Pat Green - Songs We Wish We'd Written II.

In 2001, Texan Pat Green released an album full of his favorite songs that spanned such diverse sounds as Waylon Jennings’ “Are You Sure Hank Done It This Way” and Steve Winwood’s “Can’t Find My Way Home.” The first edition, Songs We Wish We’d Written, was done in collaboration with fellow Texas artist Cory Morrow. Pat’s now releasing the second round, Songs We Wish We’d Written II, as a solo project. The record, hitting stores May 8, is a special collection for the singer that speaks to important moments and relationships in Pat’s life. Continue Reading

ShareThis

Carrie Underwood's 2012 CD Blown Away. Photo courtesy of Sony Music Nashville.

There’s no escaping Carrie Underwood’s grasp on Blown Away, the country diva’s captivating fourth studio album, due in stores May 1. Like a lightning strike starting a fire, an intense tour-de-force ignites Carrie’s first record since 2009’s double-platinum Play On as the singer/songwriter displays compelling emotional range.

Blown Away opens with three songs that, quite honestly, serve as a potential watershed moment for what “Pop Country” can achieve. The crisp power chords and handclap fills of current Top 10 single “Good Girl” fuel Carrie’s electric vocal through rapid melodies building to an engaging hook. The intense title-track “Blown Away,” with tough sentiments like, There’s not enough rain in Oklahoma / To wash the sins out of that house, comes unhinged amidst swirling harmonies and kinetic instrumentation. On the dramatic “Two Black Cadillacs,” with a tale of revenge that would make even the staunchest traditionalist sit up at attention, rumbling percussion and meticulous strings set the scene as the song rages on. Yet, even with heavy thematic elements, the songs impressively maintain a pop/crossover shine and accessible sound, courtesy of Carrie’s pristine voice and modern delivery.

Working again with producer Mark Bright, Carrie co-wrote eight of the album’s 14 songs, including the aforementioned “Good Girl” and “Two Black Cadillacs.” This continues the trend of her taking on more of a role as a songwriter on her albums. The uplifting and empowering “Nobody Ever Told You” skips to an optimistic beat as Carrie sings, You shine like a diamond and glitter like gold /And you need to know, with the love of an older sister. On the lighthearted, “One Way Ticket,” Carrie’s voice glides over island-inspired rhythms while singing, Raise your hands in the air tonight / Put a little love back in your life, with a groove that should make both the ‘Bama and NYC girls hit the dance floor.

Blown Away succeeds in showcasing Carrie’s dynamic range. While the album begins with its darkest songs and moves toward its more optimistic, Carrie holds the collection together by continuously building on her previous work. The touching ballad “Forever Changed,” which deals with a loved one’s Alzheimer’s, has a similar feel to the mature understanding found in 2009’s “Temporary Home.” On “Cupid’s Got A Shotgun,” a fiery and fun barnburner complete with a duel against the god of love himself, Brad Paisley provides a healthy dose of guitar twang as the two reconnect after their No. 1 hit duet, “Remind Me.”

The stories here are often dramatic, but they’re grounded in relatable details. Songs like the nostalgic “Thank God for Hometowns” speaks of subtle Americana like ‘Prescott Lane’ while the curious “Do You Think Of Me” shares a universal sentiment by finishing the title’s question with, like I think about you? Carrie doesn’t shy away from complexities, and with a powerful voice unafraid to push the envelope, Blown Away could be just the album to show what’s possible for pop-influenced country.

Key Tracks – “Good Girl,” “Blown Away,” “Two Black Cadillacs,” “Nobody Ever Told You”

ShareThis

Mercyland photo courtesy of Two Dog Media.

I want all God’s children to live in harmony, Phil Madeira sings in earnest on the bluesy title track of his non-denominational gospel project, Mercyland: Hymns for the Rest of Us. Due in stores Tuesday, April 24, Mercylandbrings together leading Americana and folk artists with a message of unity and the idea that God is love – no matter to which church you belong.

