Archive for February, 2006
Thursday, February 23rd, 2006
Here we go again…
BIG & RICH Never Mind Me
I liked this ballad from the first time I heard the album. Nice, laid-back 70′s country-rock vibe.
BILLY CURRINGTON Why, Why, Why
Bleh.
BOMSHEL It Was An Absolutely
The song is as good as the band name is bad. Very well-written and deserving of attention.
DANIELLE PECK Finding A Good Man
Michelle Wright did this so much better over a decade ago. Let’s try something new.
FAITH HILL The Lucky One
Fireflies is such a deep album I’d nearly forgotten about this great song towards the end. She’s at the top of her game.
GARTH BROOKS & TRISHA YEARWOOD Love Will Always Win
When they got together, all I asked was that he not screw up her music. My wish is not being granted.
GEORGE STRAIT The Seashores of Old Mexico
Merle did it better.
GRETCHEN WILSON with MERLE HAGGARD Politically Uncorrect
Wow, you’re for God and the American Flag. How rebellious. In Syria.
WILLIE NELSON Cowboys Are Frequently, Secretly Fond of Each Other
This song has been around forever. Nelson gets bonus points for, pardon the pun, playing it straight with a song that was once an underground country comedy song.
Wednesday, February 22nd, 2006
Country music is blessed with artists that are in it for the long haul. The very best contribute to the genre for ten, twenty, thirty, even forty years or more. But how many are able to get it right from day one? How many establish their bona fides the first time they go into the studio to make an album?
In all actuality, not many. At least, not many when you use a strict standard for what constitutes a debut album. It has to be the very first album the artist released, which disqualified great albums like Pieces of the Sky, Wide Open Spaces and Put Yourself In My Place. But just like regretting sex after too many beers can’t change the fact that your virginity is gone, you only get one first chance in the studio. Here are the artists who delivered the most the first time out.
Top Twelve Debut Albums
#12
Sugarland
Twice The Speed of Life
2004
They may have gone from a trio to a duo, but before that happened, they sang, played and wrote the best debut country album in a decade. The intensity of the fiery “Something More” and the saucy “Down In Mississippi (Up To No Good)” indicated that these girls (and guy) had actually lived life, not just studied it. No prissy Rascal Flatts harmonies here; they’re the real deal.
#11
Trisha Yearwood
Trisha Yearwood
1991
Right out of the gate, Yearwood established her formula of excellent songs performed with good taste. The mega-hit “She’s In Love With The Boy” scored with consumers, but they found a much deeper artist waiting when they listened past track one.
#10
K.T. Oslin
80′s Ladies
1987
Listen to just the first track and single, “Wall of Tears”, which is the only song on the album that Oslin didn’t write, and you’ll wonder what the fuss is about. Sure, her voice has some distinctive sass, but there’s nothing but cheesy synthesizer and uninspired production. It takes Oslin’s potent pen to make the album come alive, which it does right away with the second track, “I’ll Always Come Back”, one of two #1 hits from this distinguished debut. With the title track and the ferocious “Younger Men”, Oslin gave voice to an entire generation of real women. Her impact on her gender’s role in the genre cannot be overstated.
#9
Steve Earle
Guitar Town
1986
He was hailed as country’s own Bruce Springsteen for his Americana lyrical imagery and rock-tinged sound. He was certainly a working-class poet right out of the gate, as the title cut proved. Earle’s prodigious talent as a writer and performer made country music look cooler than it was because he chose to label it as such.
#8
The Judds
Wynonna & Naomi
1983
Wynonna’s unmistakable voice is wisely unadorned as she opens this first release from the legendary mother-and-daughter duo, unintentionally indicating that those mammoth vocals will be the driving force behind all their success as a duo until Wy would go out on her own. The song in question, “Had A Dream”, also showcased her great harmonies with Naomi and the rootsy sound that would establish them as a core neo-traditional act in the mid-80’s. Great hits like “Mama He’s Crazy” and “Cry Myself To Sleep” find a home along with fan favorites like “John Deere Tractor” and “Dream Chaser”, the latter of which is still in Wynonna’s solo set.
#7
Alan Jackson
Here In The Real World
1990
How does a hillbilly genius bide his time while he waits for his chance for a shot at the big leagues? If he’s Alan Jackson, by writing damn good songs. Jackson’s debut album featured instant standards like the title cut, “I’d Love You All Over Again” and “Chasin’ That Neon Rainbow.” This album was so strong that Arista was able to pull another single from it five years later – “Home” – and pass it off as a new track from his first Greatest Hits collection.
