitting nonetheless.

The album opens with the two forgettable singles "This Is Country Music" and "Old Alabama."  The former is a misguided attempt to convey the special qualities of the country music genre, but instead ends up backhandedly exemplifying the stale lyrical formulas that have made modern country radio a complete and total yawn.  Country artists are not singing about Jesus, Mama, and cancer as a way of breaking boundaries and making statements - They're doing it because they know that's what radio wants.  They're not displaying artistic ingenuity - They're doing the exact opposite.  Things don't improve with "Old Alabama," which masquerades as a tribute to the band Alabama, but is merely a lazy rehash of "Mountain Music," with an appearance by the Alabama boys themselves. 

And now... bring on the ditties.  "Camouflage" is exactly what it sounds like - a song about camo.  It could stand some added cleverness, but where it really falls apart is in the chorus, which is composed of Brad and his singalong chorus shouting the word "camouflage" back and forth at one another.  Of course, the project would never be complete without the requisite Paisley summer party anthems.  This time, they come under the names "Workin' On a Tan" and "Don't Drink the Water."  The first is just an all-out cheesy ode to a well-endowed female body.  The second, a duet with Blake Shelton (one of the many duet cohorts joining Paisley on the album), exists only to make the joke "Nobody goes to Mexico to drink the water anyway."  Hint-hint.

Even the better songs on the album carry a bit of a stain.  "Remind Me," a duet with Carrie Underwood, is a good song about rekindling the spark of passion that a couple once had in their younger days.  Sadly, the performance is subpar.  Both vocalists (even the typically stellar Underwood) give a delivery that sounds forced rather than genuinely engaged, with the overwrought power ballad production doing neither of them any favors.  Songs like "Love Her Like She's Leavin'" (featuring Don Henley) and "One of Those Lives" earn points for well-crafted title hooks that carry meaning beyond that of the words themselves.  The problem is that both are tainted by unfortunate association with common pandering formulas - "old man's advice" songs and cancer songs respectively.

One keeper is "Toothbrush," which uses everyday objects as symbols representing different stages in a budding relationship.  The song settles into a pleasant neotraditional vibe, making it one of the album's most enjoyable moments.  This track highlights the fact that Brad can produce some interesting tunes when he keeps things simple without making forced attempts at cleverness.  Things are kept deadly serious on "A Man Don't Have to Die," in which Brad addresses a fire-and-brimstone preacher, describing the many hardships that everyday people face, and concluding that "A man don't have to die to go to hell."  The verses of "A Man Don't Have to Die" seem to lean on the list-format crutch, but they build up to a strong hook, making for an overall solid composition.

The album closes with a performance of the traditional hymn "Life's Railway to Heaven," featuring the vocals of Marty Stuart, Sheryl Crow, and Carl Jackson.  The bluegrassy arrangement makes one of the most enjoyable tracks on the album, but then as the song ends, Brad sours it with an unnecessary reprise of the insipid title track.
To make matters worse, Brad's voice is marred by shoddy auto-tuning work throughout the album, which makes for a jarring listening experience.  But the main issue is an excess of poor song material, most of it written by Brad himself with all the usual suspects (Gorley, DuBois, Turnbull, etc.).  This novelty act wore thin a long time ago, and by now it sounds entirely business-as-usual.  Brad is just doing what he always does, and people buy it, so there would seem to be little reason to shake things up.  But if Brad wants to build a lasting artistic legacy, lackluster disappointments like This Is Country Music make for an awfully shaky foundation.

BRAD'S SCORE:  4
(Scores are given on a scale of 1 to 10)

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Album Review: The Essential Rosanne Cash

Rosanne Cash was one of the most popular female country artists of the eighties, but with a decent number of hits already under her belt, she relinquished her slot on country radio in exchange for full creative freedom. The Essential Rosanne Cash – released thirty years after her career hit “Seven Year Ache” reached number one – is an in-depth career-spanning compilation featuring 36 songs hand-selected by Rosanne herself.



This album is a double-disc set in which each disc covers a different era in Rosanne’s career. Disc 1 begins with two tracks (“Can I Still Believe In You” and “Baby, Better Start Turnin’ ‘Em Down”) from Rosanne’s little-known self-titled debut album, released on German label Ariola. From there, this disc goes into all of Rosanne’s best-known radio hits, as well as some lesser-known inclusions, all arranged in loose chronological order. Essential hits such as “Seven Year Ache,” “My Baby Thinks He’s a Train,” “Blue Moon with Heartache,” and her Grammy-winner “I Don’t Know Why You Don’t Want Me” are all present and accounted for. After we hear a fair amount of the synth-laden sound of the eighties, the disc segues into the mainstream country sound of her 1987 album King’s Record Shop. That classic set yielded four number-one singles – a feat unprecedented by any female artist at the time – all of which are included in this compilation (“The Way We Make a Broken Heart,” “Tennessee Flat Top Box,” “If You Ever Change Your Mind,” “Runaway Train”). The first disc closes with Rosanne’s final number-one hit, her country-tinged cover of the Beatles’ “I Don’t Want to Spoil the Party,” signaling the end of Rosanne’s hit-making era.