Madeira, who is part of Emmylou Harris’ band The Red Dirt Boys, conceived and produced the record that includes selections from diverse artists like The Civil Wars, Buddy Miller and Shawn Mullins. Madeira co-wrote the majority of the project’s 10 original songs with the album’s guests and sits in with them as part of the band on most tracks. These collaborations, which also feature many of the lineup guesting on each other’s songs, is what makes Mercyland so unique and creative in delivering its message of unity.

From the opening acoustic notes of The Civil Wars’ “From the Valley,” which features Emmylou Harris on backing vocals, it’s evident that Mercyland favors a raw, live sound over control room tricks. The starkly produced, Appalachian-influenced song hinges on the electric harmonies of TCW’s Joy Williams and John Paul White. On the swamp blues “Give God the Blues,” Shawn Mullins sings universally, God ain’t no Republican / He ain’t no Democrat / He ain’t even Independent / God’s above all that, over Madeira’s steel fiber slide guitar and an assist from Buddy Miller and The Carolina Chocolate Drops on backing vocals.

The songs on Mercyland take on different points of view in their praise, but oftentimes focus in on descriptive realism to give witness. Mat Kearney’s relaxed and rolling “Walking Over the Water” sees God’s plan in joy and pain, singing, I raise my fist toward heaven from that dark, forsaken road / Blue lights flashed on broken glass and a siren left me cold, after first celebrating a daughter’s life. On the glory-bound road song “Light of Your Love,” Dan Tyminski sings, In the warmth of your embrace / I feel the weightlessness of grace, over modern blues rhythms. “If I Was Jesus,” performed by delta blues group The North Mississippi Allstars, candidly jokes with lines like, I’d be the guy at the party turning water to wine, before offering the weightier, I’d lay my life down for you . . . and forgive you and adore you, with introspective warmth.

Diversity in musical styles and the unity of working together continually emerge as part of the album’s overall theme. Continue Reading

ShareThis

Rascal Flatts' 2012 CD, Changed. Photo courtesy of Big Machine Records.

In many ways, the idea of being changed is appropriate for Rascal Flatts at this point in their career. When their longtime label Lyric Street Records shut its doors in Spring 2010, Rascal Flatts quickly partnered with current label home Big Machine Records and released the album, Nothing Like This, by that Thanksgiving. Throw in a management switch and that’s a lot to go through in a relatively short period of time. With their new project, Changed, now in stores, the group sounds refreshed and at home in their new surroundings.

Produced in partnership with Dan Huff (Carrie Underwood, Keith Urban), Changed is an 11-song collection big on tempo and classic Rascal Flatts power. The first single “Banjo,” currently Top 5 at radio, features flowing banjo surrounded by meaty, back home electric guitar riffs as lead singer Gary LeVox sings, You gotta go deep, way on back / Cross a few creeks and a couple little shacks. Gary’s strong voice and ability to reach high into his melodies comes through with almost hypnotic precision. On the piano based power ballad, “Come Wake Me Up,” his emotive singing conveys the pain as he shifts to a soaring chorus, singing, Tonight your memory burns like a fire / With every one it grows higher and higher in swaying ¾ time. Bassist Jay DeMarcus takes opportunities here in the verse to add a moody undercurrent that gives additional depth to the song.

All three members of Rascal Flatts turn in some of their finest performances on Changed. Guitarist Joe Don Rooney is allowed to run free on many songs, including the album-opening title track. A power ballad detailing redemption, Joe Don’s fluid guitar solos take the song to new heights, while Gary sings with passion, Here I am, changed. On “Hurry Home,” a mid-tempo pop-leaning ballad, tight textured harmonies from all three members in the chorus provide lush layers as Gary leads them singing, I swear that this not kissing you, missing you, has got me going crazy.

Rascal Flatts displays a renewed energy on the album, and nothing quite captures this like standout track “She’s Leaving.” A thick rhythm section, stomping guitars and intricate acoustic interplay drive the pounding song before a quick ringing chorus, Should’ve done this, should’ve done that / Should’ve seen it comin’ / Guess you don’t see nothin’ when you’re runnin’ round. The song is lean and mean, leaving nothing extraneous as they drive it home, and it pretty much has ‘hit’ written all over it with its undeniably catchy hooks.