#6
Randy Travis
Storms of Life
1986
Modern country music begins with the strum of acoustic guitar that kicks off this album’s first number, “On The Other Hand.” Travis gets plenty of deserved credit for bringing country back to it’s traditional sound after the genre bottomed out post-Urban Cowboy, but he was able to pull it off because of incredibly original songs that were performed impeccably. Come on; the man managed to have a #1 hit with a song that had the word “exhuming” in the chorus (“Diggin’ Up Bones.”) Beyond the hits, choice album cuts like “My Heart Cracked (But It Did Not Break)” and the gospel-tinged “Send My Body” reveal a man with wisdom beyond his age.
#5
Kim Richey
Kim Richey
1995
The only album on this list to not be a commercial success, Richey’s debut album was a flawless introduction to her inimitable writing talent. Her fantastic compositions are framed with a jangly country-rock sound that was way ahead of its time. The album may have sold only 100k, but more than half the songs have been covered, by artists including Patty Loveless, Lorrie Morgan, Suzy Bogguss, Mindy McCready, Ilsa Delange, The Stevens Sisters and Trisha Yearwood.
#4
Dwight Yoakam
Guitars, Cadillacs, Etc., Etc.
1986
There are three covers on Yoakam’s debut album – “Honky Tonk Man”, “Ring of Fire” and “Heartaches By The Number” – but his trademark sound and style are already so firmly established that they blend in seamlessly with the seven Yoakam originals that populate the bulk of the collection. In fact, at his very best here, namely “Guitars, Cadillacs” and “Miner’s Prayer”, he manages to match the standards he covers.
#3
Dolly Parton
Hello, I’m Dolly
1968
Parton wrote ten of the twelve tracks that make up her debut album, a stunningly accomplished collection for a new artist. Her sharp wit permeates the clever hit “Something Fishy” and the bitchy “I Don’t Want To Throw Rice”, where she contemplates offing the woman who stole her man by “tying dynamite to her side of the car.” But she also creates an instant standard with “Put It Off Until Tomorrow”, and her songwriting is already heartbreakingly incisive on cuts like “I’m In No Condition” and “The Little Things.”
#2
Johnny Cash
With his Hot and Blue Guitar
1957
If you go and see the middling biopic Walk The Line, you’ll hear both the song that lands Cash a deal (“Folsom Prison Blues”) and the very worthy gospel number that nearly leaves him without one (“I Was There When It Happened”), not to mention the hit that supplied the movie’s title; that would be “I Walk The Line.” All three of these classics are on Cash’s debut album, along with his first big hit “Cry, Cry, Cry” and other great songs like “Remember Me, I’m The One Who Loves You” and “So Doggone Lonesome.” No youthful stumbling here; Cash hit a home run the first time out.
#1
Clint Black
Killin’ Time
1989
People wondered if Black was the second coming of Merle Haggard when he released his brilliant debut album. He never again lived up to the standard he set the first time out, but all the hype was justified at the time. Black serves up one great song after another, with highlights including the reflective “A Better Man”, the classic “Nobody’s Home” and the gin-soaked honky-tonk classic title track.. There was a brief time where Garth Brooks couldn’t get out of the shadow of Clint Black; Killin’ Time was the reason.
Friday, February 10th, 2006
20 Grammy Awards. Alison Krauss, after this year’s Grammys, now has twenty in her collection. TWENTY. More than any female artist in history. She already had that title, but she certainly padded her lead over Aretha Franklin, who has 16. Since Krauss started her collection in 1991, Franklin has only won one more Grammy, and Krauss shows no sign of slowing down.
But I had to ask the question. How the hell does one woman win twenty Grammy awards over the course of 16 years? Apparently, diversity of talent and genre helps. Krauss’ 20 wins come in nine different categories. She’s won as a vocalist, a collaborator, a soundtrack contributor, an instrumentalist and even a producer. She’s won the overall Album of the Year category, along with wins in the Country, Bluegrass and Southern Gospel fields.
