The sophomore effort from Joey + Rory kicks off with some Nashville music scene commentary in the opening title track. They demonstrate an awareness of what is at stake with the release of album number two. It is a make-or-break moment in which an artist fears the dreaded "sophomore slump." Fortunately, Joey + Rory do not slump on Album #2 - They soar.
The album offers a pleasant surprise in that we get to hear Rory sing lead on a few of the tracks. He duets with Joey on the title track, and on the romantic ballad "Born to Be Your Woman." He gets a solo of his own on "My Ol' Man," - one of the finest tracks on the album - in which he cites several examples of the way he has been shaped by the influence, example, and discipline of his father.
Though the album has its share of serious moments, it also includes some genuinely funny ditties. One of the most notable examples is "Baby, I'll Come Back to You," which namechecks every country singer from Dolly Parton to Brad Paisley, and includes humor that only country music fans can appreciate. Joey delivers a humorous take on the theme of cheating with "God Help My Man." But the funny songs don't crowd out those with a deeper meaning. On "Where Jesus Is," a song that is based on a Bible verse, Joey shows a spiritual side without sounding preachy. Another highlight is "The Horse That Nobody Could Ride" - a narrative that demonstrates the wisdom of using persuasion rather than force.
Album #2 retains the neotraditional-style production that has always characterized Joey + Rory's sound. Though it does lean toward traditional country sounds, it still has enough polish to sound modern, rather than sounding like a relic from a bygone decade. A few bluegrass-flavored tracks add some extra variety to the album's sound.
The album has a couple of weak moments, one of which is "You Ain't Right" - an awkward attempt to celebrate the unique and peculiar, and an attempt that merely inspires a raised eyebrow. "This Song's for You," while enjoyable, could be perceived as pandering, and it does not fare well in comparison with the other tracks.
But despite its weaknesses, Album #2 is overall a strong effort overflowing with heart, wit, and sincerity. If you love country music as real as it comes, this album's for you.
JOEY + RORY'S SCORE: 8 (Scores are given on a scale of 1 to 10)
Fifteen years ago, a young acoustic-based songstress named Jewel released Pieces of You, one of the greatest albums ever heard. In the years since, she has experimented with a variety of musical styles, with varying degrees of success. Sadly, her experience in writing and recording for a major label nearly drowned out the inner songwriting voice that once allowed her to write such memorable verses. Fortunately, her new single "Ten" inspires hope that she may find that voice once again.
Granted, "Ten" is based on an old adage - a songwriting tactic that often proves to be a recipe for disaster. (George Strait's "The Breath You Take" is a classic example of how it can go wrong) We've all heard the age-old advice that we should "count to ten" before letting anger take control of us. Jewel applies those words of wisdom in the setting of a marital dispute. But what does Jewel do in order to give a fresh take on an old saying?
It's simple. Jewel makes the song interesting by giving us insight into the thoughts and feelings of the character who, in the heat of conflict, is about to leave her man for good. She chooses to stop and count to ten.
"One - I still want to hate you Two, three - I still want to leave Four - Searching for the door Five - Then I look in your eyes Six - Take a deep breath Seven - Take a step back. Eight, Nine - I don't know why we even started this fight By the time I get to Ten, I'm right back in your arms again"
By the time Jewel reaches the final chorus, she finds herself counting once again - only this time she is not counting in an effort to calm herself down. This time she is counting her blessings, as she has now realized what a good thing she has.
Is Jewel claiming that any marital dispute can be solved in ten literal seconds? Probably not. The lyrics could have something of a figurative meaning. 'Counting to ten' could refer to letting any necessary amount of time pass in order to defuse anger. In real life, many a troubled relationship could be salvaged if couples heeded this advice, and counted to ten. The song has a message, and it's a message that can be practically applied. This is relevant. This is real. Jewel delivers this message through her soft signature warble, backed by banjo- and mandolin-laced production that sounds great on its own without getting in the way of the lyrics.
"Ten" easily rivals "Stronger Woman" as the finest single of Jewel's country career. If country radio is ever to embrace Jewel, this is the song that they should start with. "Ten" is a ten!