Themes of transition rise to the surface throughout Changed. On “Let It Hurt,” a dramatic piano-based ballad, Gary implores those suffering to give their pain due time to process. Over the steady beat of “Sunrise,” Gary sings, We’re gonna change your life one sunrise at a time, when freeing a woman from a bad relationship. As evident here and in the empowering closing song “A Little Home,” dealing with the issues oftentimes leads to a better place. Just ask Rascal Flatts.

Key Tracks – “She’s Leaving,” “Sunrise,” “Come Wake Me Up,” “Great Big Love”

ShareThis

Lee Brice's 2012 CD, Hard 2 Love. Photo courtesy of Curb Records.

South Carolina native Lee Brice has made a lasting impression on Nashville’s Music Row. A look at the Billboard charts over the past few years reveals that the 32-year-old singer/songwriter has quickly become one of the most recognizable names in country music. In 2010, it was his own single “Love Like Crazy” that nabbed the title of radio’s Most Played Country Song, and in 2011, it was his co-write of Eli Young Band’s “Crazy Girl” that received the same honor. Now, fresh off of winning the 2012 ACM Song of the Year award for “Crazy Girl” earlier this month, Lee is set to release his sophomore album for Curb Records.

Hard 2 Love, hitting stores April 24, is a 13-song collection that shows off why Lee has become one of the most in-demand artists in Music City. Mixing a touch for vivid lyrical imagery, a talent for crafting hook-filled melodies and a passionate vocal approach, Lee sets the bar high while displaying his continued growth as an artist.

“A Woman Like You,” the album’s ultra catchy first single, is a fine example of why Lee’s brand of country music has struck such a chord. There’s a certain brilliance in the way he effortlessly appeals to both male and female fans. Guided by a gentle acoustic melody, Lee warmly describes the virtues of bachelorhood, including the freedom to go fishing whenever and having all the time in the world to be a good football fan, while also conveying the message that, If I was a single man alone and out there on the loose / I’d be looking for a woman like you. On the piano-based ballad “See About A Girl,” Lee’s relatable everyman lyrics of telling old stories and stretching the truth while out at the bar with his buddies gives way to emphasizing the importance of his girlfriend and heading home when she calls. On this song, and throughout the record, Lee’s voice soulfully delivers the emotions of the song.

Though they have different tempos and overall feels, the bluesy “Don’t Believe Everything You Think” and the ringing “Life Off My Years” (co-written with Eric Church) both display Lee’s passionate vocals. While most are running from the wildfires / I can’t wait to get too close, he sings on the latter with a smoldering intensity. On title-track “Hard To Love,” an expansive bass line and textured acoustic guitars support the song’s introspective themes. I’m hard to love / No, I don’t make it easy, Lee sings before admitting, I couldn’t do it if I stood where you stood.

The successful delivery of each song’s true essence stands out on Hard 2 Love. The stellar, and somber, “I Drive Your Truck” features weighty subject matter while Lee’s voice shoulders the struggle of processing a brother’s death. Continue Reading

ShareThis

Kip Moore's 2012 CD, Up All Night. Photo courtesy of UMG Nashville.

Kip Moore seems to to be a bit of a free spirit. Raised in South Georgia, he attended college on a golf scholarship before moving to a self-described “hut” in Hawaii after graduation. And while packing not much more than a surfboard and a guitar, he wrote songs constantly and chose to follow his musical passion to Nashville.

Kip is now set to release his debut album, Up All Night, on April 24. Up All Night, produced by Brett James, is an 11-song collection that brings earthy and expansive musical landscapes together with Kip’s rugged troubadour rasp to create stories oftentimes centered on coming of age.

The tumbleweed distortion and thick low-end of album opener “Drive Me Crazy” go a long way in introducing Kip’s overall sound. While his road-worn voice hints at a more commercial country version of Ryan Bingham, Kip touches on themes of innocence lost over a sexy radio-ready chorus. Like much of the material on Up All Night, Kip maintains an accessible hook while in no way coming off as over-produced.

