The conflict of whether or not to reconnect with an ex-lover can be the perfect fodder for a great country song. Just ask Lee Ann Womack.
Musgraves’ narrator faces such a choice on her stellar new single “Keep it to Yourself,” but in this instance she sticks with her better judgment. Should her ex find those old feelings returning, she offers the advice found in the song’s title: “Keep it to yourself.” The hook is simple and direct, yet disarmingly effective.
Much has already been written about Kacey Musgraves’ gifts as a lyricist, and while such are definitely evident on “Keep it to Yourself,” the song is particularly noteworthy as a display of her power over a melody. The low, somber notes convey a weary, angst-ridden feeling in the opening verse before rising to the gentle plea of the chorus.
Even more impressive is the way the melody and performance manage to convey the intangible, allowing the listener read between the lyrics. The pleading tone in Musgraves voice suggests that she is begging her ex not to call her perhaps because she’s afraid that she just might not be able to muster the strength to say no the next time.
“Keep it to Yourself” is fresh in its approach, yet classic in theme and delivery. It comes across as moving and sincere, but not cloying or contrived. The gentle arrangement and strains of steel guitar enhance the story without interrupting it, while Musgraves’ vocal conveys deep vulnerability without veering into melodrama.
“Keep it to Yourself” is top-notch country storytelling through and through – an understated gem of a performance that represents much of what we wish mainstream country music could still be in 2014.
Written by Kacey Musgraves, Shane McAnally, and Luke Laird
Currently ticking the “Summer Romance Nostalgia” box at country radio is this almost-Top 10 debut single by new duo Dan + Shay.
Good news – the first forty seconds are actually listenable! The melody has an organic quality to it, and duo members Dan Smyers and Shay Mooney deliver the opening verse with likable harmonies against the gentle pluck of mandolin strings.
Then the song ticks past the forty second mark, and all subtlety and restraint are abruptly thrown out the window. A storm of production noise rolls in. Dan + Shay’s vocals are smothered in gaudy reverb effects as they scream their way through the cacophonous chorus.
And just like that, the summery ballad devolves into one big hot mess.
Written by Dan Smyers, Shay Mooney, and Danny Orton
I want to like Maggie Rose’s music more than I do. She has a good voice. She sings good songs. And her music actually sounds country. Should be a simple enough recipe, right?
But the problem I keep having is that I don’t quite feel her as a storyteller. “I Ain’t Your Mama” called for a little more bite in the performance, while “Better” could have used a little more lived-in angst to really hit home.
Her current single, “Looking Back Now,” is a striking story-song involving a female narrator who puts a couple of no-good men in the ground when they get a little too fresh. But in listening to Rose’s performance, I don’t get the feeling that I’m listening to a true story. It’s a little too obvious that she hasn’t lived it. And yet, when I hear the song performed by writer Lisa Carver, I’m with her every step of the way. I believe every word.
Rose will likely develop her interpretive abilities further over time, and I hope she does, because she could be a potentially cool artist. As it is, we’re left with records like this – records that are good and enjoyable enough, but that could have been even better.
UPDATE:Contest closed. Congratulations to winner John!
Three of my all-time favorite things: books, country music, and books about country music. If you’re anything like me, we have the perfect giveaway for you.
In Gerry House’s new book Country Music Broke My Brain: A Behind-the-Microphone Peek at Nashville’s Famous & Fabulous Stars, one of country music’s most beloved radio personalities shares a collection of never-aired and never-before-published conversations with a variety of country music superstars and legends, including Johnny Cash, Reba McEntire, Brad Paisley, and many others.
Country Universe is pleased to offer a copy of this book to give away to one of our readers. To enter, leave a comment below before 12:00 p.m. CST on Saturday March 15. A winner will be chosen via random number generator and notified via email, so be sure to include a valid email address. One entry is allowed per IP address.
UPDATE: Contest closed. Congratulations to winner Jonathan Pappalardo!
Country Universe favorite Dierks Bentley has just released his seventh Capitol studio set Riser, and we’re pleased to offer an autographed copy to give away to one of our readers.
To enter, leave a comment telling us about your favorite song(s) Bentley has recorded. A winner will be chosen via random number generator and notified via email, so be sure to include a valid email address. One entry is allowed per IP address. Eligible comments must be submitted by 12:00 p.m. CST on Wednesday, March 5. If that’s too long to wait, click here to purchase the album via iTunes.
