One of the rare concept albums that lives up to its conceit while each song still able to stand on its own, Big Day in a Small Town demonstrates as well that Brandy Clark’s debut album wasn’t a fluke. She really is this good.
“Record Year” is cleverly written, intertwining turns of phrase with musical references that will satisfy everyone from the casual country fan (Red Headed Stranger) to the scholarly one (New Grass Revival.)
Perhaps this is a song best heard in its proper context.
Recorded in Texas during their standoff with their record label, Home threw out the rulebook completely.
To his credit, you can tell a Keith Urban record is a Keith Urban record as soon as it starts.
Any singer or songwriter attempting to write the definitive country pride anthem needs to take one long look at this title and walk away.
A baffling mix of romanticism and religious imagery, Florida Georgia Line’s attempt at respectable music only puts their musical incompetence into sharper relief.
Last night, the Dixie Chicks kicked off the North American leg of their MMXVI tour, their fourth headlining tour across the United States. Sixteen years ago, they launched their first, in support of their second major label release, Fly.
Released in 1998, Wide Open Spaces established the Dixie Chicks as superstars right out of the gate. It produced five top ten hits, including three #1 singles, and sold more than twelve million copies in the United States alone. It remains their biggest selling album to date. But is it among their best?
One of six popular songs that Trisha Yearwood recorded for The Passion: New Orleans, “Broken” transcends its adult rock origins through its reinvention as Mary’s plaintive wail after the death of her son on the cross.