JEWEL'S SCORE: 10 (The song is aptly titled!) (Scores are given on a scale of 1 to 10)
Weren't the nineties a great decade for country music? Country Universe just had a great celebration of the nineties with their 400 Greatest Singles of the Nineties countdown. I am now going to have a celebration of my own on the 1-to-10.
Country music has always boasted an abundance of female talent. But particularly in recent years, such talent has often gone unnoticed as country radio has become increasintly biased in favor of male artists. The main purpose of this feature is to recognize the talented ladies who were the standard-bearers of country women during country's most commercially successful and culturally significant era - the 1990s.
I have created a list of the Top 10 greatest women who thrived in country music during the nineties. Since I spend a lot of blogging time taking down one turd-pile after another (which I admit I do derive some sick pleasure from), this will be a refreshing oppurtunity to talk about the good stuff. It also gives me a chance to write about some great artists who are no longer in the country music mainstream, some of whom have not released new music in quite some time. My rankings takes into account which ladies had the greatest overall industry presence during the decade, as well as those who released the most memorable material.
The countdown kicks off with Kathy Mattea, who was first established as a major star during the eighties. Her success continued well into the nineties, with her being at the top tier level of stardom at the dawn of the decade. She hit the Top 10 in 1990 with "Where've You Been," a touching ballad about the longing a man and a woman have for one another. Thanks to this song, Kathy netted a Grammy award for Best Female Country Vocal Performance. The song also helped her earn a CMA nomination for Entertainer of the Year, a category that has always been difficult for female artists to break into. To this day, "Where've You Been" is considered one of Kathy's signature hits.
She had another Top 10 hit that year with "The Battle Hymm of Love," a duet with Tim O'Brien. "The Battle Hymm of Love" ranks as one of the most uniquely memorable wedding songs ever heard in country music. The fiery conviction in the lyrics is brought to new heights by the spectacular performance of the two vocalists.
Kathy developed an impressively eclectic musical style throughout the decade. Being partly of Scottish decent, she developed a great interest in the traditional folk music of Scotland, making several trips to Scotland in the early nineties. She studied the links between Scottish folk and American country music. This led to her recording the rootsy and ambitious album Time Passes By. Though it was not a runaway success at radio, it did produce two Top 10 hits (the title track, and "A Few Good Things Remain"), and was met with critical acclaim.
She returned to a more commercial sound with her 1994 effort Walking Away a Winner. The title track boasted a strong vocal performance and aggressive production, becoming the final Top 10 hit of her career.
Kathy's commercial success waned as the decade wore on, but she continued to deliver high-quality recordings. Her 1997 album Love Travels found her striking a balance between folk and mainstream country influences. It did not produce any major hits, but the title track and "455 Rocket" both cracked the Top 40. In addition, "455 Rocket" won a CMA Award for Music Video of the Year."
After the nineties ended, Kathy continued to record. Her new millenium efforts so far have included several more studio albums, as well as a critically-acclaimed bluegrass album, Coal.
The tenth spot on the countdown was the most difficult one to fill, as each of the other nine ladies seemed to be a shoo-in. Though Kathy had great commercial success in the first half of the decade, it was her creative expression and exploration of styles that ultimately earned her a spot on this list. Granted, her Entertainer of the Year nomination gave her a bit of an edge as well.
On her current album, The Age of Miracles, Mary Chapin Carpenter delves into some heavy lyrical material, but closes the album with a lighthearted tune about finding freedom on the open road.
The majority of the song's appeal lies in its pleasant melody, aided by Mary's soft laid-back vocal delivery, and backed by typical Carpenter-style folk-country production. This is not the kind of song that you rock out to on the interstate. (If you're looking for "Life Is a Highway, Part 2," look elsewhere) Still, the slow and mellow tempo is well-suited to the carefree mood that the song creates. If you're just looking for some simple background music to listen to during your morning drive to work, "The Way I Feel" will fit the bill perfectly.
