Tag Archives: David Nail

Daily Top Five: Should’ve Been Hits

42 YearwoodToday’s Daily Top Five is loosely inspired by reader PSUMucci.

What are five singles that should’ve been hits?

They could be songs that ended up signature tunes for their act despite not being hits, or could not have made any impact at all.

For my top five, I stuck to artists who were having some radio success at the time these songs were released.

Here’s my list:

  1. Trisha Yearwood, “Where are You Now”
  2. David Nail, “The Sound of a Million Dreams”
  3. Sawyer Brown, “Another Side”
  4. Faith Hill, “Stealing Kisses”
  5. Lorrie Morgan, “I Just Might Be”

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Daily Top Five: Favorite Title Tracks

David Nail the sound of a million dreamsSuggested by longtime reader Hoggy From Oz:

What are your favorite title tracks?

Here’s my list:

  1. Trisha Yearwood, “The Song Remembers When”
  2. Carrie Underwood, “Blown Away”
  3. David Nail, “The Sound of a Million Dreams”
  4. Suzy Bogguss, “Aces”
  5. Kathy Mattea, “Love Travels”

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Album Review: David Nail, I’m a Fire

David Nail I'm a Fire

David Nail
I’m a Fire

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If he’s a fire, it’s one that doesn’t burn nearly enough. Three albums in, Nail continues to pair great potential with middling results. Despite having better pipes than most of his contemporaries and a knack for finding some genuinely interesting material each time out, his albums as a whole never quite take off.

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Song Talk: Songs About Songs

Songs have such a big impact on our life experience that they sometimes inspire songs of their own.  It’s a cool theme that I wish more singers and songwriters would explore.

Here are some of my favorite examples of this theme:

Trisha Yearwood The Song Remembers When

Trisha Yearwood, “The Song Remembers When”

Far and away, the gold standard for songs about songs.  I love the way the intro’s guitar hook is repeated immediately after Yearwood, sings, “When I heard that old familiar music start.”  Producer Garth Fundis is the unsung hero of this classic recording, which has always seen heaps of deserved praise for Hugh Prestwood’s poetic songwriting and Yearwood’s skillful interpretation.

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Single Review: David Nail, “Whatever She’s Got”

David Nail Whatever She's GotIs “Whatever She’s Got” really just David Nail doing whatever he’s got to do to stay in the game?

Nail is one of the most distinctive and substantive new voices to emerge in recent years, especially among the crop of younger male artists.  He’s had more false starts than most, going through two labels in eleven years and having moderate to major hits, but not building up enough momentum to string a few together.

“Whatever She’s Got” is certainly his biggest hit to date, as it’s his first to reach gold status.   It’s so beneath his talent, though.  As generic as they come, it’s hard to believe it’s being sung by the voice behind “The Sound of a Million Dreams.”

But it’s working for him, I guess, and his upcoming album has a Brandy Clark co-write and a duet with Lee Ann Womack.   Here’s hoping that “Whatever She’s Got” gets him a good enough foot in the door that he can actually walk through it this time, and sneak some material worthy of this talent in with him.

Written by Jon Nite and Jimmy Robbins

Grade: C

httpv://www.youtube.com/watch?v=o1C3mVUkAt8

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Getting to Know Brandy Clark

Brandy ClarkAs a general rule, you can scan the credits of any new country album and assume that if Brandy Clark is a writer on one of the songs, it’s the best song on the album.  As Clark readies the release of 12 Stories, her debut album as an artist, it’s a great time for fans of that remarkable set to get caught up on Clark’s work to date.

Believe the hype.  Clark really is as good as everyone is saying she is.  Possibly even better, as these twenty tracks suggest.  Scroll down to the bottom, and you can listen to snippets from all of them as you read along.

The Singles

Even if you’re only a casual fan of country radio, you’ve probably already heard Clark’s distinctive brand of songwriting.  She’s penned huge hits for the Band Perry and Miranda Lambert in the past year, along with a should’ve-been hit for LeAnn Rimes and the upcoming release from frequent collaborator Kacey Musgraves.

Here’s a rundown of her radio releases so far.

