Archive for August, 2006
Wednesday, August 30th, 2006
This morning, Brad Paisley and Jennifer Nettles of Sugarland announced the nominees in the “big five” categories of the 2006 CMA Awards. An hour later, the rest of the nominees were announced Here’s a rundown:
Entertainer of the Year
- Brooks & Dunn
- Kenny Chesney
- Brad Paisley
- Rascal Flatts
- Keith Urban
Who’s in: Rascal Flatts
Who’s out: Toby Keith
Rascal Flatts are undeniable for this category, given their huge record sales and big tour, but it’s shocking that it was Keith who lost his slot. He launched a record label, had a #1 album and a few more hit singles, and certainly is selling at a faster clip than Brooks & Dunn, who continue to be nominated in this category with artists who are, quite frankly, out of their league in terms of record sales and touring stats.
Female Vocalist
- Sara Evans
- Faith Hill
- Martina McBride
- Carrie Underwood
- Gretchen Wilson
Who’s in: Faith Hill, Carrie Underwood
Who’s out: Alison Krauss, Lee Ann Womack
Underwood’s nomination indicates wide industry support. Hill is a surprise, but deserves the nod. Krauss remains on the ballot because she’s nominated for Vocal Group with Union Station. Womack won big last year but was quiet over this voting period. Trisha Yearwood being ignored is a minor shock, given she’s won this category twice and was a perennial nominee for nearly a decade.
Male Vocalist
- Dierks Bentley
- Kenny Chesney
- Alan Jackson
- Brad Paisley
- Keith Urban
Who’s in: Dierks Bentley
Who’s out: George Strait
The big shock: George Strait doesn’t receive a nomination in this category. The five-time winner is left off for the first time since 1992, and only the second time since 1984. Keith is snubbed again, and the new slot goes to Dierks Bentley over established stars like Tim McGraw, Trace Adkins and the criminally ignored Gary Allan.
Vocal Duo
- Big & Rich
- Brooks & Dunn
- Montgomery Gentry
- Van Zant
- The Wreckers
Who’s in: The Wreckers
Who’s out: The Warren Brothers
This category is always the five most commercially viable duos. There are more of those than ever, probably five for the first time since Brooks & Dunn started dominating this category. The Warren Brothers were the obvious choice to fall out, given the strong success of The Wreckers. When Sugarland is finally nominated as a duo next year, Van Zant better watch their backs.
Vocal Group
- Alison Krauss & Union Station featuring Jerry Douglas
- Little Big Town
- Lonestar
- Rascal Flatts
- Sugarland
Who’s in: Little Big Town
Who’s out: Diamond Rio
Just after losing their record deal with Arista, Diamond Rio snap a 14-year running streak of being nominated in this category, pushed aside for new group Little Big Town. The Chicks being left off was predictable, but poor SHeDaisy still can’t get any CMA love.
Horizon Award
- Miranda Lambert
- Little Big Town
- Sugarland
- Josh Turner
- Carrie Underwood
I’m a bit surprised Jason Aldean didn’t make the cut, given he had to announce half the categories. They could have planned that better. Anyway, strong list overall. I expect Underwood to win in a walk. Sugarland would have a better shot if their second album was out and doing well. They have a big question mark hanging over them since losing 1/3 of their team.
Album of the Year
- Brooks & Dunn, Hillbilly Deluxe
- Kenny Chesney, The Road & The Radio
- Alan Jackson, Precious Memories
- Brad Paisley, Time Well Wasted
- Rascal Flatts, Me & My Gang
BMG certainly flexed some muscle here, scoring 4 out of 5 album slots. Surprisingly, their biggest-selling album – Carrie Underwood’s Some Hearts – is not nominated. Other big sellers by the Dixie Chicks, Faith Hill, Toby Keith, Martina McBride and Gretchen Wilson failed to make the cut. The Jackson nomination is a nice surprise. The album bored me to tears, but the man made an old-time gospel album and sold platinum. That’s impressive.
Single
- “Believe” – Brooks & Dunn
- “Better Life” – Keith Urban
- “Jesus, Take the Wheel” – Carrie Underwood
- “Summertime” – Kenny Chesney
- “When I Get Where I’m Going” – Brad Paisley featuring Dolly Parton
What a schizophrenic selection. “Summertime” seems especially ludicrous, given Chesney had two more substantive singles before it.
Song
- “8th of November” – Big Kenny & John Rich
- “Believe” – Craig Wiseman & Ronnie Dunn
- “Jesus, Take the Wheel” – Hillary Lindsey, Brett James & Gordie Sampson
- “Tonight I Wanna Cry” – Keith Urban & Monty Powell
- “When I Get Where I’m Going” – Rivers Rutheford & George Teren
I’m impressed the CMA acknowledged Big & Rich’s Vietnam ballad here. Good call. Most of the rest were predictable.
