Archive for February, 2005
Thursday, February 24th, 2005
This week’s batch of singles are pretty strong. There are a lot of new artists who show potential; hopefully, we’ll get to hear more from them. Pick of the Week: Amber Dotson.
TRICK PONY “It’s A Heartache” (Warner Bros.)
Their cover of the Bonnie Tyler classic has a raw urgency that rivals the original. I don’t know if a cover song is the way to get this act back on the radio, but this is still one of the strongest singles of their career.
BOBBY PINSON “Don’t Ask Me How I Know” (RCA)
This is pretty good. I like his voice.
BRIAN McCOMAS “The Middle Of Nowhere” (Lyric Street)
Up-tempo and fun. I remain a fan.
AARON LINES “Waitin’ On The Wonderful” (BNA)
I assumed this was going to be another wimpy love song. Instead, this guy actually shows a pulse. This is enough to make you forget he sang “You Can’t Hide Beautiful.”
AMBER DOTSON “I’ll Try Anything” (Capitol)
She’s got a voice reminiscent of Lacy J. Dalton, and that’s not a bad thing at all. Nice to hear a woman who sounds like she’s done some living. The song itself is thematically similar to the Pam Tillis track “Hurt Myself”. I want to hear more.
DEANA CARTER “One Day At A Time” (Vanguard)
There are better songs on her new album. Still, it’s nice to hear that voice again.
CHARLIE ROBISON “El Cerrito Place” (DualTone)
Beautiful, romantic and longing. He’s the real deal.
DIAMOND RIO “One Believer” (Arista)
I simply don’t like excessive harmonies. I’d like to be able to hear Marty Roe.
JON RANDALL “Baby Won’t You Come Home” (Epic)
He’s one of the best harmony singers in the business. Personally, I don’t think he cuts it as the lead.
DARRYL WORLEY “If Something Should Happen” (DreamWorks)
It got to me by the bridge. What a sucker punch!
Saturday, February 12th, 2005
The new Tim McGraw single soars above and beyond everything else that’s new at radio. Here’s a rundown:
TIM McGRAW “Drugs Or Jesus” (Curb)
The third and best single yet from his latest CD, Live Like You Were Dying. American Idol has got it backwards; it’s the song sense, not the voice, that makes the artist. This is one of his greatest performances ever.
BIG & RICH “Big Time” (Warner Bros.)
These boys revel in paying their dues. Their lack of cynicism is refreshing.
BRAD PAISLEY “Mud On The Tires” (Arista)
This has been done before, and much better, by K.T. Oslin with “Hey Bobby.” I don’t care how many awards they give this guy; I think he’s a hack.
GRETCHEN WILSON “Homewrecker” (Sony)
I never really cared for this one. It sounds more like a rip-off of than a homage to Loretta Lynn. Hopefully with the fifth single, they’ll get around to “When It Rains” or “Chariot.” Hey, did she really release 4 singles in a year? What is this, 1995?
TOBY KEITH “Honky Tonk U” (DreamWorks)
This is why you don’t win Grammys, buddy.
MIRANDA LAMBERT “Me And Charlie Talking” (Epic)
Something about firebugs. Meh.
SHeDAISY “Don’t Worry About A Thing” (Lyric Street)
Finally, a country song that is intentionally funny. Somewhere, Roger Miller is smiling.
TIFT MERRITT “Good Hearted Man” (Lost Highway/DreamWorks)
This ranks with the best of Bonnie Raitt and Sheryl Crow. She’s one to watch.
BLAINE LARSEN “How Do You Get That Lonely” (BNA)
This fresh out of high school twanger wonders how anybody could ever feel so low that they want to commit suicide. Perhaps they had to listen to his album?
AMY DALLEY “I Would Cry” (Curb)
Another strong song from Dalley. If she was on another label, she’d be hitting big.
Sunday, February 6th, 2005
Anticipation for the Grammys continue to build – at least in my world, where the Super Bowl is a non-issue. Here’s a rundown of the other country categories that have my interest; again, my picks are in red:
Best Country Collaboration With Vocals
“Hey Good Lookin’” – Jimmy Buffett, Clint Black, Kenny Chesney, Alan Jackson, Toby Keith & George Strait
“Creepin’ In” – Norah Jones & Dolly Parton
“Portland, Oregon” – Loretta Lynn & Jack White
“Pancho & Lefty” – Willie Nelson, Merle Haggard & Toby Keith
“Coat Of Many Colors” – Shania Twain with Alison Krauss & Union Station
This one’s a no-brainer. Loretta & Jack all the way.