The Band Perry Pioneer

“Better Dig Two”

written by Brandy Clark, Shane McAnally, and Trevor Rosen

from The Band Perry album, Pioneer

The production nearly overwhelms the sharpness of the lyric here, but after a few listens, it’s easier to get past the clutter and enjoy the wicked wordplay.

Leann Rimes Lady & Gentlemen

“Crazy Women”

written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally

from the LeAnn Rimes album, Lady & Gentlemen

That Aqua Net reference at the beginning was flagged by us upon release as “the best opening line in recent memory.”   It still holds up well today, sounding just as fresh and clever on Clark’s debut album.

Kacey-Musgraves-Same-Trailer-Different-Park

“Follow Your Arrow”

written by Brandy Clark, Shane McAnally, and Kacey Musgraves

from the Kacey Musgraves album, Same Trailer Different Park

Arguably the strongest song on Musgraves’ remarkable debut set, “Follow Your Arrow” is a remarkably progressive anthem of tolerance and individual expression.  It is slated to be the third single and in a perfect world, Musgraves will use that as a reason to perform it on the CMA Awards next month.

Miranda Lambert Four the Record

“Mama’s Broken Heart”

written by Brandy Clark, Shane McAnally, and Kacey Musgraves

from the Miranda Lambert album, Four the Record

Easily the best thing Lambert’s done in years, “Mama’s Broken Heart” is a whole lotta crazy without feeling even a little bit forced.  It manages to slip in some sly feminist commentary, too.

Mica Roberts Days You Live For

“Things a Mama Don’t Know” (with Toby Keith)

written by Brandy Clark, Mark Narmore, and Liz Rose

from the Mica Roberts EP, Days You Live For

The debut single from Mica Roberts featured her Show Dog label head, Toby Keith.  It’s a potent song about a woman who follows the wrong man across the country and doesn’t want to let her mother know how much she’s suffering as a result of this poor choice.  It’s always nice to hear Keith’s voice, but his presence gets in the way of the lyric, making for an odd switch between third and first person during the second verse.

The Album Cuts

Many of Clark’s best songs have never been sent to radio.  Here are some of her lesser-known tracks.

Sarah Darling Angels & Devils

“The Boy Never Stays”

written by Brandy Clark, Sarah Darling, and Josh Osborne

from the Sarah Darling album, Angels & Devils

Clark’s songs reel you in early, usually with an opening line that immediately grabs your attention.  “He’s the first taste of something you shouldn’t have.  He’s the first lie you tell to your mom and dad.”  Her masterful use of pathos is what sets Clark apart from most of her peers.

Nashville Boys and Buses

“Boys and Buses”

written by Brandy Clark, Shane McAnally, and Josh Osborne

digital download track from Season One of Nashville

There’s an incredible irony to the fact that Hayden Panettiere’s character on Nashville is supposed to be a flashy pop singer making disposable music for tweens.  The songs she actually sings on the show are often top-notch, better than much of what’s on the radio today.  “Boys and Buses” may have a chorus that would make Julie Roberts swoon, but it’s chock full of clever details and turns of phrase that are Clark’s hallmarks.

Kacey-Musgraves-Same-Trailer-Different-Park

“Dandelion”

written by Brandy Clark, Shane McAnally, and Kacey Musgraves

from the Kacey Musgraves album, Same Trailer Different Park

A sweetly mournful song about love gone wrong, built around the false hope of wishing on a weed.

Reba McEntire All the Women I Am

“The Day She Got Divorced”

written by Brandy Clark, Shane McAnally, and Mark D. Sanders

from the Reba McEntire album, All the Women I Am

When we reviewed this album three years ago, this track was noted as among the strongest.  We called it “vivid and real, with lyrical imagery that would make Jeannie C. Riley proud.”   One of the few great McEntire performances this century, it’s especially impressive that Clark’s own reading on her debut album is even better than McEntire’s reading of this dark and dreary divorce number.