But wait - who is this song coming from again? This is Mary Chapin Carpenter, the same respected singer-songwriter who brought a new sophistication to country radio during her 90s heyday. She is renowned for her clever and introspective lyrics that remain relevant today. The lyrics of "The Way I Feel" do not measure up to her previous standards. There's just nothing particularly interesting or special about lines such as "When I'm all alone on a midnight highway/ There's nothing like two hands on the wheel."
It's not necessarily bad, and it does have a pleasant sound to it, but when one's songwriting catalog includes timeless classics like "He Thinks He'll Keep Her," the expectations are a little bit higher.
MARY CHAPIN'S SCORE: 5 (Scores are given on a scale of 1 to 10)
Apparently, country radio didn't particularly care to hear about "how we live up on the ridge." That was suggested by the fact that "Up On the Ridge," stalled at #21 on the Billboard country chart, which is the weakest chart showing of Dierks Bentley's career.
Can Dierks rebound with his new single? It's hard to guess. Releasing a song like "Draw Me a Map" to country radio can be a risky move for a bona fide hitmaker who is in the prime of his commercial career. Sadly, this is an era in which great songs are often dismissed by radio gatekeepers simply because they are too country for pop-oriented country radio. "Draw Me a Map" is backed by a stripped-down acoustic arrangment that runs a significant risk of being deemed "too country."
But despite the fact that it might not be what radio is expecting, the arrangement is a pleasure to hear. The simplified instrumentation allows us to hear the rich background vocals of Alison Krauss. Though she supplied vocals on "Up On the Ridge" as well, she was unfortunately drowned out by layers of production. The prominent sounds of the fiddle and dobro sound beautiful, but they do not get in the way of the vocals and lyrics.
While the lyrics do not inspire any deep thoughts, they too tell a story in a simple and straightforward manner. In a plea for reconciliation, Dierks begs his lover to figuratively "draw me a map that leads me back to you." There are no bland throwaway lines, nor any over-used cliches, which would result in an instant loss of points on this blog. Dierks' vocal delivery tells a story in its own right. You can hear the desperation in his voice, as he seems to wonder if it is too late too make amends, and if the troubled relationship cannot be salvaged.
While there are plenty of things to like about this single, perhaps its greatest quality is the artistic edge behind it. He may have been playing it safe with his previous single, but Dierks is now challenging country radio programmers to play something drastically different from the usual mediocrity. "Draw Me a Map" could be a big step toward making country radio interesting again, and it could blaze a trail for other artists to take similar risks. Here's hoping that more country stars will follow this "Map"!
DIERKS'S SCORE: 10 (Scores are given on a scale of 1 to 10)
You can't judge a song by its title... or can you? I wouldn't have high expectations for a song called "Ding Dang Darn It," but listening to it only makes me want to utter a few soft-core expletives myself.
Idiotic title hook aside, "Ding Dang Darn It" caters to the same demographic that pushed "Honky Tonk Badonkadonk" into the Country Top 5, or that had even an ounce of toleration for "Rockin' the Beer Gut." What is it about, you ask? It's about a man sitting wide-eyed at a bar, watching as an attractive female stands on the counter and shakes her behind in his face.
Where to begin? It's just another song about a man who has no respect for women, and a woman who has no self-respect. There's no creative touch other than a reference to Michael Jackson's "Thriller" video, and there's nothing to reward the listener for sitting through these three minutes of pure tripe. I could set this review to music, and it would make a much better song than this.
Some nifty fiddle work provides a slight asset, but "Ding Dang Darn It" remains a cheap gimmick song that no discerning listener will take seriously.
KEN'S SCORE: 3 (Scores are given on a scale of 1 to 10)
Poor Sara. One day she's as high-profile and popular as a country girl can possibly get. The next day she's virtually tossed out (along with LeAnn Rimes, Jo Dee Messina, Gretchen Wilson...) in favor of Carrie Underwood and Taylor Swift. Her "new" album has been sitting on a shelf at RCA Nashville for the past year after the first single tanked on country radio. Now she's back for another stab at the charts, likely hoping that she can finally get RCA to release the dang album. (This single will also appear on the upcoming soundtrack to the film Country Strong)
Instead of belting out the song McBride-style, Sara delivers a performance that is soft and low-key, but still entirely believable. Her voice sounds just as beautiful as ever, and it has been sorely missed on country radio. The percussion in the chorus is a slight distraction, but Sara is a strong enough vocalist to avoid being drowned out.