But it would be a mistake to focus only on Rosanne’s hit songs, and to overlook the remarkable body of work she produced in the years after she turned away from hit making. As Disc 2 opens, it deviates from chronological order by beginning with “The Real Me,” a non-single track from King’s Record Shop. This deviation is appropriate, as “The Real Me” ideally sets the tone for the songs to follow. Indeed, Disc 2 represents the era in which Rosanne had stopped attempting to squeeze herself into the mainstream country mold, and began recording the most personal music of her career. This was when we began to see the real Rosanne Cash in exquisite compositions such as “The Wheel” (the centerpiece of her 1993 rock album of the same title), “Sleeping In Paris,” “Rules of Travel,” and many others.


An indispensable inclusion is “September When It Comes,” – Rosanne’s ethereal duet with her legendary father Johnny Cash, recorded in 2003 for her album Rules of Travel. The song, written by Rosanne with her husband John Leventhal, explored the theme of mortality in a way that was eerily prophetic of Johnny Cash’s own impending death (which took place in September of that very year). Using the month of September to symbolize the period near the end of one’s life, the lyrics beautifully conveyed emotions of both pain and hope. Such a masterpiece of a song is a definite career highlight, whether it becomes a hit or not. After losing her father, mother, stepmother, and stepsister in a short two-year time span, Rosanne poured her grief into her 2006 set Black Cadillac, expressing herself through songs such as the title track, “House On the Lake,” “The World Unseen,” and “The Good Intent,” all of which are included in The Essential Rosanne Cash. Disc 2 closes with two tracks from Rosanne’s 2009 covers album The List – “500 Miles," “Sea of Heartbreak" (her duet with Bruce Springsteen), and "Sweet Memories."


The hit songs are only the tip of the iceberg – This is true of just about any artist, but perhaps all the more so with Rosanne Cash. There is often much more to learn about an artist than what can be discerned from a simple, concise “Greatest Hits” package. By visiting virtually every chapter of Rosanne’s career, The Essential Rosanne Cash manages to live up to its title in full – essential in the sense of music quality, as well as effectiveness in summing up an artist’s career. Of course, the only way to see the full depth of Rosanne’s artistry would be to collect her entire discography, but The Essential Rosanne Cash offers the finest portrait that could ever be seen from one compilation album. The result is a career retrospective as beautiful and well-rounded as any artist could hope for.
 
ROSANNE'S SCORE:  10
(Scores are given on a scale of 1 to 10)
 
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Album Review: Victoria Banks - Never Be the Same

Never Be the Same, the second studio album from Canadian singer-songwriter Victoria Banks, includes a fair helping of delicious slices of pop-country, kicking off with the charming opener “Come On.” It’s about as simple a song as its title leads us to expect, but with an uplifting melody, a cool fiddle-laced arrangement, and a competent lead vocal delivery, the sum of its parts make for an enjoyably breezy contemporary country love song.



The track “Jackson” might have you expecting a cover of the well-known Cash classic, but it’s far from it. It boasts the most attention-grabbing opening line of any song on the album – “It’s a long way back to Jackson in a beat-up Cadillac/ With a Bible on the floorboard and a body in the back.” The absorbing story-song is easily the most striking track on the album. It reaches a climax in the bridge after the second chorus, when Victoria’s character sneers at the ineffective justice system, and opts to take things into her own hands – “There was never any crime, ‘cause there wasn’t no proof/ But a big sister always knows the truth/ So when he gets home tonight, I swear I’ll make things right/ I’ll be waitin’ inside with a forty-five.”
Title track “Never Be the Same” is sonically interesting thanks to Victoria’s nuanced lead vocal, but the song is lyrically unfulfilling, leaning upon the crutch of laundry-list songwriting. It touches on a number of life experiences the narrator has had, with her simply concluding that she “will never be the same.” On the song “Somebody Does,” Victoria visits similar lyrical territory to that of the recent Sugarland hit “Little Miss,” in which a narrator offers comfort and encouragement to a downtrodden companion. It’s a solid concept, but the lyrics seem to call for a little added specificity, with the hook “Right now you think nobody cares, but somebody does” seeming hollow and vague.
Never Be the Same is clearly not an album without its faults, with lyrics that don’t often scratch below surface level. Even on the strongest songs, layers of production often act as an unnecessary distraction. A primary example is the rather awkwardly-constructed empowerment anthem “Barefoot Girl,” which extols the joys of pick-up trucks and torn-up jeans, while the heavy beat and thumping production would seem more at home in the “high-rise high heels world” that the narrator rejects. The trait re-surfaces in the spousal abuse tale “Remember That, written by Victoria with Rachel Proctor, which appeared on Jessica Simpson’s 2008 country album Do You Know. Victoria’s performances sounds a degree more invested in the lyrics than Jessica’s, but her sincerity is undermined by an overwrought arrangement. The arrangement threatens to detract from the fact that “Remember That” ranks among the album’s strongest lyrics, in which a woman addresses an abused victim in a manner that is gentle, sympathetic, and not at all condescending.
As a whole, Never Be the Same includes many of the building blocks necessary to construct a great album, but they sometimes wind up scattered hither and thither with needless clutter falling in between. Still, the album has its share of great moments demonstrating the magic that can happen when all of the pieces fall into alignment.