Gretchen Wilson Right on Time

“Get Outta My Yard”

written by Brandy Clark, Shane McAnally, and Kacey Musgraves

from the Gretchen Wilson album, Right on Time

Wilson’s latest album opens with this cut.  It practically screams for a more aggressive performance, the latest reminder what Wilson’s outlaw image never really shows up at the mic.  If Lambert’s looking for another rave-up, she might want to anchor her next set with this one.

Kacey-Musgraves-Same-Trailer-Different-Park

“It is What it is”

written by Brandy Clark, Luke Laird, and Kacey Musgraves

from the Kacey Musgraves album, Same Trailer Different Park

The late night phone call concept has been done well before, but never quite this emotion-free.  She doesn’t need him now and isn’t likely to hate herself in the morning for loving him tonight.  “Maybe I love you,” she wonders, or “maybe I’m just kinda bored.”   This is the best track on Musgraves’ album that hasn’t been flagged as a single yet.

Pam-Tillis-Lorrie-Morgan-2013-Cover

“Last Night’s Make Up”

written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally

from the Lorrie Morgan and Pam Tillis album, Dos Divas

You know that a writer is capturing universal truth when a song can be as convincing by a voice weathered by time as it would be if sung by someone as young as the writer herself.  This tale of morning after regret is one of Morgan’s finest moments, on par with her signature ballads from the nineties.

Darius Rucker True Believer

“Love Without You” (featuring Sheryl Cr0w)

written by Brandy Clark and Shane McAnally

from the Darius Rucker album, True Believers

The Crow backing vocal is easy to miss until she starts singing some of the lines in the end, but Rucker hasn’t had his own talent showcased this well too often, so it helps that she stays out of the way for most of the track.  The subtlety of the lyric and the quiet production allow him to shine as an interpreter.

Guy Penrod Breathe Deep

“The Maker of Them All”

written by Brandy Clark and Billy Montana

from the Guy Penrod album, Breathe Deep

A stunning and uplifting celebration of how all of us are creations of God, using sharp contrasts to make the point of how many diverse and seemingly contradictory things are part of a greater plan designed by one maker.  “The hands that have to fight.  The hands that pray for peace at night. The Lord is the maker of them all.”

Jill King Rain on Fire

“Something Worth Stealing”

written by Brandy Clark and Jill King

from the Jill King album, Rain on Fire

“There’s love,” King sings, “and then there’s runaway desire.”   There are a lot of songs about the actual cheating, but they usually document the heat of the moment.  This indiscretion is coldly calculated, no matter how hot the flames of passion underlying it might be.

David Nail the sound of a million dreams

“That’s How I’ll Remember You”

written by Brandy Clark, Shane McAnally, and Madeleine Slate

from the David Nail album, The Sound of a Million Dreams

“Summertime in Brooklyn, mustard on your lip. I knew I loved you by the bottom of the fifth.”   Not too many country songs capture moments that perfectly detailed, and this has got to be the only one where the moment takes place at a Brooklyn Cyclones game.

Ashton Shepherd Where Country Grows

“Tryin’ to Go to Church”

written by Brandy Clark, Shane McAnally, and Ashton Shepherd

from the Ashton Shepherd album, Where Country Grows

One of the most charming tracks from Shepherd’s second set, she rattles off the reasons she can’t quite make it to church in her exaggerated twang.  My personal favorite: “Here comes that husband-stealin’ heifer and I reckon I’m gonna have to fight.”

Buffy Lawson I'm Leaving You For Me

“Waitin’ on a Train”

written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally

from the Buffy Lawson album, I’m Leaving You For Me

The debut solo album from former Bomshel Buffy Lawson features this gem that compares waiting for a man to love her in return to “standing in an airport, waiting on a train.”

Trent Jeffcoat When I Find Me That Mountain

“When I Find Me That Mountain”

written by Brandy Clark and Trent Jeffcoat

from the Trent Jeffcoat album, When I Find Me That Mountain

Clark doesn’t engage her faith much on her debut album, but if this and “The Maker of Them All” are any indication, she’s got a great country gospel album waiting inside of her.

Craig Campbell Never Regret

“You Can Come Over”

written by Brandy Clark, Jessie Jo Dillon, and Mark Narmore

from the Craig Campbell album, Never Regret

A true hidden gem, this one tells the heartbreaker in question, “You can come over but you can’t come in.”  A talk on the front porch, a ride in the truck.  Those are just fine.  But walking through his front door will just lead to her leaving again.