The awesomeness of this release has a definite air of inevitability. If Don Gibson wrote it, and Mandy Barnett and Alison Krauss sing it, it’s pretty hard to imagine it not being great.
Though Gibson’s 1958 hit version of the song belied the melancholy lyric with a brisk tempo and toe-tapping arrangement, Barnett recasts the song as gentle, brooding ballad. It’s a move that succeeds as a creative exercise as well as an effective treatment of a beautifully written song. Barnett puts a distinctly personal spin on the classic tune, making it a beautiful centerpiece to her must-have new album I Can’t Stop Loving You: Songs of Don Gibson.
The sparse, vintage-style arrangement is an ideal setting to showcase Barnett’s depth, control, and inimitable sense of presence as a vocalist. Alison Krauss’s background vocal imbues an added layer of longing to the performance, reaffirming her status as one of Nashville’s most reliable harmony singers.
Having had just enough time to catch our breath after the Grammys, we now find ourselves gearing up for ACM season. This year’s Academy of Country Music Award nominees have just been announced today. Not surprisingly, this year’s nominees are wildly uneven, with “bro country” scoring ample representation. Miranda Lambert and Tim McGraw lead with seven nominations each.
Chime in with your thoughts below. Country Universe’s Staff Picks and Predictions will be unveiled the week of the show. Tune into the live broadcast on Sunday, April 6 at 8:00 p.m. EST to see who will emerge victorious this year.
Entertainer of the Year
Male Vocalist of the Year
Female Vocalist of the Year
Vocal Duo of the Year
Big & Rich
Dan + Shay
Florida Georgia Line
Love and Theft
Vocal Group of the Year
Eli Young Band
Little Big Town
The Band Perry
Zac Brown Band
New Artist of the Year
Album of the Year
Blake Shelton, Based on a True Story…
Luke Bryan, Crash My Party
Florida Georgia Line, Here’s to the Good Times
Kacey Musgraves, Same Trailer Different Park
Tim McGraw, Two Lanes of Freedom
Single Record of the Year
Florida Georgia Line, “Cruise”
Tim McGraw featuring Taylor Swift and Keith Urban, “Highway Don’t Care”
Lee Brice, “I Drive Your Truck”
Miranda Lambert, “Mama’s Broken Heart”
Darius Rucker featuring Lady Antebellum, “Wagon Wheel”
Song of the Year
“Every Storm (Runs Out of Rain)” – Gary Allan, Hillary Lindsey, Matthew Warren
“I Drive Your Truck” – Jessi Alexander, Connie Harrington, Jimmy Yeary
Pretty Little Liars actress turned country newcomer Lucy Hale cites Shania Twain and Martina McBride as major musical influences, and to a degree it’s perceptible on her debut single “You Sound Good to Me.” The track begins with a light, airy fiddle hook, and segues into an effervescent uptempo pop-country love song with an atypically sparse production arrangement by country radio standards (murky background vocals aside).
Unfortunately, things go very wrong in one important area – the vocal. Hale’s performance sound constantly strained and often pitch-challenged as she struggles to reach high notes and keep up with the brisk tempo. Worse yet, Hale’s voice rings generic and faceless, lacking any hint of distinctive personality or flair and instead sounding like that of any random karaoke bar patron.
It doesn’t help that the song itself is hardly anything special – standard Music Row radio filler courtesy of three of the industry’s current favorite hired-gun songwriters. There’s none of the distinctive cleverness, spunk or massive pop hooks that marked the best work of Hale’s role models. If such a song is going to work on any level at all, it needs a strong vocal performance to carry it. Without that crucial element, “You Sound Good to Me” quickly sinks like a stone.
Written by Ashley Gorley, Luke Laird and Hillary Lindsey
Modern bluegrass legend Rhonda Vincent shows off two sides of her musical repertoire with her delightful new album Only Me, which is split across two six-track discs. The first disc is a collection of bluegrass songs, while the second showcases Vincent’s prowess in performing traditional country music.