Musical Event
- “Building Bridges” – Brooks & Dunn with Vince Gill and Sheryl Crow
- “Like We Never Loved At All” – Faith Hill featuring Tim McGraw
- “Politically Uncorrect” – Gretchen Wilson with Merle Haggard
- “When I Get Where I’m Going” – Brad Paisley featuring Dolly Parton
- “Who Says You Can’t Go Home” – Bon Jovi with Jennifer Nettles of Sugarland
Am I the only one who notices a parallel between Sugarland and Jefferson Airplane? First it was Jefferson Airplane, then Jefferson Starship, then just Starship. Sugarland has now become Jennifer Nettles of Sugarland with the partner absent more often than not (including GMA this morning). How long till it’s just Nettles?
Music Video
- “8th of November” – Big & Rich
- “Believe” – Brooks & Dunn
- “Jesus, Take the Wheel” – Carrie Underwood
- “Kerosene” – Miranda Lambert
- “When I Get Where I’m Going” – Brad Paisley featuring Dolly Parton
I’m disappointed that Chesney’s “Who You’d Be Today” was omitted from the list, given the fairly pedestrian nature of some of these clips. The CMA continues to have trouble distinguishing between great audio and great video, with overlap between this and the Single/Song categories continuing against all logic and reason.
Musician
- Eddie Bayers — Drums
- Jerry Douglas — Dobro
- Paul Franklin — Steel Guitar
- Dann Huff — Guitar
- Brent Mason — Guitar, Electric Guitar
- Randy Scruggs — Guitar
Six great players compete. Wonder who will win?
Closing Thoughts
The biggest disappointment for me is a complete shutout for Gary Allan. He made a brilliant album under the most miserable circumstances, and was overlooked completely.
Nashville politics may have kept some artists from dominating this ballot, but I suspect it’s not of the Democrat vs. Republican kind. Notice how many of the big artists who don’t record in Nashville got the shaft this year? Toby Keith, Dixie Chicks, Tim McGraw. Lord knows Shania Twain can’t get arrested at the CMA’s – she had to sell 30 million copies of one album to get a trophy. Garth Brooks went the Wal-Mart route. He was ignored, along with his wife – their duet didn’t even make the cut. (To be fair, this was a very competitive year in the Musical Event category.)
I expected the Chicks snub, but ignoring Tim McGraw and Toby Keith in the Entertainer and Male races stuns me. They’re huge on the concert trail, at radio and at retail. Keith lost the DreamWorks votes this time around, but he should’ve been able to get in on merit. Same goes for McGraw, who has the double handicap of recording with his band and singing for a small label. Those little labels must be finding it hard to compete lately. What chance do they have in a truly competitive race?
Speaking of labels, the Sony BMG behemoth seems to be dominating these awards too much, and when they’re scoring Single nominations for froth like “Summertime”, it’s starting to look like block voting. I’ll add that the votes tend to favor the original BMG roster, with not much love thrown Sony’s way, but combine them you have 3/5 of Entertainer, 3/5 of Male Vocalist, 4/5 of Female Vocalist, 4/5 of Album and 4/5 of Single. That’s a lot of domination of what should be the five most competitive categories. This could be one more downside of record industry consolidation, as if we needed that list to get longer.
Don’t even get me started on the Hall of Fame, but I will note for reference that the 2006 Inductees are: George Strait, Sonny James & Harold Bradley. When the montage was playing for Bradley, I had the T.V. on mute. When I looked up, Jeannie C. Riley was on the screen. For a brief, glorious moment, I thought she was one of the inductees. It was nice while it lasted.
Okay, so I got started. James and Bradley, of course, are Hall-worthy. So is Strait, but it seems silly to put him in now. The trend is starting to frustrate me. First Alabama, who debuted in 1980, then Strait, who surfaced in 1981. With only one slot going to the years 1945-1975, and the temptation to give the 1975-present slot to superstars from the 80′s, I fear the Hall of Fame will include Reba McEntire and Vince Gill before Emmylou Harris and Hank Williams Jr. Not a good thing, in my opinion. Let them wait another ten years.
Saturday, August 26th, 2006
Regular readers of Country Universe and Liberal Country Fan will recognize the name Paul W. Dennis, as he is the reader who most frequently comments on posts. I am happy to announce that Mr. Dennis will be contributing album reviews and possibly more to Country Universe. Here is some background information, in his own words:
I was born in Chicopee Falls, MA , the son of a 30 year career Navy man who started out as a sailor and worked his way up to Commander by the end of his career. Dad loved music and sang and played the guitar for his own amusement. He liked country and folk music, big band, pop standards and classical music. His favorite country singers were Hank Snow, Ernest Tubb, Loretta Lynn and George Hamilton IV.
As a service brat I moved around quite a bit. I attended 17 different schools between starting first grade in Jacksonville, FL and graduating from a Department of Defense school in London, England. We didn’t move quite that often but it was a time of rapid population growth along the eastern seaboard and frequent school redistricting. At one point, while living in Maryland, I was bussed over an hour to a junior high school, with two junior high schools within easy walking distance – this farce in the name of desegregation.
I went to Stetson University in Deland, FL , graduated in six semesters, started law school and then decided I didn’t want to be a lawyer.