I’m sorry, but I have to share this list because it’s friggin’ amazing:
Alison Krauss at the Grammys:
1991
#1. Best Bluegrass Album: I’ve Got That Old Feeling
1993
#2. Best Bluegrass Album: Every Time You Say Goodbye (with Union Station)
1995
#3. Best Southern, Country or Bluegrass Gospel Album: I Know Who Holds Tomorrow
1996
#4. Best Country Vocal Performance, Female: “Baby, Now That I’ve Found You”
#5. Best Country Collaboration with Vocals: “Somewhere In The Vicinity of the Heart”
1997
#6. Best Country Collaboration with Vocals: “High Lonesome Sound”
1998
#7. Best Country Instrumental Performance: “Little Liza Jane”
#8. Best Country Vocal Performance by a Duo or Group: “Looking In The Eyes Of Love”
#9. Best Bluegrass Album: So Long So Wrong
1999
#10. Best Country Collaboration with Vocals: “Same Old Train”
2002
#11. Album of the Year: O Brother Where Art Thou?
#12. Best Country Vocal Performance by a Duo or Group: “The Lucky One”
#13. Best Bluegrass Album: New Favorite
2003
#14. Best Contemporary Folk Album: This Side (Nickel Creek) Alison won as producer
2004
#15. Best Bluegrass Album: Live
#16. Best Country Instrumental Performance: “Cluck Old Hen”
#17. Best Country Collaboration with Vocals: “How’s The World Treating You”
2006
#18. Best Country Album: Lonely Runs Both Ways
#19. Best Country Vocal Performance by a Duo or Group: “Restless”
#20. Best Country Instrumental Performance: “Unionhouse Station”
If these last three wins seem vaguely familiar, that may be because the Dixie Chicks swept the same three categories in 2003 with Home, “Long Time Gone” and “Lil Jack Slade”, respectively. Krauss and Union Station are the first acts to defeat the Chicks in the Best Country Vocal Performance by a Duo/Group Category. While they lost this year with “I Hope”, they won in their previous four nominations: “Wide Open Spaces”, “Ready To Run”, “Long Time Gone” and, just last year, the live version of “Top of the World.”
Wednesday, February 8th, 2006
Country winners announced so far. Some surprises:
Best Country Female: Emmylou Harris, “The Connection”
Not crazy about the song, but c’mon, it’s Emmy. Her first win in this category since the 80′s.
Best Country Male: Keith Urban, “You’ll Think of Me”
Good call.
Best Country Duo/Group: Alison Krauss & Union Station, “Restless”
I love this song. Love the album, too. I would’ve voted for the Chicks, but nobody really heard that track. If my count is accurate, this is Krauss’ 18th Grammy.
Best Country Collaboration: Faith Hill & Tim McGraw, “Like We Never Loved At All.”
Love this song, too. I was pulling for the majestic “Shelter From The Storm”, but Faith & Tim do sing the fire out of this.
Best Country Song: “Bless The Broken Road” Bobby Boyd, Jeff Hanna & Marcus Hummon
I’m glad the songwriters won instead of Rascal Flatts. These are some of Nashville’s best writers; Flatts just stayed out of the way of a masterpiece.
Best Country Instrumental: Alison Krauss & Union Station, “Unionhouse Branch”
And that makes 19 for Krauss. If she wins album later tonight, she’ll have 20.
Best Bluegrass Performance: Del McCoury Band, “The Company We Keep”
Good for them. They always kick ass on the Opry.
Best Traditional Folk Album: Tim O’Brien, Fiddler’s Green
Anybody with the good taste to sing with Kathy Mattea is worthy of a Grammy.
Best Contemporary Folk Album: John Prine, Fair & Square
This category continues to surprise. Prine beat out Bruce Springsteen, Nickel Creek, Rodney Crowell (my pick) and Ry Cooder. I have no idea who the hell that last guy is, but he’s in great company. Keep an eye on Rosanne Cash’s new CD; it might take this one home next year.
Saturday, February 4th, 2006
Here’s a repost of my first Grammy reactions, which haven’t changed with time. My picks are highlighted in red. A Complete list of nominees is available here. The show airs this Wednesday, Feb. 8, on CBS.
Best Female Country Vocal Performance
Emmylou Harris, “The Connection”
Faith Hill, “Mississippi Girl”
Gretchen Wilson, “All Jacked Up”
Lee Ann Womack, “I May Hate Myself In The Morning”
Trisha Yearwood, “Georgia Rain”
Readers of this blog can already guess that I probably love four of these songs and can’t stand the fifth. Yes, I believe “All Jacked Up” is an unmitigated disaster. You may be more surprised to know I don’t have much affection for the Emmylou Harris track. When I do my rundown of this year’s reissues I’ll go into depth about my problems with the Heartaches & Highways compilation released on Emmy this year, but “The Connection”, which was the inevitable previously unreleased track to encourage fans to purchase it, is a bit overlong and rambling for my tastes.