Kip co-wrote every song on the album and tracks like the wistful “Everything But You” pull directly from his own life experience. Lonely even amidst tropical paradise, Kip sings, I order up a round and pretend that you’re right here, while big guitar chords hint at classic Mellencamp. On the bluesy mid-tempo “Reckless (Growing Up),” Kip freely admits blowing money on women and beer, getting into fights and heading anywhere the wind blows all while working through youthful transgressions. Yet, with an easygoing disposition and lyrics sung with a smile, it’s hard not to root for the guy.

The sound of swampy southern blues shines through on many of the album’s best songs. Current Top 15 single “Somethin’ ‘Bout A Truck” features dirty slide guitar and a hardcore blues progression to punch home the beer-soaked groove. Kip cleverly builds a tale of girls, sundresses and trucks before tying it all together in a cathartic chorus that releases the song’s tension. “Fly Again” is an atmospheric trip through the delta with a shotgun to take a couple potshots at the moon and a drifting chorus that deals with loss. I’m gonna say goodbye to you tonight / So long old friend, Kip sings while harmonic guitar notes ring.

Kip offers quite a bit of time to reflect on loss. “Where You Are Tonight” features start/stop rhythms and layered guitar textures while he goes through unique rhyming patterns like, Then I get that feeling, trying to stop my hands from shaking/ Staring at the ceiling and kneeling and making deals with the man above. On “Crazy One More Time,” which is reminiscent of Nebraska-era Springsteen with its pulsing bass and stark feel, Kip sounds like he’s barely hanging on as he faces the end of the line, singing, I’ll wipe a tear from my eye, but you’ll never know / ‘Cause baby I’ll smile as I wave goodbye to you.

Up All Night carries a unique sound that fits somewhere between Continue Reading

ShareThis

Marty Stuart's 2012 CD, Nashville Volume 1: Tear The Woodpile Down.

The honky tonk gods of Nashville’s famed Lower Broadway have long guided Marty Stuart’s way. Throughout his career, which in 2012 finds the singer/songwriter celebrating 40 years in Nashville, Marty has stood firm with a blend of traditional country and rockabilly that echoes the heartache pouring out of Music City’s world famous strip. On Marty’s new record, Nashville Vol. 1: Tear The Woodpile Down due in stores April 24, the 53-year-old Grand Ole Opry member shuns modern trends for a soul-bearing collection that is as true and honest as the lonesome realities faced by Lower Broad’s hillbilly forefathers.

The overall sound of Nashville Vol. 1 can be described as retro in that twang-heavy guitars, gunfire percussion and thumping bass unapologetically chug along while a steel guitar cries out. Marty’s longtime touring band, The Fabulous Superlatives, back up the singer here with an energy and familiarity that only a seasoned group of players can provide. While the scorched fretboards of the instrumental jam “Hollywood Boogie” show off Marty & Co.’s musical prowess, it’s the album’s powerful and vivid lyrical imagery that remains long after the songs end.

On the stomping ¾ time “Sundown In Nashville,” music and voice are locked together as Marty addresses the ‘dark side of fame.’ Pulling no punches, he sings, Each evening at sundown in Nashville, they sweep broken dreams off the street, when discussing the good with the bad of going for broke. On the steady “Going, Going, Gone,” a chorus of layered harmonies opens the track before a slight tempo shift cues Marty’s deeply personal voice admitting discontent directly related to his own choices. There’s just one thing that I know about tomorrow, Marty sings through the chorus, When it’s all said and done I’ll be alone. There’s no sugarcoating here. It’s classic country filled with brutal realism.

Throughout the record, guests such as Nashville musicians Buck Trent, Kenny Lovelace and Robbie Turner join Marty to add their talents. The project closes with a pair of songs featuring the bloodline of country music royalty. Lorrie Carter Bennett of The Carter Family adds bittersweet harmonies on the tender “A Song of Sadness” while Hank Williams III duets on “Picture from Life’s Other Side.” The latter is a country classic originally written and recorded by the late Hank Sr. that Marty and Hank III have performed live together previously. In ways a tribute to Hank Sr., the gritty acoustic song is an impressive reminder of the power of words through its unflinching everyday truths.