The song itself is a beauty. It was written by Hillary Scott of Lady Antebellum fame, who provides backup vocals on this track. The song's character is a strong and confident woman who maintains a positive outlook in the wake of a difficult breakup. She acknowledges that she is hurting, but tells herself that every time she looks in the mirror and puts a smile on her face, she gets a little bit stronger.
It's easy to imagine why Sara would show a connection to these lyrics, seeing as she went through such a nasty divorce just a few years ago. One this track, Sara reminds us why she was one of the most consistently entertaining female vocalists of the early 2000s. She is a more-than-capable singer, and this is an excellent song. If Sara is ever to reclaim her radio stardom, this song gives her a strong chance of achieving it.
Welcome back, Sara. You've been missed.
SARA'S SCORE: 8 (Scores are given on a scale of 1 to 10)
Despite having been in a commercial rut for the past three years, Little Big Town seems to be making a notable comeback with their first new album since 2007. The Reason Why has already become the first number-one album of the group's career, aided by one of the strongest singles of 2010 ("Little White Church," their first Top 10 hit in four years).
The musical stylings of The Reason Why remains rooted in contemporary country while incorporating moderate rock influence throughout. On most of the tracks, the rock elements complement the songs rather than detracting from them. The only exception is "Runaway Train," in which the screeching electric guitars nearly drown out all four voices, distracting from the vocals and the lyrical narrative. The album features an eclectic mix of rousing country-rock tunes interspersed with simple stripped-down acoustic numbers.
There are a few noteworthy album highlights. One highlight is the soft acoustic ballad, "You Can't Have Everything," in which Kimberly Schlapman takes on the role of a wife reflecting on the many blessings in her life, wishing that the her husband's love was one of them. The harmonies soar beautifully on "Kiss Goodbye" a ballad about learning to let go of lost love and move on. Just try to listen to the sing-along-worthy "All the Way Down" without getting totally hooked on it.
The vocal arrangements effectively showcase LBT's signature harmonies while still allowing each vocalist to shine individually. In typical LBT fashion, the four members rotate lead vocal duties on different tracks. All are capable frontmen, but the album's most memorable moments often come when Karen Fairchild handles lead vocal duties. "Little White Church" is one of the finest displays of her vocal abilities, in which she firmly demands commitment from her man, and lets him know that she means business. On the other hand, she can deliver a sorrowful ballad like "Shut Up Train" with equal sincerity.
The album does suffer from a couple of forgettable tunes, such as the bland-but-listenable "Life Rolls On," and the lackluster cover of Julie Roberts' "Rain On a Tin Roof." Nevertheless, it is an overall solid effort that could be just strong enough to push Little Big Town back to top-drawer status.
LBT'S SCORE: 7 (Scores are given on a scale of 1 to 10)
(I still think that is the dumbest stage name ever)
Jaron Lowenstein is, and always has been, a coffee house pop singer. After his star faded in the pop genre, he did what all prudent pop stars do to further a career - he shifted his appeal to the country market. He scored his first Top 20 country hit with the vengeful, sinister, and darkly humorous ditty "Pray for You." (I think I'll call my local radio station to request it and dedicate it to... you know who you are)
He now goes from sinister and funny to sweet and saccharine with his follow-up single, "That's Beautiful to Me." This piano-driven pop ballad follows the simple concept of describing all the many ways one's other half is beautiful. One problem is that we get a bit of a "Been there, done that" vibe from this song. Sammy Kershaw practically put a patent on this lyrical theme with his 1993 classic "She Don't Know She's Beautiful," and set a standard that few have been able to reach. Joe Nichols has trod this territory more than once with songs like "Another Side of You" and "Gimmie That Girl." "That's Beautiful to Me" bears a strong resemblance to these predecessors, but it doesn't bring anything new or interesting of its own to the table. It even comes close to recycling some lines, such as those that describe a woman with a becoming lack of makeup.