I started purchasing LPs in 1968. Before that I had purchased some 45s (but mostly I didn’t have any money). The first three LPs I purchased were Country Charley Pride, According to My Heart by Jim Reeves and Skip a Rope by Henson Cargill. I don’t know how many LPS and CDs I’ve accumulated – I’d guess that it is around 7500 items. About two thirds of my collection is Country, then 1/6 jazz and 1/6 everything else.
Among the newer artists my favorites are Brad Paisley, Sara Evans, Keith Urban, Toby Keith and Justin Trevino. My absolute favorites are Ernest Tubb, Buck Owens, Connie Smith, Jean Shepard, Loretta Lynn, Charley Pride, Webb Pierce and Merle Haggard. Considering all aspects of his career, I regard Merle Haggard as the greatest country artist ever.
I sometimes perform before audiences, always with a live band, never karaoke. I have a repertoire of about 140 songs. Other than “Long Slow Kisses”, the recent Jeff Bates hit, all my songs are from before 1975. I have often been tempted to have the drummer sit out while I sing, but other than on some acoustic or bluegrass songs, I haven’t done it.
I regard melody and harmony as the two essential elements of music. Rhythm should support the melody and harmony (and lyrics, if any). With too much of today’s music, if you eliminated the rhythm tracks, you’d have nothing left. Obviously, REAL country music should feature at least two of the following instruments: fiddle, steel guitar (or dobro), banjo, and mandolin.
My writings will be focused mostly on album or CD reviews, although I will delve into the history of the music from time to time. My first article will be some variations and elaborations of some reviews initially posted elsewhere.
Dennis will bring a new perspective and areas of expertise to this site. Look for his contributions soon. I am also cautiously optimistic that a contributor who is well-versed on the history of Californian country music will begin writing for Country Universe soon.
I’m still looking for new voices for this site, which is still in the developing stages. If you think you would like to contribute to this site as a guest, news editor or regular writer, please contact me at Lysis627@aol.com.
Thursday, August 24th, 2006
BRAD PAISLEY, “She’s Everything”
Every time I think he can’t make a more conscending love song, he surprises me. Is there any woman who’d really be touched by being compared to a pair of running shoes or a Saturn with a sun roof?
BROOKS & DUNN, “Building Bridges”
Harmonies from Vince Gill and Sheryl Crow give this nice mid-tempo song an extra boost.
JOSH TURNER, “Would You Go With Me”
He’s got a remarkably deep voice that gives some substance to what is essentially a light love song. I love the arrangement, too.
KEITH URBAN, “Once In A Lifetime”
Usually his up-tempo songs are interchangable, but this one stands out. His vocal has more flavor than usual and the groove has a bit more kick. Perhaps being married to Nicole Kidman pushes your love songs into a higher gear?
RASCAL FLATTS, “My Wish”
A blatant re-write of “I Hope You Dance”. I’m sure it will be a smash.
SARA EVANS, “You’ll Always Be My Baby”
This would’ve been better without the strings. Evans sounds better against a country backdrop. She’s too twangy to pull off the pop stuff. That said, the song itself is solid and she gives an effective performance. The producers should’ve let the song and the singer shine on their own.
Thursday, August 17th, 2006
BOB SEGER, “Wait For Me”
Why is this being released to country radio? It’s not even good rock, let alone good country.
CAROLYN DAWN JOHNSON, “Love & Negotiation”
Why does she sound so shrill? She’s usually a much better singer than this.
CHRIS YOUNG, “Drinkin’ Me Lonely”
A decent “regret-filled drunk” ballad.
CRAIG MORGAN, “Little Bit of Life”
How about a little bit of shush?
EMERSON DRIVE, “A Good Man”
Their earlier work was overproduced. This new single lets their talent shine through. Unforunately, they don’t have much.
ERIC CHURCH, “Two Pink Lines”
A surprisingly entertaining song about waiting for the results of a pregnancy test. We need more records like this.
GARY NICHOLS, “Unbroken Ground”
He needs to catch his breath before recording. The song isn’t too bad, but the performance sinks it.
JACK INGRAM, “Love You”
Not up to his usual standard.
JASON ALDEAN, “Amarillo Sky”
Cool tale of a struggling farmer. This guy’s good.
JO DEE MESSINA, “It’s Too Late To Worry”
It’s too late to fix the damage, but the songs that would’ve been hits from this album were “Where Were You” and “Love Is Not Enough.” Curb botched this one.
KENNY CHESNEY, “You Save Me”
This is awesome, one of the best singles of his career. Follow up with the title cut, which is even better, and he’ll be two steps closer to the Hall of Fame.
LEANN RIMES, “Some People”
Rimes has certainly matured, hasn’t she? She’s such a confident, assured artist now. Her vocal is flawless and the material is solid. Keep the great music coming.
TOBY KEITH, “Crash Here Tonight”
He’s never sounded better, and he’s finally recording adult and sophisticated material again. Play this and all those horrible “boot in your ass” memories will melt away.
TRACE ADKINS, “Swing”
A train wreck.