VICTORIA'S SCORE:  7
(Scores are given on a scale of 1 to 10)

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Album Review: Zoe Muth and the Lost High Rollers - Starlight Hotel

In sharp contrast with the slick, polished, and predictable mainstream country fare, it’s refreshing to hear a record characterized by such simple charm as that of the new sophomore release from Seattle-born songstress Zoe Muth and her band the Lost High Rollers. Starlight Hotel is a record replete with light acoustic arrangements, as well as soft restrained vocals on the part of lead singer Zoe Muth. She’s backed up by some fine musicians. The sweet sound of Ethan Lawton’s mandolin winds its way around the notes in each song. Dave Harmonson supplies the weeping sounds of the pedal steel. Meanwhile, Mike McDermott accompanies on guitar as Greg Nies keeps the beat on drums.



Zoe Muth continues to prove herself an exceptionally talented songwriter, claiming writing credits on all of the albums tracks, all of which are consistently engaging in content. Her lyrics explore themes of emotional vulnerability, restlessness, and a wide spectrum of other topics. The album opens with “I’ve Been Gone,” which tells the tale of a woman’s lust for the open road, and her desire for companionship on her never-ending travels. The track is complete with a charming mariachi horn section that sounds reminiscent of Johnny Cash’s “Ring of Fire.” “Whatever’s Left” finds a woman looking for reassurance of commitment from her lover, as expressed in the well-crafted hook “When something is broken or something is bent/ I want to hear you say/ We can make do with whatever’s left.”


The theme of romantic disappointment is given ample treatment, particularly on songs such as “Before the Night Is Gone” and “New Mexico.” On the former, a woman silently grieves over the sad state of a relationship, pining for reassurance of her man’s affections. “Won’t you tell me our love will linger on/ And knock that chip of your shoulder/ Into your heart of stone to start a spark,” she wonders, “’Cause I need some way to see in the dark.” In the comparatively lighter tune “Let’s Just Be Friends for Tonight,” Zoe’s character is a bit further into her healing process after the dissolution of a relationship. She finds consolation in a bar, listening to sad old country songs, and sharing “a wink and a smile” with a man she meets there. “But,” she says, “I don’t want a new love unless it’s a true love/ So let’s just be friends for tonight.”


“Tired Worker’s Song” is a strong lyric, but rather pedestrian in melody and performance. It has a dull melody that doesn’t combine well with Zoe’s understated vocal style. In contrast, “If I Can’t Trust You with a Quarter (How Can I Trust You with My Heart)” has an odd set of lyrics, but boasts a pleasant steel-guitar-laced mid-tempo arrangement. The song is about a woman who meets a man she is initially interested in, but declares it a deal breaker when he takes her quarter and plays the wrong song on the jukebox. The track may garner smiles from some listeners, and raised eyebrows from others.


Still, even those two lesser tracks display notable strong points of their own, just as every other track on the album does. There are no tracks on Starlight Hotel that are weak enough to be labeled as missteps. Overall, Starlight Hotel is a solid effort that rings with simple, earthy sincerity throughout the track listing. It’s an entertaining, absorbing listen that will make a welcome addition to any country music record collection.

ZOE'S SCORE:  8
(Scores are given on a scale of 1 to 10)

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Album Review: Alison Krauss & Union Station - Paper Airplane

When a band consists of such superb bluegrass musicians as Alison Kruass, Dan Tyminski, Barry Bales, Ron Block, and Jerry Douglas, it's a given fact that the collaboration will result in something beautiful.  It's been eight years since the magic was at work on Alison Krauss & Union Station's previous album Lonely Runs Both Ways. But the wait is over with the release of Paper Airplane, the band's first new album release since 2004.

You could lift the vocals right out of Paper Airplane, leaving it as an instrumental set, and it would still be a great album.  Then again, why would you want to?  Alison Krauss posesses one of the most distinctive and immediately recognizable voices in all of country and bluegrass music.  Her gorgeous vocal performances polish each track until it shines.

Alison Krauss & Union Station know a thing or two about being lonely - It's a topic given ample coverage on this album.  The set open with the gorgeous and melancholy title track, which finds a character dwelling on the fragile and fickle nature of love.  The track "Sinking Stone" expresses resignation toward an inevitable breakup, as emphasized in the memorable hook, "I'm untying this sinking stone."  Another theme dealt with is that of longing for unrequited love, and wondering whether to continue holding out hope for it, which the Tyminski-helmed track "On the Outside Looking In" handles deftly.

