Articles by Ben Foster
1999 | #4
Is it lightweight radio fluff? Yes.
Single Review: James Wesley, “Walking Contradiction”
(No, it’s actually not a new Starburst jingle)
Single Review: Lionel Richie featuring Shania Twain, “Endless Love”
Lionel Richie’s new country duets project, set for a March 27 release, sounds like the kind of thing that could either go very right (Jennifer Nettles, “Hello”) or very wrong (Rascal Flatts “Dancing On the Ceiling,” anyone?). We get a taste of the new project with this re-working of Richie’s classic pop duet with Diana Ross, “Endless Love,” sung this time as a duet with Shania Twain.
David Nail’s new single “The Sound of a Million Dreams,” from his current album of the same name, could be seen as something of a musical mission statement. It is a tribute and testament to the power of a well-crafted, deeply resonant song.
Retro Single Review: Dolly Parton, “My Tennessee Mountain Home”
1973 | #15
These days country radio is peppered with songs about where the singer supposedly grew up. Though often commercially successful, they tend to fail on an artistic level. Why? They very often lack some vital ingredients: Detail. Authenticity. Sincerity. That’s why Dolly Parton’s classic “My Tennessee Mountain Home” outclasses nearly all of them.
Retro Single Review: Porter Wagoner & Dolly Parton, “Together Always”
1972 | #14
It’s another Porter and Dolly love song, and such do tend to be less memorable then their heartbreak songs and bickering-couple songs. The chorus of “Together Always” is rather blank lyrically, but it’s lifted to a higher level by Parton’s spirited performance. The lilting melody and light piano-driven arrangement lend a subtly infectious, joyful sound to the record.
Album Review: Kellie Pickler, 100 Proof
Kellie Pickler
100 Proof
From early on, it was announced that Pickler’s third album would more closely reflect the sound of the traditional country music that is closest to her heart, with Pickler claiming to have made the album “as country as I was allowed to make it.” The bouncy steel guitars chords of opening track “Where’s Tammy Wynette,” and opening lyrics “While I’m torn between killin’ him and lovin’ him/ He stays torn between neon lights and home” quickly announce that Pickler is not kidding.
Does that mean that the album is a retro effort? Not necessarily. Rather, Pickler and her producers Frank Liddell and Luke Wooten effectively craft a sound that gives a respectful nod to country music’s past while simultaneously making tasteful use of modern sounds. Thus, the album carries a strong traditionalist bent, but sounds vintage without sounding dated, demonstrating that it is indeed possible to create a fresh and modern contemporary country album while still maintaining a strong connection to the traditions of the past.
Album Review: Martina McBride, Hits and More
Martina McBride
Hits and More
The smooth powerful voice of Martina McBride has been a welcome radio presence for two decades now. After eighteen years of hit singles, top-selling albums, and industry awards, November 2010 brought the news that McBride was exiting the RCA Nashville label roster. In the wake of her departure from her longtime label home, her hitmaking days on RCA are summarized on the career retrospective Hits and More, featuring seventeen of McBride’s best-known hits arranged chronologically, plus three new recordings. All of her RCA albums are represented except for her 1992 debut The Time Has Come (which produced no significant hits) and her 2005 covers album Timeless (which produced only one minor Top 20 hit with McBride’s rendition of Lynn Anderson’s “Rose Garden”).
Single Review: Alison Krauss & Union Station, “My Love Follows You Where You Go”
Whenever we get new music from Alison Krauss & Union Station, there are two things we can generally count on: stellar musicianship, and pure, naturally beautiful vocals. Still, one variable is whether or not the music builds on the group’s tried-and-true musical formula of modern-bluegrass-meets-adult-pop, and moves it forward such that the approach does come across as merely business-as-usual. Last year’s set Paper Airplane contained the usual goods, but suffered to some extent from what one might call the plodding midsection syndrome – a cluster of competent but not particularly memorable tracks bookended by moments of brilliance.