Ultimately, it's the song's awkward lyrical construction that causes it to fall apart. Jaron gushes and rambles about what makes his woman so special. Descriptions range from smarmy and cheesy sentiments such as "Your kindness and sweetened soul lingers like perfume" to cheap throwaway lines line "You're so cool and I'm high tea." Compare that with "She Don't Know She's Beautiful," in which each verse builds on the next in a focused manner.
Since Jaron's music remains devoid of country instrumentation, he claims that his country credibility lies in his storytelling. But there's no storytelling going on here. There's no central idea and no logical progression of thoughts to make this song meaningful, and there's no real reason for me to spend my money on this when I already have "She Don't Know She's Beautiful." Better luck next time.
JARON'S SCORE: 5 (Scores are given on a scale of 1 to 10)
Just in case you thought all those single reviews were getting stale, I am now introducing a new feature. The Music Video Round-Up will be a monthly feature (if I can remember to do one each month!) in which I post several new music videos that have come out in the previous month, along with some candid thoughts about each one. For now, the quality of the song itself is totally irrelevant - I am solely judging how good the video is. As always, readers are encouraged to share their thoughts in the comment section. I'd love to hear your thoughts on these videos.
Now let's get down to business!
Miranda Lambert, "Only Prettier"
I usually love music videos that have a clever and unique setting. Miranda's new video is set in a 1950s sock hop. Why not throw in some cameo appearances by Kellie Pickler, Hillary Scott, and Laura Bell Bundy? That can't hurt. Add some dancing, and more of the same quirky humor that makes the song itself so darn fun, and we've got a keeper.
MIRANDA'S SCORE: 8
Sugarland, "Stuck Like Glue"
Wha-oh, wha-oh, so-so cute. Jennifer Nettles does a fantastic job of channeling her ditzy lovestuck character in this hilarious clip. She, along with Kristian Bush as her accomplice, kidnap the object of her affections (played by Ryan McPartlin, a.k.a. "Captain Awesome" of Chuck fame) and subject him to her endless attempts to impress him. The best part is near the end when Jennifer and a bevy of dancing beauties perform a choreographed routine during the reggae breakdown portion of the song. Who knew Jennifer could move like that? Could Dancing with the Stars be in her future? That I can't say, but a sweep at next years CMT Music Awards seems quite likely after this awesome video.
SUGARLAND'S SCORE: 10
Reba McEntire, "Turn On the Radio"
What a disappointment! This video was just one big missed opportunity! As you well know, I was not a fan of this song, though I will admit it has grown on me lately. But one thing I recognized about it was its potential to be an awesome fun music video. This video come anywhere close to its potential. It mainly consists of Reba pacing around a room and taunting her ex-lover (who is tied to a chair, and looks young enough to be her son). A shelf stacked high with radios sits in the room. The only remotely interesting part of the video is when Reba turns all of the radios on near the end of the song. Throughout the whole boring video, you feel like you're waiting for something to happen. But nothing happens.
REBA'S SCORE: 4
Taylor Swift, "Mine"
Whoops! Taylor's new single leaked. Whoops again! The video leaked too. Taylor's new video is a fine example of the well-constructed storytelling found in much of her music. The clip builds on the basic story of the song and elaborates on it. We see several flashbacks of her character's troubled childhood, in which she witnesses the breakup up her parents' marriage. This explains why she has a tendency to run from love. At the point when grown-up Taylor and her husband have a fight, she once again recalls a memory of her parents fighting as she 'braces herself for the goodbye.' As her husband reassures her of his love, we see more flashbacks of the happy memories she has shared with her other half. The video gives us insight into the thoughts and feelings of Taylor's character, making it all the more engaging. I've probably said this before, but this might be one of Taylor's best videos.
TAYLOR'S SCORE: 9
(Scores are given on a scale of 1 to 10... as always)
POLL RESULTS Which of these vidoes do you like best?
Sugarland, "Stuck Like Glue" - 50% Miranda Lambert, "Only Prettier" - 21% Reba McEntire, "Turn On the Radio" - 16% Taylor Swift, "Mine" - 11%
It's Sugarland by a landslide! Thanks to the 42 readers who voted in this poll.