The album also has its share of more serene moments, such as the romantic ballad "Dimming of the Day."  This track is notable for the way it expresses longing for companionship, while carrying sensual undertones in such lines as "Come the night, you're only what I want/ Come the night, you could be my confidante."  Alison pines for the peace and serenity in the final release of death in the song, "Lay My Burden Down," which she aces with her restrained whisper of a vocal delivery.

Dan Tyminski performs lead vocals on three tracks, in addition to his rightly revered guitar and mandolin picking.  "Dust Bowl Children" hearkens back to the days of the Great Depression, during which many left the Oklahoma Dust Bowl region in hopes of finding employment and a better life in the cities.  Dan's fierce lead vocal forcefully conveys the anger and desperation of one facing such a plight, especially on such hard-hitting lines as "The only work I ever got was standing in a welfare line," making "Dust Bowl Children" a memorable standout track.  He takes his final turn at lead vocals on the richly-colored boatman's tale "Bonita and Bill Butler."

Paper Airplane boats impeccable thematic cohesion, with heartache being the permeating theme, closing with a beautiful acoustic interpretation of Jackson Browne's "My Opening Farewell."  Expert musicianship and intelligent introspective lyrics define Paper Airplane from start to finish, making it a substantial and enjoyable listen, and a worthy addition to the group's discography.  Was it worth the wait?  Oh yes it was!

ALISON'S SCORE:  10
(Scores are given on a scale of 1 to 10)

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Album Review: The Roys - Lonesome Whistle

Lonesome Whistle, The Roys' first album release for Rural Rhythm records, chugs out of the station this week.  On this charming 11-track set, siblings Lee and Elaine Roy pour their voices into a set of beautifully written songs about the values they cherish.  But the sentiments don't come in the form of the hollow cliches that plague the music of mainstream country radio.  Each track fleshes out its theme with a well-defined narrative while Lee and Elaine deliver the verses in tight harmonies that ring with sincerity.

There are moments when Lonesome Whistle touches on religious themes, but it does so without sounding arrogant or preachy.  A trio of Lee and Elaine's musical heroes - Ricky Skaggs, Sharon and Cheryl White - lend their voices to the track "That's What Makes It Love," which describes examples of love demonstrated in action, and points to Christ's sacrifice as the ultimate example.  Another highlight is "I Wonder What God's Thinking," which is a man's reflections on what effect mankind's follies must have on his Creator.  With images of poverty and genocide leading in to questions such as "When the rain falls from heaven, is it the tears from His eyes/ Is an angry clap of thunder His voice crying why," the sad lyrics carry a heavy weight of poignancy.  In "Give a Ride to the Devil," a man reflects on his youth and relates experiences that have taught him the importance of resisting temptation.  The song features a memorable hook of "If you give a ride to the devil/ Someday he's gonna wanna drive."

In addition to the reflective moments, Lonesome Whistle also includes a fair share of fun banjo-laced barn burners such as the lighthearted love tale "My Oh My How Time Flies."  A sprightly tempo and upbeat melody belie dark and forlorn lyrics on "Nothin' I Can Do About It Now," as the narrator weeps over his helplessness in stopping his woman from leaving him on a train out of town.  In a similar vein, the title track tells of a woman who says goodbye to her man as she leaves on a train to go to war.  When he later takes his "last ride," his memory is forever linked with the sound of that "Lonesome Whistle."

One track that doesn't quite measure up to the standard of the rest of the album is the woman's anthem "Trailblazer."  Lyrics such as "Her restless spirit leads the way/ It's time to take that leap of faith/ Chasing dreams that just won't wait" aren't particularly interesting, to say the least.  But the track's primary weakness is that fails to place its character in a lifelike setting, and doesn't bring her down to a believable, relatable, human level.  Instead, she seems like a vague and unfathomable figure.

Fortunately, that one weaker moment is dwarfed in comparison with the solid songwriting that dominates the album.  The album succeeds on a sonic level as well, with producers Andy Leftwich and The Roys themselves backing the performances with delightful bluegrass instrumentation (including Leftwich on fiddle, Mark Fain on bass, Randy Kohrs on dobro, and Cody Kilby on acoustic guitar).  Overall, the album is full of great songs and strong performances, making The Roys debut on Rural Rhythm Records an impressive one indeed.

THE ROYS' SCORE:  8
(Scores are given on a scale of 1 to 10)

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EP Review: Ashton Shepherd - Look It Up

Despite the rather bland first single "Look It Up," I actually had somewhat high hopes for Ashton Shepherd's new EP, as well as for her upcoming second album Where Country Grows.  Ashton is definitely a talented vocalist with a knack for delivering emotive and expressive vocal performances accented by her down-home Alabama twang.  In addition, her traditional-leaning country style has made her a welcome radio presence to devotees of traditional country music.  But while this new EP Look It Up does showcase a few glimmers of the Ashton Shepherd we know and love, it is weighed down by one gigantic problem - too many cliches!