Best Country Song
“It’s Hard To Kiss The Lips At Night That Chew Your Ass Out All Day Long” – Rodney Crowell & Vince Gill
“Live Like You Were Dying” – Tim Nichols & Craig Wiseman
“Miss Being Mrs.” – Loretta Lynn
“Portland, Oregon” – Loretta Lynn
“Redneck Woman” – John Rich & Gretchen Wilson
Five great songs are competing in this category. For me, it comes down to the two Loretta Lynn compositions. As a record, I think “Portland, Oregon” is superior; but as a song, the edge goes to “Miss Being Mrs.”
Best Country Album
Loretta Lynn, Van Lear Rose
Tim McGraw, Live Like You Were Dying
Tift Merritt, Tambourine
Keith Urban, Be Here
Gretchen Wilson, Here For The Party
This is why I love the Grammys – they give me an Album of the Year category where I actually own and enjoy all of the nominees. In fact, my two favorite country albums – Mary Chapin Carpenter’s Stones In The Road and Dixie Chicks’ Home, have both won this award. Technically, my favorite album is Tim McGraw’s; but I think in terms of legacy and artistic breadth, Loretta should win this. She’s never won a Grammy for her solo work. And if Tim loses, songs off the album can be eligible next year. I say, Loretta in 2005, and a Grammy for “Drugs Or Jesus” in 2006.
My Wish List in Other Categories:
My fingers are crossed for a Green Day sweep; for me, there was no 2004 release more satisfying than their ambitious concept album.
Record Of The Year: “American Idiot” – Green Day
Song Of The Year: “Live Like You Were Dying” – Tim Nichols & Craig Wiseman
Album Of The Year: Green Day, American Idiot
Best New Artist: Gretchen Wilson
Best Female Pop Vocal Performance: “Sunrise” – Norah Jones
Best Pop Vocal Album: Norah Jones, Feels Like Home
Best Solo Rock Vocal Performance: “The Revolution Starts Now” – Steve Earle
Best Rock Performance By A Duo Or Group With Vocal: “American Idiot” – Green Day
Best Rock Song: “American Idiot” – Billie Joe Armstrong, Mike Dirnt & Tré Cool
Best Rock Album: Green Day, American Idiot
Best Rap Solo Performance: “99 Problems” – Jay-Z
Best Rap Album: Beastie Boys, To The 5 Boroughs
Best Contemporary Folk Album: Patty Griffin, Impossible Dream
Best Short Form Music Video: “Take Me Out” – Franz Ferdinand
Saturday, February 5th, 2005
I’ve held off on writing a review of Lee Ann Womack’s There’s More Where That Came From. I’ve been living with the album for almost two months; it finally gets its commercial release this Tuesday. It’s not difficult to write about mediocre albums, or even very good albums; the strengths and weaknesses are readily apparent, and they provide a logical structure for how the discussion should go – this is what works, this is what doesn’t.
But what do you say when something is so close to perfect? Where the faults aren’t apparent at all? Music that reaches that lofty standard defies description; it just feels right. It’s a feeling of discovery and revelation of something you’ve known all along. Lee Ann’s new album makes me feel that feeling, over and over again. Each track speaks a different truth. To discuss them individually would be an endless exercise of searching for new adjectives that say the same thing; I’ll limit myself to the two tracks that soar above and beyond to be better than the best.
First, “The Last Time.” I heard this song over the summer, when MCA was testing if this should be the first single, or if they should go with “I’m Gonna Love You Tonight.” At the time, even I picked the latter, which would later be re-titled “I May Hate Myself In The Morning” by label request. Hearing “The Last Time” again, I’ve been deeply moved by the underlying message. You never know when you will be seeing a person who has shaped your life and identity for the last time. In movies, there are dramatic goodbyes, the music swells, and closure is achieved. In real life, you may just be leaving an apartment at the break of dawn, with an awkward hug and kiss before starting the long drive home. Or maybe you’re drinking a watery $7 beer at Epcot Center, watching a light show that you’d find boring alone, but their enthusiasm makes you share their wonder. Or maybe you’re in a lonely airport in the Midwest, your flight delayed and your heart filled with worry that one weekend was not enough time to give them. What words would you go back and say if you knew that was the last time you’d ever see them? Will you always live with regret that you couldn’t find those words when they were needed?
And then there’s “Stubborn (Psalm 151)”. I can’t say more than the simple truth: with every listen, it feels like a violation of my spiritual modesty; somebody has been eavesdropping on my soul.
I have no idea if this album will achieve great critical or commercial success. That it exists at all gives me renewed hope that music can still teach me new lessons about myself and the life I am trying to live.
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