That leaves the three comeback records, all of which made my 400 singles list. “Georgia Rain” was a gorgeous reminder of Yearwood’s good taste and vocal prowess. Nobody else could hit the high note on the first syllable of “Jasper” in the chorus so effortlessly. I still love “Mississippi Girl” as well; how cool is it that both Hill and Yearwood came back with singles that name drop their home states/counties/towns? Hill sounds fully alive and engaged on her record, and her enthusiasm is contagious.
Then, of course, there’s “I May Hate Myself In The Morning”, which is one of my favorite records of any year. As I’ve written before, it’s a brilliant song, and the production is unrivaled. Country instrumentation has rarely sounded better to my ears; it has a timeless quality that ensures a longer life than any other record in this category.
But, alas, this is not an award for best record or single. It goes only to the singer, because the award is for the best vocal performance. So, much as I love Womack, who does a great job of letting a fantastic song shine, it really is the song and the production that make “Morning” so good. If we’re going to talk vocal performance, the award should go to Trisha. It’s hard not to think that Trish could take any song in this category and do it better; she’s just that flawless a vocalist.
Best Male Country Vocal Performance
George Jones, “Funny How Time Slips Away”
Toby Keith, “As Good As I Once Was”
Delbert McClinton, “Midnight Communion”
Willie Nelson, “Good Ole Boys”
Brad Paisley, “Alcohol”
Keith Urban, “You’ll Think Of Me”
Toby Keith is an obnoxious critic of the Grammy Awards, since they rarely nominate him, and seem to acknowledge obscure records over commercial hits. It’s a bit ironic that this year, he’s not only nominated, but truly deserves the award. His comedic timing and self-deprecation on “As Good As I Once Was” ranks with the best work of his career. A lesser singer couldn’t pull off all the conflicting bravado and insecurity that the song is soaked in. Maybe if he wins one, he’ll stop bashing the show.
Still, it’s the other Keith that’s more deserving. I was surprised when “You’ll Think Of Me” didn’t show up in any CMA categories this year, though they obviously didn’t overlook Urban, giving him Entertainer and Male Vocalist. His bitter performance of this ballad helped his career skyrocket, and is very worthy of a Grammy.
Best Country Vocal Performance by a Duo or Group with Vocal
Big & Rich, “Comin’ To Your City”
Brooks & Dunn, “Play Something Country”
Dixie Chicks, “I Hope”
Alison Krauss & Union Station, “Restless”
Rascal Flatts, “Bless The Broken Road”
Another three singles from my 400 list surface in this category: “Restless”, “Bless the Broken Road,” and the top 100 inclusion, “I Hope”, for which I was questioned in the comments for including so quickly after its release. Given that it was released in the last two weeks of Grammy eligibility, I imagine the NARAS voters will be getting the same criticism from that person!
All joking aside, “I Hope” is the deserved winner, in my opinion. It’s a confident performance of an excellent song, and Maines sounds better than ever singing this gospel number with her fellow Chicks. They’re Grammy favorites, having won eight already, so there’s a good shot they’ll win again; Krauss & Union Station seem to be their only formidable competition.
The big surprise is no nomination for Sugarland. Perhaps voters couldn’t decide between the big hits “Baby Girl” and “Something More”?
Best Country Collaboration with Vocals
Brooks & Dunn, Vince Gill & Sheryl Crow, “Building Bridges”
Rodney Crowell & Emmylou Harris, “Shelter From The Storm”
Faith Hill & Tim McGraw, “Like We Never Loved At All”
Willie Nelson & Norah Jones, “Dreams Come True”
Gretchen Wilson & Merle Haggard, “Politically Uncorrect”
The Wilson/Haggard track is bogged down with cliche, and Nelson/Jones sounds like they’re just going through the motions. Vince and Sheryl harmonize nicely with Ronnie Dunn, but like the Hill/McGraw record, it’s a case of a lead singer with distinguished backup vocals, not much of a collaboration. By far, the most interesting and rewarding listen in this category is the Crowell & Harris reworking of Bob Dylan’s “Shelter From The Storm.”
Best Country Instrumental Performance
Charlie Daniels, “I’ll Fly Away”
Jerry Douglas, Sam Bush & Bela Fleck, “Who’s Your Uncle?”