The title track and current Top 30 hit "Look It Up" finds Ashton dwelling on well-worn phrasing related to the subject of infidelity, and delivering it the form of rather tedious dictionary definitions.  "Where Country Grows" contains a small amount of rather appealing imagery of Southern country life, but we have to swallow a good-sized pile of lyrical formulas (church, Mama, soldiers, etc) along with it. 

"Beer On a Boat" is a lighthearted summer tune that I would fully expect to see single release come the warmer months.  It has a fairly simple lyric about (surprise!) drinking beer on a boat, but with a fun melody and fiddle-laced production, it does what it does well.  The EP closes with the typical small-town ditty "More Cows Than People."  It has a clever title hook, but that hook is the only clever thing about it.  It spends most of the time on safe and predictable images of churches and tractors.

Though Ashton's delivery of "Look It Up" begs for an extra dose of spunk, the EP as a whole finds her in fine voice.  The problem is that she simply needs better songs.  Each song on Look It Up sounds carefully tailored to fit in with a common country radio stereotype, making it seem like a pandering effort.  The EP as a whole finds a promising artist singing songs that are beneath her talent, which adds up to an awfully disappointing preview of the upcoming album.

ASHTON'S SCORE:  4
(Scores are given on a scale of 1 to 10)

Retro Album Review: Reba McEntire - For My Broken Heart

It was on this day twenty years ago that country superstar Reba McEntire, in the midst of all her critical and commercial success as a country artist, found herself in her "darkest hour" as a tragic aviation accident claimed the lives of eight members of her touring band - Chris Austin, Kirk Cappello, Joey Cigainero, Paula Kay Evans, Jim Hammon, Terry Jackson, Anthony Saputo, and Micheal Thomas.  Reba reacted by pouring all of her grief and heartache into her music.  The result was one of the greatest albums of her career.

Reba's sixteenth studio album For My Broken Heart, dedicated to her deceased road band, was released in October 1991.  In the liner notes, we find Reba's mission statement for the album:

"It seems your current emotional status determines what music you'd like to hear.  That's what happened on the song selection for this album.  If for any reason you can relate to the emotion packed into these songs, I hope it's a form of healing for all our broken hearts."

A huge critical and commercial success, the album became one of the era's best-selling albums by a female artist with sales of over two million. In addition, For My Broken Heart produced some of Reba's best-known classic hits.  As the album begins, a long and somber string section intro sets the tone for what is to follow, leading into the opening title track.  "For My Broken Heart," also the album's chart-topping first single, walks listeners through the healing journey of a brokenhearted narrator who comes to the sobering realization that "The world ain't gonna stop for my broken heart."  The beautifully emotional lyrics, penned by Liz Hengber and Keith Palmer, allude to the narrator's ability to overcome her hurt and move on with her life, but they do so in a way that does not lessen the song's emotional impact by downplaying the depth of her heartbreak.

Also featured on the album is Reba's smash hit "Is There Life Out There," in which a wife and mother begins to wonder if she is missing out on anything in life.  This was a song that connected with many women on a deep level, as did the accompanying music video, which portrayed the song's character pursuing and earning a college diploma  Though the dialogue-heavy video was criticized by CMT for supposedly putting "message ahead of music," its spot-on rendering of the song's theme won it an ACM Award for Video of the Year.  The video was adapted into the 1994 CBS television movie Is There Life Out There?, in which Reba portrayed the lead character. 

Impossible to forget is Reba's epic performance of the Vicki Lawrence pop hit "The Night the Lights Went Out In Georgia," in which Reba effortlessly eases into her character as she delivers the chilling tale of murder against the swampy, bluesy production.  The single finished it's chart run at an unremarkable peak of #12, but the song nonetheless lives on as one of Reba's career-defining hits.  After "Georgia" saw the end of its radio run, Reba made a swift return to the Top Ten with the beautifully-performed ballad "The Greatest Man I Never Knew" - a story of an emotionally-distant father who dies without his daughter ever hearing him say "I love you."

Each track on the album approaches the theme of heartache from its own unique angle, making For My Broken Heart an album that is thematically consistent from beginning to end.  "He's In Dallas" relates a woman's regret-filled story of the dissolution of her once-happy marriage.  In "Buying Her Roses," a wronged woman attempts to make sense of her tangled emotions, and tries to determine what she should do in response to her husband's flagrant philandering.  In the album's penultimate track, a woman expresses her regret over letting love slip through her fingers in "I Wouldn't Go That Far."

Another remarkable characteristic of this album is that it addresses topics that are out of the ordinary realm of country music lyrics, but that carry no less emotional weight.  The fiddle-laced ballad "Bobby" is a sad but heartwarming story-song of a man's unwavering devotion to a woman, unhampered by fear of people misunderstanding him for the way he demonstrates it, and ultimately leading him to end her life.  "All Dressed Up (With Nowhere to Go)" is a tearjerking tale of an aged woman who resides in a care facility, and who keeps in constant expectation of a visitor who all others know will never come.