Friday, August 11th, 2006
Today a new feature debuts that will support the oft-repeated contention that country music deals with real life more deeply than nearly every other genre, with only hip-hop rivaling it in that regard. Taboo will explore a different element of society that is often not talked about in pleasant company, and show how country music has done so, warts and all. First up, prostitution.
When Randy Travis was looking for material for his country gospel album Rise & Shine, he was surprised to hear this opening line on a demo tape: “A farmer and preacher, a hooker and a teacher, riding on a midnight bus bound for Mexico.” Not many gospel songs revolve around prostitutes, but you may be surprised how often these ladies of the night pop up in country music history.
Travis’ hit “Three Wooden Crosses” tells the story of a hooker who is the only survivor of a bus crash that claims the life of a preacher, who places his blood-stained bible in her hands before she dies. The narrator is revealed to be the son of that hooker, who read to him every night from that very bible.
It’s a classic tale of redemption, an unusual happy ending for a life walking the streets, at least in a country song. The only other memorable country song about a prostitute that has a happy ending is Bobbie Gentry’s “Fancy”, where a mother pushes her daughter into prostitution to lead her to a better life (“Just be nice to the gentlemen, Fancy, and they’ll be nice to you,” her mother implores.) This song is also unique in that Fancy doesn’t earn redemption through spiritual salvation. Rather, her line of work leads her to great financial success and personal wealth. It’s better known today as a Reba McEntire classic. McEntire jazzed up the arrangement and her fiery vocal created what is arguably her strongest piece of work.
But enough about those happy hookers. In the annals of country music, prostitution has been mostly associated with the downtrodden, seedy parts of town and has been used to illustrate desperation and bad choices on the part of those women, when they’re given a back story at all.
In most country songs, prostitutes appear only on the periphery. In the Willie Nelson #1 hit “My Heroes Have Always Been Cowboys”, the narrator indicates how far he’s gotten away from his dreams by noting he’s been “picking up hookers instead of my pen.” The tragic hero of Johnny Cash’s “The Man Who Couldn’t Cry” is “laughed at by a whore”, but is pleased in the afterlife, when he finds that “cancer robbed the whore of her charm.” Joe Ely is on the run from a “whore callin’ my name” in “I’m On The Run Again.”
The prostitute Alice from Dallas plays a bigger part in the classic Guy Clark tune “Let Him Roll”, but she’s the villain, choosing a life of the night over the settling down with the man who loves her:
Well he said, ” Son,” he always called me son
He said, ” Life for you has just begun”
Then he told me a story that I’d heard before
How he fell in love with a Dallas whore
He could cut through the years to the very night
That it all ended in a whorehouse fight
When she turned his last proposal down
In favor of being a girl-about-town
She shows up at his funeral in the end:
The Welfare people provided the priest
And a couple from the mission down the street
Sang “Amazing Grace” and nobody cried
Except some lady in black way off to the side
Well we all left and she was still standing there
The black veil covering her silver hair
Ol’ One-Eyed John said, ” Her name is Alice.
She used to be a whore in Dallas.”
Let him roll, boys, let him roll
I’ll bet he’s gone to Dallas, rest his soul
Let him roll, boys, let him roll
He always thought that heaven was just a Dallas whore
Female artists have generally been more sympathetic to those women of the night, particularly in the earlier years of country music. Barbara Fairchild sang a requiem for an aging whore who is too old to entice customers in “She Can’t Give It Away.” Jeannie C. Riley sang the saga of a woman who followed her man to Dallas and he was nowhere to be found, and now she’s on “The Back Side of Dallas”, “where every taxi driver knows her name.”
Both Waylon Jennings and Dolly Parton covered The Animals’ “House of the Rising Sun”. Jennings was the customer in his version, Parton the whorehouse employee. Parton, who was always fascinated by the whores in her hometown and modeled her image after them, often dealt with dark and seedy issues in her early work, and on the classic “My Blue Ridge Mountain Boy”, she’s longing for that innocent boy as she turns tricks to make ends meet in the big city:
New Orleans held things in store,
Things I’d never bargained for
Every night a different man knocks on my door
But late at night, when all is still
I can hear a whippoorwill
As I long for my blue ridge mountain boy.
One contemporary artist, Shelby Lynne uses the whore narrative as a slur to a gold-digging woman in her song “Buttons & Beaus”:
Your mama’s a gold-digger
For money she’ll spread
Her sticky fingers
All over his bed
She’ll do what he wants
And he’ll be a king
On her mind is the golden ring
Money changer, money changer
Don’t matter who she just gives it to strangers
Money changer, money changer
She’s a taker, and dirty knows no danger
Winds never change her
She directs the flow
Weather never worries
A low down ho
She’ll steal what he wants
And make him waste time
She’ll put on the language
Make him lose his mind
Finally, prostitution shows its continued currency in country music on the latest Todd Snider album, which features what is possibly the most sympathetic encounter with a prostitute ever recorded by a male country artist. Snider is a hustler that runs into an old high school love of his that is turning tricks at the hotel he’s staying at, and agrees to hang with her for the night “so long as that big guy out in the car don’t mind.” When he reveals he’s been carrying a flame for her by keeping her picture in his wallet, he breaks the tension by saying “Don’t get all worked up over this, you haven’t even told me what your new name is.”