Marty wrote the majority of material himself and also serves as the project’s producer. This level of control, along with the support of an indie label, allows for freedom in regards to such decisions as opening the record with, and titling it after, a song with political undertones. On “Tear The Woodpile Down,” Marty sings aggressively, Taxpayer dollar ain’t worth a dime / Government’s got us in a bind/ Think I’ll run for President / And I won’t have to pay no rent. Though this is the only time Marty gets political, and even here it’s subtle in relation to the entire song, it’s yet another example of Marty’s unwavering approach to his art. Nashville Vol. 1 is a strong and authentic collection of country music dealing directly with blue collar values and leaves only one question after it’s done – when do we get to hear ‘Volume 2’?

Key tracks – “Sundown In Nashville.” “Picture from Life’s Other Side,” “Going, Going, Gone,” “The Lonely Kind”

ShareThis

Logan Mize's 2012 CD, Nobody In Nashville. Photo courtesy of Rubin Media.

Somewhere between the rough edges of Texas Red Dirt and the expansive, open guitars of the American Midwest, Logan Mize is writing his own musical story. Nobody In Nashville, the 26-year-old’s sophomore album, blends themes of Texas artists like Pat Green and Reckless Kelly with the steady-rockin’ approach of Heartland icons like Tom Petty and John Mellencamp. The result is a thumping 10-song collection on life, love, the road and why a little self-reflection can be a good thing.

Hailing from Kansas, it makes sense that the big guitar sounds that carried classics like Tom Petty’s “Free Fallin’” and “Runnin’ Down A Dream” would have an effect on the young singer/songwriter. On Nobody In Nashville, songs like “State of Your Heart” and “High & Dry” prominently feature a loud and proud rhythm section while Logan’s seasoned rasp recalls Pat Green with hints of Lone Star native Robert Earl Keen. On “Hey Carolina,” a midtempo break-up song full of highway imagery, Logan sings out, Hey Carolina, I never needed you anyway / The February weather’s nice in Kansas and I’m really okay, in true troubadour fashion. It’s lines like these that also hint at the subtle self-aware and reflective lyrics throughout the record.

I’m just three chords and one big break from telling the whole world the honest truth, Logan sings on the amped up title-cut “Nobody In Nashville.” While he’s discussing the loneliness that comes with heartbreak, there’s also an undercurrent of awareness of where he’s at in his career. Later in the album, on the reflective and wishful “Rock N Roll Band,” Logan admits, I’ve been 16 now for most of my life, singing about his dream of making the big time. Lines like these can pass in an instant, but they offer a unique glimpse at the artist himself.

Logan wrote or co-wrote every song on Nobody In Nashville in addition to co-producing the record with Daniel Tashian. While the tempo of the record maintains its heightened pulse throughout, the album’s strongest tracks come during the second half. “Sunflowers,” which might be the album’s best song, sets off a string of highlights that carries through to the end. They say some souls were just born to run, Logan sings on the galloping “Sunflowers,” before offering the warm line, I’m drawn to the West where I come from like a sunflower follows the sun. The building energy and youthful nostalgia of “Good Life” is contagious, and really, how can you beat a song that works in a subtle reference to the classic Chevy Chase comedy National Lampoon’s Christmas Vacation? See if you can spot it. It’s quick, but it’s there.

Logan sets himself apart from other Music Row artists on Nobody In Nashville. Even collaborations with hit Nashville songwriters like Liz Rose (co-writer of ACM Song of the Year “Crazy Girl” by Eli Young Band) on “I Remember Everything” take on Logan’s distinctive drawl and full-throttle sound as he sings, I remember everything burning like a candle at the back of my mind. And on Nobody In Nashville, the candle burns with an infectious energy through Logan’s sharp tongue and musical urgency.

Key Tracks – “Sunflowers,” “Good Life,” “I Give In,” “Rock N Roll Band”

ShareThis

Lionel Richie's 2012 CD, Tuskegee. Photo courtesy of UMG Nashville.