The album closes with one of the most personal songs of Reba's career.  The sparsely-produced "If I Had Only Known" puts into song a woman's feelings as she contemplates the death of a loved one, tortured by the thought that she may have taken her loved one for granted.  Of all the songs on the album, "If I Had Only Known" is the one that is the most closely connected to Reba's grief over her devastating personal losses.  The song was never released as a single, but it did chart at #73 from unsolicited airplay.  Due to her deep emotional connection to the song, Reba has said that she could only bear to record the song in a single take, and has performed the song live only on very rare occasions.

In summary, this is undoubtedly very special album.  Every track is a great song in its own right, with each lyric evoking a unique emotional response in the listener.  Being the twenty year anniversary of the disaster that inspired the album, this is a fitting time to revisit this remarkable work of art.  This record is not the result of an artist pandering to the tastes of country radio, or struggling to fit in with current trends.  This record is the work of an artist bringing out her deepest emotions, and channeling them into achingly sincere performances.  The greatest albums in country music come from such deep places, and For My Broken Heart is doubtlessly one such album.

REBA'S SCORE:  10
(...which, unfortunately, is as high as the scale goes)

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Album Review: 77 El Deora - The Crown & the Crow's Confession

Maurice Tani and Jenn Courtney's 77 El Deora is a California-based alt-country band that has been amassing a loyal fan following with their distinctive vocals, well-crafted songs, and simple organic sound ever since the band's formation in 2004.  Maurice and Jenn share lead vocal duties, backed by Maurice on guitar, Mike Anderson on bass, Steve Kallai on violin, and Christopher Fisher on drums.  While their sound is a mixture of genre styles as opposed to straight-laced traditional country, 77 El Deora's lyrics are composed of the same themes that country music has always embraced.

The band's most recent project, The Crown & the Crow's Confession, offers many varying takes on the tried-and-true themes of love, loss, and heartache.  Guitarist/vocalist Maurice Tani takes writing or co-writing credit's on every track except for their version of Springsteen's "County Fair," which is reinterpreted as a duet backed by acoustic-based instrumentation.  The track ranks as one of the most romantic moments on the album.  Opening Track "I Just Dodged a Bullet" is a humorous satirical account of a tongue-in-cheek discussion between a couple who decide to end their relationship, neither party expecting the negative emotional consequences that are too follow.  In a duet performance, Maurice fills the man's role, with Jenn filling that of the woman.  The song culminates in the memorable hook, "I just dodged a bullet/ So where did this blood come from?"

The album has a good share of dark moments that couldn't be finer.  It is here in particular that Jenn Courtney often emerges as the recurring star of the show, with her full-throated voice creating the perfect mood for each song she performs.  Maurice's emotive vocals serve as the ideal counterpart.  A foremost example is found on the song "Rain," in which Jenn's smooth delivery envelops the gloomy melody against soft orchestral touches.  Maurice's harmony vocal joins hers in the chorus, as if filling the role of the departed lover the song's narrator longs for.

The Crown & the Crow's Confession is an album replete with highlights - not a single weak track in the bunch, closing with the engaging instrumental track "Cowboy."  Anchored by Maurice Tani's excellent songwriting, and full of dynamic spot-on performances, The Crown & the Crow's Confession is surely a gem worth seeking out.

77 EL DEORA'S SCORE:  10
(Scores are given on a scale of 1 to 10)

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Album Review: Sara Evans - Stronger

The following review is a guest contribution by Stephen Fales

 Multi-platinum recording artist Sara Evans is well known for her impeccable country credentials. This farmer's daughter grew up singing and playing mandolin in her family's bluegrass band from the age of four, paid her dues covering country standards in honky tonks as a teenager, and was discovered and promoted by Harlan Howard himself. During the course of her 14-year professional career, Evans has managed to please critics and fans alike with the artful blend of traditional and contemporary sounds in her music.

 Now after an extended hiatus, Sara Evans is back with her sixth studio album, Stronger. Like a refreshing breeze sweeping over an arid musical landscape, Sara's warm and expressive voice is welcome relief, returning like an old friend. She sounds as glorious as ever, friendly and fun on the uptempo numbers like "Anywhere" and full of heartland pathos on ballads like "Alone," which seems to be on-deck for the next single.


Stronger took roughly two years to produce amidst several false starts, trial balloon singles that fell out of consideration, as well as some very worthy songs ("In the Pines" comes to mind) that didn't make the final cut. But the one song that should have been left on the cutting room floor unfortunately became the album's opener. "Desperately" is the weakest lead track from any of Sara's albums to date. The melody is forgettable, the lyrics trite and the overwrought production and bubblegum harmony sounds like something from the Partridge Family.