Prostitution is one excellent example of country music’s historic willingness to delve in to the darker elements of human nature, sometimes going as far as to humanize the most commonly degraded members of society. Look for more discussions of country music taboos in the future at Country Universe.
Thursday, August 10th, 2006
BIG & RICH, “8th of November”
They continue to expand their music sonically and thematically. This is the best war-themed song since “Travelin’ Soldier.”
BLUE COUNTY, “Firecrackers and Ferris Wheels”
This lead vocalist is an acquired taste. I don’t have it yet, so it was just annoying to listen to.
BILLY RAY CYRUS, “Wanna Be Your Joe”
He’s was always better than he was given credit for. This is a good song, and a solid performance.
VINCE GILL, “The Reason Why”
Full disclosure: the idea of Vince making a comeback is always great in my mind, but each time he’s resurfaced over the past few years, I’ve been underwhelmed. Not this time. He’s back with a beautiful ballad, almost a waltz, contemplating why he and his lover continue to make the same mistakes. This is one of the best singles of his career.
BLAINE LARSEN, “I Don’t Know What She Said”
Cute, I guess. I’m tired of Spanish-flavored songs but this one is a bit more clever than usual. I liked the line “J Lo had nothing on her.”
BRIAN McCOMAS, “All Comes Floodin’ Down”
Inspired by the true story of a town flooded by a broken dam, it’s heartfelt and anything but manipulative.
GEORGE STRAIT, “Give It Away”
I wanted to like it but I didn’t. The spoken intro is great but the record loses steam quickly.
SUGARLAND, “Want To”
Great song, as should be expected. Jennifer Nettles is quickly becoming one of country music’s most distinctive vocalists. I hope the upcoming album lives up to this standard.
AARON TIPPIN, “I’m Ready to Rock (In a Country Kinda Way)”
I hate crowd noise on singles, even on great ones like “I Like It, I Love It” and “Redneck Woman.” Here, there’s no discernable reason for it to be there. His voice is still in great shape but his muse is down for the count.
CARRIE UNDERWOOD, “Before He Cheats”
She’s already nearing 3.5 million in record sales, and this song is going to be huge. It’s been getting unsolicited spins since the album came out, enough to get it has high as the 40’s on the charts. It’s the revenge of a woman scorned – she destroys her cheating man’s ride out in the parking lot while he’s inside “slow dancing with a bleach-blonde tramp and she’s probably getting frisky.” This is the best song on her album and a strong indication there’s more to her talent than her excellent, family-friendly first two singles and her Idol run ever suggested.
GRETCHEN WILSON, “California Girls”
This is weaker than most of the cuts on her debut album that weren’t sent to radio. Silly name-dropping and a flat delivery. She needs to take some more time preparing her third album than she did with this one.
LEE ANN WOMACK, “Finding My Way Back Home”
I love this record. It has an infectious melody, she sounds awesome and the production is refreshing. I can’t wait to hear the new album. She’s at the top of her game.
Saturday, August 5th, 2006
200 Essential 80′s Singles
Part 8:
#25-#1
#25
“A Little Good News”
Anne Murray
1984
Peak: #1
Murray took home CMA Single of the Year with her surprisingly topical record wishing for better, more uplifting news. It’s eerily timely listening to it today, with the opening line referring to fighting in Lebanon.
#24
“Lord, I Hope This Day Is Good”
Don Williams
1981
Peak: #1
Williams mostly avoided spirituality on record, but had a huge smash with this plaintive prayer for a good day. Lee Ann Womack did an efficient cover on her I Hope You Dance album, but Williams’ original is still the definitive version.
#23
“Two Story House”
George Jones & Tammy Wynette
1980
Peak: #2
Long after their marriage dissolved, Jones and Wynette reunited in the studio for this now-classic duet about a couple who spent so much time working to reach the top, that by the time they had their big two-story house that they dreamed of, the love between them was gone.
#22
“I’d Just Love To Lay You Down”
Conway Twitty
1980
Peak: #1
A dirty little song about never-ending love. Twitty reassures his woman that he’ll always want to get it on with her, no matter how disheveled she looks in the morning or how old he gets. There’s a wry romanticism in his pre-Viagra era promise that “when a whole lot of Decembers are showing in your face, and your auburn hair has faded and silver takes it place, you’ll still be as lovely, and I’ll still be around, and if I can I know that I’ll still love to lay you down.”
#21
“Eighteen Wheels & A Dozen Roses”
Kathy Mattea
1988
Peak: #1
Mattea took home ACM & CMA Single of the Year for her classic hit about Charlie the truck driver, who is finishing his last run on the road and coming home to his wife for the last time – “after tonight, she’ll no longer be counting the days.” Their quaint retirement plans of getting back on the road in a winebago and seeing America together is just as sweet to listen to today.
