It’s been over five years since Lorrie Morgan has released a new solo country album, but her fans’ wait comes to an end with the February 12 release of her new album Letting Go…Slow on Shanachie Entertainment. The twelve-track set features previously unheard material alongside covers of classic hits by Patsy Cline, Bobbie Gentry, Vern Gosdin, Larry Gatlin, Bob Dylan and Earl Thomas Conley. The award-winning recording artist recently took some time out of her busy schedule to discuss the new project with media via conference call.
The year of Chris Stapleton rolls on unabated. The reigning CMA Male Vocalist of the Year– which is still an amazing thing to type!– figures prominently in the country music news this week. But there are plenty of other things besides The Beard Of Truth And Justice worth discussing, including the release of some interesting album reissues from genre legends, some say-what-now commentary from radio insiders, and a just-awesome shotgun rider gig by Carrie Underwood!
The pop music world is still buzzing over last week’s release of 1989: Not Taylor Swift’s pop-cultural juggernaut, but alt-country singer-songwriter Ryan Adams’ cover album of 1989 “in the style of The Smiths.” A quick review of the iTunes comments on Adams’ version of 1989 reveals that a not insubstantial portion of Swift’s fanbase hasn’t gotten a handle on his angle or his appeal, while the mainstream music press is agog over Adams’ guile and audacity.
If you were listening to New West Records’ An Americana Christmas sampler over the holidays, you would have heard tracks from the likes of Dylan, Cash, Emmylou and other Americana legends. Tucked in alongside those songs was a catchy little number called “Everyone Deserves a Merry Christmas.” With wry lyrics about a jailhouse celebration and a chorus that begs for a sing-along (“Everybody deserves a Merry Christmas/It don’t matter what stupid things you’ve done…”), it’s an excellent introduction to Ronnie Fauss, if you’ve not had the pleasure of listening to this Texas singer already. For those in the know, Fauss has been worth following for several years now. After several EPs, he released his full-length debut, I Am the Man You Know I’m Not, in 2012 on Normaltown Records, a New West imprint. Mouthful of a title and all, it was one of the year’s best debuts and showed off Read More
2014 was a banner year for country music albums. In addition to the predictably solid entries from the Americana, folk, and bluegrass scenes, some excellent albums also surfaced from the unlikeliest of sources: mainstream, radio-friendly contemporary country artists! Here are our twenty favorite albums from 2014. Fingers crossed that 2015 is as good or better than this year has been. #20 Jennifer Nettles That Girl KJC #8 | LW #16 A confident, intelligent solo project that washes away all of the bitter taste left by Sugarland’s preceding studio album, The Incredible Machine. Nettles manages to remind us what was so appealing about the trio-turned-duo in the first place, while also staking out her own musical territory that has room for independence anthems alongside wry, humorous commentary on society and, of course, palpably vulnerable heartbreak numbers. – Kevin John Coyne Recommended Tracks: “Me Without You”, “Know You Wanna Know”, “Jealousy”
Dolly Parton Blue Smoke A big step up from her last few projects, Dolly Parton’s Blue Smoke is her most balanced album since Backwoods Barbie. While it lacks cohesion due to so many different styles being used, there’s a solid entry from every kind of Dolly – country Dolly, pop Dolly, mountain Dolly, gospel Dolly, duet-with-fellow-legend Dolly. While it isn’t likely to be anyone’s favorite Dolly Parton album because of this, it’s also unlikely that any fan of hers won’t find something here that reminds them of why they became a fan in the first place.
Wrecking Ball: Deluxe Edition
Nonesuch has released an impressive deluxe edition of the landmark Emmylou Harris album, Wrecking Ball. For those who are new to the set, this is the edition you should buy. But it’s also worth the upgrade for those who already have this set in their collection.
Produced by Daniel Lanois, this album was a stunning departure for Harris, so much so that she personally requested that it not be eligible for the country charts. That’s funny in retrospect, given that alongside legends like Jimi Hendrix, Bob Dylan, and Neil Young, the album was anchored by compositions by up-and-coming songwriters like Gillian Welch, Lucinda Williams, and Julie Miller. With further cuts by writers like Anna McGarrigle, Steve Earle, and Rodney Crowell, Wrecking Ball helped set a template for what would become a vibrant Americana scene over the years that followed.