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Album Review: Rhonda Vincent, Only Me

Rhonda Vincent-only_me

Rhonda Vincent
Only Me

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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.

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Daryle Singletary, “Love You With the Lights On”

daryle-singletaryI really love everything that Daryle Singletary’s approach to country music represents. Sometimes it seems there are only two veins of country traditionalists: the ones who take the Haggard and Jones approach, and the ones who take the Waylon and Willie approach. Singletary is all about the Conway Twitty and Charley Pride, a crooner of romantic ballads awash in steel guitar.

There’s only one thing that holds Singletary back from being the Twitty or Pride of his generation. His voice just doesn’t have the ability to pull off these types of songs completely. “Love You With the Lights On” is a solid enough song. It certainly would’ve been a chart-topper in the seventies for one of the aforementioned men.

Singletary sings it pleasantly enough, but he’s not entirely convincing as the seducer here.  His voice just doesn’t have the depth and nuance to pull it off. God bless him, but he sounds like he’s singing for control of the remote, not fulfillment of his desires.

Grade: B-

Listen: Love You With the Lights On

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Daryle Singletary, “Jesus and Bartenders”

Daryle Singletary, “Jesus and Bartenders”

Singletary covers an Rebecca Lynn Howard album track from a few years back.   It’s a classic country honky-tonk number, and while Howard’s original version has its charms, Singletary’s a natural fit for a song like this.    Singletary isn’t the most creative male country vocalist, given how derivative his style is of country crooners like George Jones and Randy Travis, but that style is a perfect fit for a song that sounds like a b-side from either of those legend’s careers.

Grade:  B

Listen: Jesus and Bartenders

Buy: Jesus and Bartenders

More Daryle Singletary:

Album Review: Straight From the Heart

400 Best Contemporary Country Singles: #200-#176

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Daryle Singletary, Straight From the Heart


Daryle Singletary
Straight From the Heart

Album Review by Paul W. Dennis

Daryle Singletary never managed to become a megastar, mostly because he has too much soul and integrity for today’s Nashville. Simply put, Daryl is “too country”.

This album picks up where Daryl’s 2002 album That’s Why I Sing This Way left off, with one original song, the humorous “I Still Sing This Way”; one cover of a recent song, the Larry Cordle-penned Rebecca Lynn Howard cut “Jesus and Bartenders”; and ten classic country covers sung with feeling.

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