If you’re a younger fan of country music, let’s say under the age of 35, then chances are the superstar guests on Tuskegee, Lionel Richie’s new collection of duets in stores March 27, might be a bit more familiar than the man who rocked “Dancing On The Ceiling” in 1986. However, in a twist not often realized, Lionel actually influenced many of the country stars on the album through his own work as a singer/songwriter – and a country one at that.

Alabama, Conway Twitty and Kenny Rogers have all recorded and released Lionel’s music. Kenny even scored a massive hit with “Lady,” a song that ranks No. 47 on Billboard’s All Time Top 100. On Tuskegee, a record consisting of 13 of Lionel’s best-known songs, it becomes increasingly apparent just how much “country” there is in his soul.

For the most part, Tuskegee features standard contemporary country instrumentation. Crisply produced acoustic/electric guitars, light pedal steel, hints of mandolin and a tight rhythm section fill out the majority of tracks. Yet, when listening to classics like “Stuck On You,” a duet of swirling harmonies with Darius Rucker, it’s lyrics like, Oh I’m leaving on that midnight train tomorrow, that stick out for their classic country imagery and ramblin’ man themes. On “Sail On,” Lionel and Tim McGraw trade verses between rolling lines including, It was plain to see that a small town boy like me wasn’t your cup of tea. Strong country elements were always a part of Lionel’s songwriting, and Tuskegee gives him the chance to explore this in more depth.

Lionel was born and raised in Tuskegee, Ala., which gives weight to the album’s title and the larger meaning of returning to his country roots for this project. Though there’s not much twang in his voice, Lionel sounds completely at ease in these arrangements. On “Say You, Say Me,” his soulful phrasings and natural feel flow over the acoustic guitars and pedal steel with an intimate familiarity. Jason Aldean joins here, and the song takes on a spontaneous feel when Lionel suggests singing the refrain ‘one more time’ during the song’s close. Lionel’s veteran touch is felt throughout the record, but most strikingly on rootsy works like “Deep River Woman,” which features the beautifully textured harmonies of Little Big Town. Here, and on songs like the piano-based “Easy” with Willie Nelson, Lionel’s timbre and inflection find the song’s swaying current with uncanny precision and feel, singing the famous line, I’m easy like Sunday morning. Continue Reading

ShareThis

Casey James' 2012 self-titled debut album. Photo courtesy of Sony Music Nashville.

Texan Casey James was a Top-3 finalist on American Idol during the singing competition’s ninth season. Throughout the spring of 2010, Casey advanced through each round of the show with a blend of country, pop and soul easily seen through his choices to cover artists like Keith Urban, Bryan Adams and John Mayer. On his self-titled debut album hitting stores on March 20, Casey takes cues from each with a crisp, country-crossover set that is big on heartland feel and filled with bluesy guitar.

Like each of the aforementioned singers, Casey’s creative input goes beyond being a voice on studio tracks. On American Idol, performances are designed for the hopeful new talents to cover well-known songs or artists. It’s uncommon to see a contestant playing an instrument on stage, yet Casey frequently showed off his skills with a six-string. This sort of thinking and approach also drives his debut album, where the 29-year old singer/songwriter serves as co-producer with Chris Lindsey and co-wrote nine of the record’s 11 songs.

The overall sound of Casey James can be described as something similar to James Otto learning to play guitar like Keith Urban. The first single “Let’s Don’t Call It A Night” hints at Otto’s “These are the Good Ole Days” with its groove-filled bass line and subtle keys adding well-placed dynamics. Casey’s voice contains shades of that Texas rasp, yet sounds warm and engaging singing, The way your body’s movin’ slowly to the music only leaves me wanting more. On the steady-rollin’ “Crying on a Suitcase,” Casey’s rhythmic vocal is methodical during the verse before opening into a big radio-ready chorus of open guitars and slicing pedal steel. Here, and on songs like the ballad “So Sweet,” Casey enjoys the freedom of loose musical arrangements that allow for his fluid guitar leads. Continue Reading

ShareThis