A haunting, evocative album closer that I can’t believe is being sent to radio, “Beautiful Stranger” showcases Toby Keith’s often overlooked talents as a vocalist and as a songwriter.
She was one of those artists that my parents listened to in the car. The CD was always Hits: 1979-1989. My dad loved “My Baby Thinks He’s a Train” and my mom, “Tennessee Flat-Top Box.” They both loved “Seven Year Ache.”
But by the time I was listening to country music independently, with CMT as my primary conduit for new music, Cash had already left country music behind. Given that she was never big on making music videos in the first place, I saw the clip for “The Wheel” a few times, and that was it.
The Telegraph, a United Kingdom publication, has ranked the thirty best Dolly Parton songs. It’s an interesting list that balances classics with lesser-known album cuts.
Stop me if you’ve heard this one before.
George Strait has released a new album that is consistently good, with strong vocal performances that elevate even the middling material.
It isn’t easy to follow up a universally praised debut album, especially when you don’t have the novelty of the new in your corner. Sometimes what sounds so fresh is just by the virtue of being the first time your voice has been heard. The second time around, you can only rely on the strength of your material. Being different is no longer enough.
Django and Jimmie derives its title from the names of two of the biggest influences of Willie Nelson and Merle Haggard – Django Reinhardt and Jimmie Rodgers.
I can’t figure out why Toby Keith can’t get any mileage off of the singles from his new album. It’s not even out yet, and this is the third release.
After the comparatively euphoric “Let it Go,” George Strait’s new single captures the same “take it as it comes” attitude toward life, but this time with somber resignation as the dominant feeling.
The review contrasting “Live Forever” with “If I Die Young” writes itself. Vulnerable sincerity versus bombastic arrogance. Mortality versus immortality. Acoustic country versus amped up rock. By every measurable standard, “Live Forever” is the polar opposite of “If I Die Young.”
“Smoke Break” is a remarkably good attempt at a working class anthem. It’s so stylistically different from the “rah rah, let’s party this weekend” approach that has made drinking synonymous with adolescent behavior in modern country music.