#20
“Highwayman”
Willie Nelson, Kris Kristofferson,
Waylon Jennings & Johnny Cash
1985
Peak: #1
A quirky tale of reincarnation becomes a collaboration of epic proportions when four legends decide to sing it together. Even then, Cash was the legend among legends. When they performed this song live, Cash would get by far the loudest ovation when his vocals began on the final verse.
#19
“But You Know I Love You”
Dolly Parton
1981
Peak: #1
Alison Krauss & Union Station recorded this old Parton hit on their Live album, introducing a new generation to one of her most overlooked gems. A tender ballad about a person making their life on the road and justifying their absence to the one left at home – “you know we can’t live on dreams alone, got to pay the rent, so I must leave you all alone. But you know I feel so sad, down inside my heart, that the dollar signs should be keeping us apart, but you know that I love you, you know that I love you, oh, how I love you.” The sweet strains of Parton’s vocals add an extra ounce of heartbreak.
#18
“The Chair”
George Strait
1985
Peak: #1
One of the most offbeat hits in Strait’s long catalog, he begins a conversation with a woman at a club by saying she’s in his chair. After he charms her with drinks and a dance, and they start to fall in love, he ‘fesses up in the end: “I like you too, and to tell you the truth, that wasn’t my chair after all.”
#17
“Somebody Should Leave”
Reba McEntire
1984
Peak: #1
Harlan Howard invited Reba McEntire over to his house to pitch her material. This was long before she was a record-seller, though she’d had some sizable radio hits. He pitched, and she passed on song after song. Realizing she was looking for something special, he played his ace – “Somebody Should Leave”, a devastating song about a husband and wife who know that it’s over but aren’t sure who should be the one to go – “Somebody should leave, but which one should it be. You need the kids and they need me.” Those kids are what’s causing the difficulty – “If it was only you and me, goodbye might come more easily, but what about those babies down the hall?”
#16
“I’m No Stranger To The Rain”
Keith Whitley
1988
Peak: #1
Another CMA Single of the Year winner, this one was posthumous. Released at the very end of 1988, Whitley’s confession that “I’m a friend of thunder, is it any wonder lightning strikes me?” ended up sadly prophetic. Whitley was one of the most gifted artists of any generation and a tremendous amount of potential died with him they day he drank himself into his grave. Still chilling to listen to, nearly twenty years later.
#15
“Forty Hour Week (For A Livin’)”
Alabama
1985
Peak: #1
A working class anthem if there ever was one, Alabama give a shout-out to all the firefighters, steel mill workers, auto assembly line builders, teachers and cops who work behind the scene, keeping America running smoothly.
#14
“I Think I’ll Just Stay Here and Drink”
Merle Haggard
1980
Peak: #1
“Ain’t no woman gonna change the way I think, I think I’ll just stay here and drink.” Haggard chooses the bar and the booze over attempts at reconciliation. A drinking anthem for the ages.
#13
“Streets of Bakersfield”
Dwight Yoakam & Buck Owens
1988
Peak: #1
Yoakam’s musical sound was strongly shaped by the influence of Buck Owens, and he brought the legend himself back to the top of the charts when they collaborated on a very old song from the Buck catalog. The quickest way to begin your education regarding the legendary Bakersfield music scene is to spin this record.
#12
“The Boxer”
Emmylou Harris
1980
Peak: #13
A pleasant Simon & Garfunkel folk song becomes a transcendant listening experience when Harris recasts it as a bluegrass plea. Harris finds depths of desperation in the lyrics that the original version only hinted at.
#11
“That’s My Job”
Conway Twitty
1987
Peak: #6
Twitty’s eulogy for his father may be the most moving song written to honor a parent since The Carter Family’s “Can The Circle Be Unbroken.” Achingly beautiful.
#10
“Hold Me”
K.T. Oslin
1988
Peak: #1
If a song can save a marriage, this might be the one. In alternating verses, a husband and wife confess that they both left the house this morning planning to run away, “got as far as the edge of town, turned my car around and headed back to you.” The reconciliation in the chorus soars, as they implore each other, “don’t kiss me like we’re married, kiss me like we’re lovers.” A serious, realistic and mature song that demonstrates the sacrifices needed to make a marriage succeed.
#9
“On The Other Hand”
Randy Travis
1986
Peak: #1
When first released under the name Randy Traywick, it bombed. But after a name change and a hit single called “1982″, it was re-released and Travis had his first #1 hit. Cutting through the pop-flavored treacle dominating radio at the time, a simple guitar strum and Travis’ powerful baritone debates that on one hand, he could “stay and be your loving man”, but “on the other hand, there’s a golden band to remind me of someone who wouldn’t understand.” Classic country at its finest.
#8
“America”
Waylon Jennings
1984
Peak: #6
Forget “God Bless The U.S.A.” This is the definitive patriotic anthem. Jennings’ love for the country radiates through his performance. A glorious celebration of what makes America great and the beauty and strength that keeps it strong through adversity.