Alison Krauss & Union Station, “Unionhouse Branch”
Nickel Creek, “Scotch & Chocolate”
Brad Paisley, “Time Warp”
I’m not much of an expert on stuff like this. The only track I’ve heard more than once is “Scotch & Chocolate.” I suppose that since I revisit that track, it should be my pick.
Best Country Song
“Alcohol” – Brad Paisley
“All Jacked Up” – Vicky McGehee, John Rich & Gretchen Wilson
“Bless The Broken Road” – Bobby Boyd, Jeff Hanna & Marcus Hummon
“I Hope” – Keb Mo, Martie Maguire, Natalie Maines & Emily Robison
“I May Hate Myself In The Morning” – Odie Blackmon
I take the Grammy seriously, so silly songs, even when as clever as “Alcohol”, don’t seem worthy of the trophy. The best songs here are the final three, and if I was a voter, I’d be torn between “I Hope” and “I May Hate Myself In The Morning.” I’d think about “our children are watching us, they put their trust in us, they’re gonna be like us”, and I’d want to check the box next to Keb Mo & The Chicks. But I think “Morning” is one of the best country songs of all-time. I’d be happy with either winning, but I give the edge to Lee Ann’s comeback hit.
Best Country Album
Faith Hill, Fireflies
Alison Krauss & Union Station, Lonely Runs Both Ways
Brad Paisley, Time Well Wasted
Gretchen Wilson, All Jacked Up
Trisha Yearwood, Jasper County
I am very surprised that Lee Ann Womack isn’t nominated here; perhaps those Universal votes favored Trisha instead? I really don’t like the Wilson or Paisley albums; I think creatively, both artists repeat themselves too often. Yearwood’s first album in four years includes some great tracks, but overall, is one of her less consistent albums. It sounds great at first but doesn’t hold up to repeated listenings. I love the Krauss-sung tracks on Lonely Runs Both Ways, and I think it contains some of the best work the group has ever done. I’m surprised to say, however, that the album here that has resonated with me the most and keeps finding its way back into my CD player is Faith Hill’s Fireflies. It’s a fantastic collection of songs that sound better with each listen. Five months later, I’m still discovering hidden gems. Lately I can’t stop playing “Wish For You”, a sweet ballad that is buried at the end of the album. “Stealing Kisses” is what Tammy Wynette would be singing if she was around today. It’s a fantastic album that deserves the Grammy.
Best Contemporary Folk Album
Ry Cooder, Chavez Ravine
Rodney Crowell, The Outsider
Nickel Creek, Why Should The Fire Die?
John Prine, Fair & Square
Bruce Springsteen, Devils & Dust
It will take an act of God for him to beat Bruce Springsteen, but Crowell’s masterpiece deserves some Grammy love.
Here’s a rundown of the big four categories, about which I have only a few comments to make:
Record of the Year
Mariah Carey, “We Belong Together”
Gorillaz featuring De La Soul, “Feel Good Inc.”
Green Day, “Boulevard of Broken Dreams”
Gwen Stefani, “Hollaback Girl”
Kanye West, “Gold Digger”
Album of the Year
Mariah Carey, The Emancipation of Mimi
Paul McCartney, Chaos and Creation in the Backyard
Gwen Stefani, Love. Angel. Music. Baby.
U2, How To Dismantle an Atomic Bomb
Kanye West, Late Registration
Song of the Year
“Bless The Broken Road” – Bobby Boyd, Jeff Hanna & Marcus Hummon
“Devils & Dust” – Bruce Springsteen
“Ordinary People” – W. Adams & J. Stevens
“Sometimes You Just Can’t Make It On Your Own” – U2
“We Belong Together” – J. Austin, M. Carey, J. Dupri & M. Seal
Best New Artist
Ciara
Fallout Boy
Keane
John Legend
Sugarland
Of course, I’m rooting for Sugarland for Best New Artist. I’m shocked that they made it into one of the top categories but aren’t nominated in the genre categories.
It’s great to see “Boulevard of Broken Dreams” up for Record of the Year. Since American Idiot won Best Rock Album last year, nothing from that project was eligible in the Rock categories. They deserve to win for Record.
There are some great songs nominated this year, but the best to my ears was “Sometimes You Can’t Make It On Your Own”. I’d like to see U2 pick up Album of the Year as well. I admire acts that stay away from formula and release something truly different each time out. How many acts have been doing that consistently for the last twenty years besides U2? Bruce Springsteen and Madonna are the only names that come to my mind.
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