On the bluegrass side, Vincent is joined by her longtime backing band The Rage, which includes Hunter Berry on fiddle, Brent Burke on resophonic guitar, Mickey Harris on upright bass, Aaron McDaris on banjo, and Josh Williams on acoustic guitar, while Vincent herself performs on the mandolin. The entire band proves to be in top-notch form right from the fast-picking opening up-tempo “Busy City,” which segues into the album’s fantastic lead-single, the angst-ridden Larry Cordle ballad “I’d Rather Hear I Don’t Love You (Than Nothing At All).”
Vincent is joined by two special guests on the bluegrass disc. The iconic Willie Nelson contributes duet vocals as well as guitar work to the title track – a love song which combines bluegrass instruments with Spanish guitar in a genre-blending album highlight. Vincent recasts George Jones and Melba Montgomery’s 1963 duet hit “We Must Have Been Out of Our Minds” as a bluegrass song on which Daryle Singletary supplies the male vocals – with glorious results.
Longtime fans know that the country disc is hardly the first foray into this genre for Rhonda Vincent, who even took an unsuccessful stab at become a mainstream country star in the nineties. Vincent’s work in the country field was highlighted by 2011’s Your Money and My Good Looks – a stellar duets project with country genre luminary Gene Watson. The country side of Only Me follows in the tradition of that excellent set, and is likewise dominated by cover material. This disc features a luscious take on the Dallas Frazier song “Beneath Still Waters,” a minor 1970 hit for Diana Trask which Emmylou Harris later took to the top of the charts in 1980, as well as a loving tribute to the late George Jones with a tear-jerking take on “When the Grass Grows Over Me.” As an extra treat, Vincent includes an original song that she wrote at the tender age of sixteen with “Teardrops Over You,” a country heartbreaker that sounds like it could very well have been recorded by any of the legends whose work Vincent here covers.
A particular highlight is Vincent’s take on Connie Smith’s Bill Anderson-penned 1964 breakthrough hit “Once a Day” – the first chart-topping debut single by a female country artist, and the longest running number-one single by a female country artist (until the latter record was broken in 2012 by… ahem… Taylor Swift’s “We Are Never Ever Getting Back Together”). Vincent here turns the classic song into a gentle barroom shuffle. As one of very few women who are anywhere close to Smith’s league as a vocalist, she reminds us that the bluegrass queen can still deliver a honky-tonk wail like few others.
Vincent offers a pleasant mood-breaker with her gender-flipped take on Bill Anderson’s “Bright Lights and Country Music” – a song to which any longtime Opry listener will react with warm recognition. As the set closes, Vincent relishes her narrator’s boozy, brokenhearted misery on the 1946 Ernest Tubb hit “Drivin’ Nails” – a song Vincent previously recorded in a bluegrass setting, but here turns into a Western-swing-tinged fiddle jam with all the energy of a great live performance.
The press material for Only Me explains that the album is meant to provide an answer to the question of whether Vincent’s voice is bluegrass or country by confirming “it’s in the perception of the listener,” while showing that “either way, country or bluegrass, it’s Rhonda!” However, the project not only showcases how outstandingly adept Vincent is at performing both styles, but it also demonstrates how similar in spirit the two are – both built on accessible, sincere storytelling. Though the banjos and mandolins are swapped out for pedal steel halfway through, the project doesn’t feel like two different albums shoved into one – both halves feel like they belong together, making Only Me beautiful realization of the album as an art form. Better yet, it’s a welcome reminder that, regardless of genre placement, great music is universal.
Darius Rucker celebrates the radio with his current hit, simply titled “Radio.”
It’s tolerable enough, more tastefully produced than your average country radio hit, but it never quite overcomes the fact that its territory is one that other artists have covered much better in the past. (Exhibits A, B, C) The lyrics fail to rise above rote scenes of a nameless, faceless narrator driving down the highway with his nameless, faceless friends, and parking his truck beneath the stars to get cozy with his nameless, faceless girlfriend. The whole of the song is weighed down by a general sense of non-distinction, reflected in its generic one-word title.
Unfortunately, the dynamics aren’t strong enough to compensate. The melody is dull and lifeless, and Rucker’s performance is forgettable. The end result is a song that might not be bad enough to be an immediate station-changer, but nor is there anything here that would inspire me to ‘turn it up, turn it up to 10…’
Written by Darius Rucker, Luke Laird and Ashley Gorley