Fortunately, "Desperately" does not set the tone for the entire record, and the album just gets better from there - much better. The captivating title cut "A Little Bit Stronger" (as of this writing, a top 20 hit) has already garnered many fans from it's inclusion on the Country Strong movie soundtrack, but even this first single is not the strongest song on the record. That distinction is shared by the rollicking "Ticket to Ride", (not the Beatles' classic, but a brand new song co-authored by Evans and the great Leslie Satcher) and "What That Drink Cost Me."

On an album like Stronger there are many potential hit singles. But "Ticket to Ride" may well be the ultimate "worth the price of admission" song. It is a rebound love story that really takes flight, and Evans brings it home for a landing with finesse and a breathtaking vocal flourish at the end.

"What That Drink Cost Me" is a heart wrenching lament, a traditional sounding cautionary tale of the sometimes fatal risk of having one too many. "If you could put a price tag on everything that haunts me then you'd know, what that drink cost me."

Sara's homespun vocals serve her very well as she pours her country soul into nine worthy vessels. Her voice still has that fine wine flavor to it, and is a supple, nuanced and at times intoxicating instrument. As usual, she displays an artistically mature command of dynamics and nuance. The inherent rich and rustic textures of her voice work extremely well on the more traditional numbers as expected, but her vocal timbre is also very well suited to the more pop-oriented material such as her remake of Rod Stewart's "My Heart Can't Tell You No". Saturated with steel and drenched with sadness, the spell of Sara's wailing vocals transforms the Stewart classic is into a real country heartache song.

Stronger contains only 10 songs, but this quality-over-quantity approach works very well for the most part. This is a well-balanced, well-produced album thanks to Nathan Chapman, Tony Brown and to co-producer Sara Evans herself. It features a great mix of moods and tempos, as well as various country musical styles ranging from contemporary to neotraditional and bluegrass. And once again, Evans demonstrates what a capable songwriter she is, having co-written six of the ten tracks including some of the album's finest. Brother Matt Evans is also credited as a writing partner on three songs, including the delightfully electric and syncopated "Anywhere."

Stronger is a thoroughly enjoyable album and a most welcome return. It is a worthy addition to Sara's solid discography, but as great as it is, it doesn't really seem to advance the state of her art. Stronger seems to be a plateau album, but with Sara's usual high standard for excellence, at least the plateau is a lofty one. In this age of cookie-cutter songstesses, Sara Evans has carved out her own niche and coined her own unique sound, a distinctive blend of pop and pure country. Still, the hope remains that Sara will delve even more deeply into her pure country roots next time and harvest a great bluegrass or pure country album, something truly timeless and remarkable for her legacy. By digging deeper, there is little doubt that she could climb even higher.

Sara closes Stronger with a wonderful bluegrass remake of her signature classic "Born to Fly." This latest rendition is brilliant but overly percussive, and would have been even better with dueling fiddles blazing away for a fade-out finale that would have rivaled the awesome original. Still, this performance, like the album as a whole, is ample reminder that more than anything else Sara Evans was born to make great music.

SARA'S SCORE:  8
(Scores are given on a scale of 1 to 10)
 
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Album Review: Thompson Square

Enter another of the duos that are nipping at Sugarland's heels.  The duo Thompson Square is composed of husband and wife Kiefer and Shawna Thompson.  Last year they released their debut single "Let's Fight," which was enjoyable for its off-beat theme of a couple shaking up their stale romance with a good fight, but it tanked at #58 on the charts.  They recently scored their first Top 20 hit with the somewhat ho-hum ballad "Are You Gonna Kiss Me Or Not." 

Without a doubt, the act's greatest asset is Shawna, whose beautiful voice sounds reminiscient of Pam Tillis and Deana Carter.  Her hushed performance of the song "Glass," combined with a well-exectued lyrical metaphor, make it one track that is definitely worth cherry-picking from the album.  Though "If It Takes All Night" does not boast the most distinct lyric, Shawna sells it with her sultry performance backed by some bluesy electric guitar licks.

The biggest problem here is that the album has unquestionably fallen victim to the all-too-common "louder is better" mentality.  The majority of the tracks fall flat thanks to the overly loud rocked-up Nashville production (the work of labelmate Jason Aldean's road band - Tully Kennedy, Kurt Allison, David Fanning, and Rich Redmond).  One notable example is the song "One of Those Days," in which the audacious arrangement nearly drowns out Shawna's sassy lead vocal as well as the fierce banjo work.  Thrashing guitars level out the set until each song sounds the same as the one before it, making it difficult to appreciate the songs for their own merits.  It's hard not to have a headache by the time the album is over.

There may be some potential hear, since Shawna in particular displays obvious talent.  But overall, Thompson Square's debut album is a hot mess.

THOMPSON SQUARE'S SCORE:  4
(Scores are given on a scale of 1 to 10)

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From the Indie Files: Pariah Beat - Bury Me Not

If you're getting tired of the cookie-cutter major label drivel on country radio, then here's an independent roots band from Vermont whom you might find worth your while.