#7
“Love at the Five & Dime”
Kathy Mattea
1986
Peak: 3
Mattea found her voice with her cover of this Nanci Griffith song, a gorgeous folk ballad about the love of Rita, the Woolworth counter gal, and Eddie, a steel guitar player and a darn good dancer – “they married up in Abilene, lost a child in Tennessee, but still that love survived”, even after Eddie runs off with the bass man’s wife in the second verse. At the end, they’re a loving old couple dancing to the radio, as he sings to her “dance a little closer to me tonight.”
#6
“Seven Year Ache”
Rosanne Cash
1981
Peak: #1
Tense, nervy and bitingly bitter, Cash’s buttery vocal makes an angry message go down smooth. Her intention was to write the first great country “street song”, and she succeeded: “There’s plenty of dives to be someone you’re not,” she sneers at her cheating lover, warning him “don’t bother calling to say you’re leaving alone, ’cause there’s a fool on every corner when you’re trying to get home.”
#5
“Grandpa (Tell Me ‘Bout The Good Old Days)”
The Judds
1986
Peak: #1
A defining anthem for the 80′s, a decade in which Americans romanticized about good old days which never really existed. Grandpa is asked, “did lovers really fall in love to stay? Did daddies really never go away?” A truthful answer would probably let his granddaughter down, but the beauty of this record is we never hear from grandpa at all, just a warm list of wishful thinking from the young girl asking for wisdom from the older generation.
#4
“Always On My Mind”
Willie Nelson
1982
Peak: #1
When Elvis Presley recorded it in the wake of his divorce, it was all regret and bombast, a belated admission of his failures as a husband. When Willie covered it in the early 80′s, it became a poignant tribute to the wife that he still loves but hasn’t always appreciated it. Nelson’s biggest hit, and a winner of the CMA Single of the Year, it’s still a powerful listen more than twenty years since being released.
#3
“9 To 5″
Dolly Parton
1980
Peak: #1
A #1 country and pop hit, and nominee for Best Original Song at the Academy Awards, Parton wrote this to the beat of her clicking fingernails while waiting on the set of the movie of the same name. The pop flavor can make a casual listener miss the economic anger simmering under the surface – “They let you dream just to watch them shatter, you’re just a step on the boss man’s ladder” escalates to “9 to 5, they’ve got you where they want to you…it’s a rich man’s game, no matter what they call it, and you spend your life putting money in his pocket.” Parton’s feminism and support of the working class seeps through in some of her greatest songs, and this is one of them.
#2
“Guitars, Cadillacs”
Dwight Yoakam
1986
Peak: #4
California country explodes all over again as Yoakam releases his progressive country debut album, which combines traditional themes and instruments with a forceful rock production. He manages to capture his entire musical philosophy – jilted lovers, loud guitars and hillbilly music – in one three-minute song, laying the groundwork for a dizzyingly brilliant musical career that has expanded on all of those themes in the twenty years since its release.
#1
“He Stopped Loving Her Today”
George Jones
1980
Peak: #1
“He said ‘I’ll love you till I die’, she told him ‘you’ll forget in time’.” And with that, the greatest country single of the 80′s, and one of the greatest of all-time, lays the groundwork for a heartbreaking twist in the chorus: “He stopped loving her today, they placed a wreath upon his door, and soon they’ll carry him away, he stopped loving her today.” Jones’ hillbilly twang plays beautifully against the wall of strings and choir of angels that sweep in mid-song. It’s an epic performance by a country music legend.
Thursday, August 3rd, 2006
Here’s the first batch of single reviews in a long time. Starting today, single reviews will be posted every Thursday.
Dierks Bentley, “Every Mile A Memory”
An encouraging preview of his forthcoming third album. He still sounds like a B-level Keith Urban to me, but he’s getting better.
Dixie Chicks, “Voice Inside My Head”
One of the most powerful records of their career. Lead singer Natalie Maines’ performance is one of scorching intensity, as she sings about being haunted by the child she gave up ten years ago.
Faith Hill, “Sunshine & Summertime”
Frothy seasonal fun. Time to start digging deeper with the singles, though. “Stealing Kisses” and “Dearly Beloved” are two signature hits waiting to happen.
Alan Jackson, “Like Red On A Rose”
The first single from Jackson’s upcoming Alison Krauss-produced album finds him in peak form. This is one of the most beautiful love songs I’ve ever heard, and Krauss finally puts Jackson in some unfamiliar musical settings. Jackson’s vocal is relaxed, almost liberated. This is an enticing preview into what may be Jackson’s most satisfying project in years.
Alison Krauss & Union Station, “If I Didn’t Know Any Better”
Krauss is rarely happy on record, so even when falling in love, she’s waiting for the other shoe to drop. What an awesome opening verse: “I turned around, before I could run I found you already settled down, in the back of my mind. I know this is just a customary fever, the moon is a deceiver that will leave you running blind.”
Wednesday, August 2nd, 2006
Dixie Chicks
Madison Square Garden
New York, NY
August 1, 2006
Ever since the 2003 “incident”, it’s been nearly impossible to find discussion of the Dixie Chicks that doesn’t reference, if not completely revolve around, their political positions. It’s easy to forget that before that infamous remark, most discussions of the Chicks revolved around their remarkable musical talents, their cross-genre appeal and their deep catalog of great songs. Last night’s concert at Madison Square Garden was a welcome reminder that one of the greatest country acts of all-time is at a creative peak and show no signs of slowing down.
Playing to a near-capacity crowd, the Chicks performed a show that was focused solely on the music, with no visual distractions, special effects or overlong stage banter to distract the audience. Entering the stage with a countrified “Hail to the Chief”, the Chicks ripped right into “Lubbock or Leave It” to loud applause. They followed with the Patty Griffin song “Truth No. 2”, one of several older tracks which were performed with the added punch of a driving drum beat, while still preserving the original country arrangements. A clever lyric change elevated the song’s confidence – “You say that I lack the proof, baby that might be so” became “baby, that’s just not so”, receiving a roar of approval from the audience.
Things really kicked into high gear when the girls went right into “Goodbye Earl”, the first of many songs that had the entire audience singing along. Lead singer Natalie Maines discussed her wisdom of making a “good career choice” to segue into “The Long Way Around”, one of the tracks off the new album that the audience already seemed to know by heart. Cell phones were whipped out of pockets for the 21st century equivalent of holding up a Bic lighter during “Landslide.”
The girls tended to their country roots with spot-on performances of “Cowboy Take Me Away” and “White Trash Wedding”, the latter of which Maines dedicated to Mel Gibson. With a grin, she joked that “the day after my mouth got me in trouble, I should’ve just said I was drunk and checked myself into rehab to get us off the hook!”
Maines disappeared from the stage as the remaining Chicks performed a fiery version of “Lil Jack Slade”, an instrumental track from their Home album. When she reappeared, again without any fanfare, the ominous chords of “Not Ready to Make Nice” began, and a large majority of the audience jumped to their feet. As reviews of other shows have noted, the largest and most sustained applause of the night was at the conclusion of this song. There’s a raw energy to the track that builds up tension until there is an explosion of release, and the unity during that moment of the show was overwhelming. Many audience members held up signs saying “Thank You” to Natalie as she performed the song.
One of the funniest moments of the evening was the introduction to the heartbreaking “So Hard”, which was offset by Natalie’s comment: “You have no idea how surreal it was to write a song about infertility with a chorus it’s so hard when it doesn’t come easy.” Maines showed a quick wit during her limited dialogue with the audience, but communicated mostly through her vocals, which were surprisingly strong. She is a much better singer live than she even is on record, with perfect pitch and startling power, well-suited for the arena setting. When she performed “Top of the World”, chills ran over me as the song climaxed.
After the one-two punch of signature songs “Wide Open Spaces” and “Sin Wagon”, the Chicks left the stage, before resurfacing for a three-song encore. It was only Natalie, Martie and Emily on stage for the first encore song, “Travelin’ Soldier.” A review for an earlier show tried to draw “old audience” vs. “new audience” contrasts by noting a tepid response to the patriotic song, implying that their new, leftist fans are less moved by such things. Well, New York City is one of the most liberal cities in the world, and there was thunderous applause from the first note. The entire audience sang along in a low whisper, treating the song with the reverence it deserves. The girls demonstrated they could do an acoustic tour on their own and completely shine as they performed “Soldier” flawlessly.
The whole “old conservative fans” have been replaced by “new liberal fans” is flawed, anyway. The Chicks had a huge audience to begin with. More likely, they lost some conservative fans with their beliefs, but those who don’t care about their politics, or agree with them, stuck around. The fans around me at the concert new “Wide Open Spaces” just as well as “The Long Way Around”, so I doubt there were that many new converts there.
The band reappeared for the rocking pair of “Mississippi” and “Ready to Run”, the latter of which the crowd didn’t recognize until Martie kicked in with the trademark fiddle hook. After that, it was a group bow, a goodnight, and off into the darkness. Fans sitting on the side could see Natalie slip off her shoes before walking down the stairs and off to the backstage area.
After such a satisfying night focused on the music, my mind drifts again to all of the issues and drama that have surrounded the Dixie Chicks for the last three years, and have been brought back to the surface for the last three months as they launched their new album. Suddenly, these issues seem entirely irrelevant. The Chicks are a talented, versatile band at the top of their game, with a loyal fan base that is fully supportive of them. They may never sell diamond again, but last night, the audience sang along with songs off of the new album that were never played on the radio, as if those were their biggest hits. They no longer need radio exposure for their music to reach the fans.
Ever since they took some time off after the Fly tour and resurfaced with Home, the Chicks have been pushing hard against the boundaries and limitations of the country music genre. The beauty of the entire controversy is that in every sense, they are now truly liberated artists, able to produce the music that they want to without worrying about the conventions of radio or the country music industry. It’s a freedom that most artists never experience, and the Chicks have fully capitalized on it. Now that they’ve seen that they can succeed in this bold new world, their continued greatness seems fully assured.
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