Pariah Beat's album Bury Me Not is largely a raw, unpolished, and imperfect affair but there are great moments worth seeking out.  The album's first two tracks ("Bury Me Not" and "Copper Mine") suffer from somewhat crowded musical arrangments and slightly unwieldy vocals that make the lyrics difficult to make out.  But the subsequent track "I Don't Wanna Go to Heaven" is a simple banjo-laced delight.  "Elvis In Jersalem" is an upbeat and energetic track with an organic-sounding melody and production.

Members Nick Charyk, Emily Eastridge, and Billy Sharff share vocal duties, dueting occasionally, and they display some notable vocal chemistry.  They trade off verses on the bluegrass barn-burner "Bend Down Your Birches" in a sprightly performance that makes the track a highligh of the album.  Emily bends her notes every which way in a nuanced delivery of the bluesy "Ms Ella Strickland" - possibly one of the album's best tracks.

While it may not be a perfect record, and it ends all too soon after nine tracks, Bury Me Not as a whole is characterized by an uninhibited spunk and a raw earthy quality that makes it a fresh and entertaining listen for those willing to seek it out.

PARIAH BEAT'S SCORE:  7
(Scores are given on a scale of 1 to 10)

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Album Review: The JaneDear Girls

Perhaps the first and most obvious problem with this album is that The JaneDear Girls are not particularly strong vocalists.  Thus, they attempt to mask their vocal weaknesses with all of the bells and whistles that modern-day Nashville has to offer.  Bring on the catchy melodies and hooks!  Lay on the heavy drum beats and bass lines!

As weak as the lead single "Wildflower" may be, it is an unfortunately accurate representation of the album's overall direction.  Besides being another dime-a-dozen tune from the "I'm so country" file, it kicks off the album on a loud and obnoxious note.  The quieter moments are few and far between.  "Shotgun Girl" might have enough of a hook to touch your catchy bone if you don't mind more unnecessary name-dropping (This time they're "cranking Waylon, Willie, and Merle").  "Merry Go Round" is easily the worst track on the album, with overblown production (Thanks, John Rich) and heavily auto-tuned vocals turning it into one enormous headache.  The unbelievably cheesy "Sugar" isn't much better.  There are a few tracks that are more listenable than the rest, such as the ballads "Saturdays In September" and "Never Gonna Let You Go," but the lyrics still ring hollow and generic.  The album can't claim any genuine standouts.

In general, the album fails in just about every area one can think of.  Susie and Danelle's songwriting suggests that they have virtually nothing to say.  John Rich's cacophonic production hammers it pretty far into the ground, but there just doesn't seem to be much talent to work with anyway.  The JaneDear Girls an album that is mildly tolerable at best, and woefully unsalvagable at worst, leaning toward the latter much more than the former.  Just to be clear, why exactly is country radio playing this?  Why can't we just have Trisha Yearwood back?

THE JANEDEAR GIRLS' SCORE:  2
(Scores are given on a scale of 1 to 10)

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Album Review: Wanda Jackson - The Party Ain't Over

All hail the queen of rockabilly!  The legendary Wanda Jackson enjoyed a career as one of the most popular rockabilly artists of the 1950s, and then went on to become a successful mainstream country star, eventually becoming a member of the Rock and Roll Hall of Fame.  Now she's back with a new album helmed by producer Jack White - the same visionary who led Loretta Lynn to Grammy glory with their 2004 project Van Lear Rose.  Their pairing brings about a creative triumph of an album in which retro meets modern, and everybody has a great time.

On this new project, Wanda takes us through a rip-roaring genre-busting set of classic covers.  Everyone from Little Richard to Jimmie Rogers to Amy Winehouse is given the Wanda Jackson rockabilly treatment.  Her energetic horn-infused versions of Little Richard's "Rip It Up" and Bob Dylan's "Thunder On the Mountain," the latter of which in particular is a spunkier-than-ever reinterpretation of the original, are a few of the album's highlights.  She gets more laid-back and sultry with her slow-burning take on "Teach Me Tonight."  She delivers an solid performance of "Shakin' All Over," but some unnecessary editing effects do weigh the track down a bit.

The only misstep on the album is her rocked-up version of the Gospel song "Dust On the Bible."  Let's face it - "Dust On the Bible" was not meant to be a party song.  On that particular track, a stripped-down arrangement would have been much more befitting, such as that found on the following track "Blue Yodel No. 6."  Thus Wanda closes out the album by getting her yodel on with a Jimmie Rogers classic.

As we would expect, Wanda's performances ooze personality, spunk, and sass, just as they always have.  While this may be a covers album, it is still unmistakably Wanda.  The musical arrangements of The Party Ain't Over turn it into a wildly fun throwback to Wanda's rockabilly glory days.  Sure, she may be 73-years old, but one listen to The Party Ain't Over will show anyone that Wanda's partying days are far from over.

WANDA'S SCORE:  8
(Scores are given on a scale of 1 to 10)

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