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CU's Top Singles of 2012

2012Something you probably already know about us here at Country Universe:  We love country music.  A lot.  While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.

At the close of each year we separate the grain from the chaff, and share the music we discovered over the past year that made us glad that we stuck with our genre of choice.  We at Country Universe have put our heads together to create the following lists of favorite singles and albums of 2012.

Seven writers – Kevin Coyne, Leeann Ward, Dan Milliken, Tara Seetharam, Jonathan Keefe, Sam Gazdziak, and myself –  individually listed our twenty favorite albums and singles of 2012, and used a points system to combine our individual lists into collective lists.  Our Best of 2012 feature will include countdowns of forty albums and forty singles.  Today we reveal our Top 40 Singles, with our Top 40 Albums countdown to follow shortly thereafter.  Enjoy, and please be sure to share your own favorites in the comments section.  Thank you to all for being a part of the Country Universe family in 2012.  We look forward to sharing more great music in 2013.

 

#40
“Southern Comfort Zone”
Brad Paisley

Individual rankings:  Jonathan – #13;  Leeann – #20

Brad Paisley has never been one for subtlety, and “Southern Comfort Zone,” with its tacky gospel-choir-singing-“Dixie” coda and Kings of Leon arena-rock chorus, is perhaps his most graceless and didactic effort.  But sometimes it takes the subtlety and precision of a sledgehammer to get one’s point across, especially when your point is a thoughtful and sincere charge to consider how unfamiliar experiences can both reinforce and challenge your core beliefs (a point Paisley makes, it’s worth mentioning, while straying significantly from his trademark aesthetic), and when that point has to be made while trying to shout over a bunch of Ed Hardy-dressed hacks whose entire “artistry” hinges on perpetuating ugly rural-versus-urban class conflicts over music that sounds like a Metallica cover band.  No, it isn’t a single I particularly like listening to, but it’s one I fundamentally respect for challenging what became country’s status quo in 2012. – Jonathan Keefe


#39
“Every Storm (Runs Out of Rain)”
Gary Allan

Individual rankings:  Sam – #8

The title is a little trite and sounds like something that Dr. Phil might say, but Allan’s vocal performance and a moody arrangement make this song a winner. – Sam Gazdziak

#38
Goodbye In Her Eyes”
Zac Brown Band

Individual rankings:  Sam – #14;  Leeann – #18

“Goodbye in Her Eyes” is, hands down, the coolest-sounding sad song on the radio in 2012. – Leeann Ward

#37
“In Between Jobs”
Todd Snider

Individual rankings:  Jonathan – #6

An update of “Working Man’s Blues” for the modern economic crisis, Todd Snider’s “In Between Jobs” glides along the sleaziest of blues riffs and slowly reveals his frustrated, unemployed narrator’s intentions. Spoiler alert: He doesn’t plan on staging a “We Are the 99%” protest outside the home of the wealthy man he’s addressing. – Jonathan Keefe

#36
“You Go Your Way”
Alan Jackson

Individual rankings:  Kevin – #13;  Sam – #18

“You go your way, and I’ll go crazy,” Jackson sings.  It’s too bad that Jackson has fallen out of radio’s good graces, because this beautiful heartbreaker deserved to be another of his #1 singles. – Sam Gazdziak

#35
“Born to Be Blue”
The Mavericks

Individual rankings:  Ben – #17;  Dan – #18;  Tara – #20

A slice of throwback 50’s pop that reminds us how blissfully therapeutic it feels to pair heartache with a sweet, simple melody. – Tara Seetharam

#34
“Closer”
Mindy Smith

Individual rankings:  Leeann – #12;  Dan – #14

Much like Alison Krauss, to whom Mindy Smith is often compared, you’ll rarely hear Smith’s pretty voice singing upbeat, frivolous songs.  Instead, she tends toward the introspective and even melancholy.  The Swampy “Closer” showcases both tones, but it’s blended with some hopeful optimism as well. – Leeann Ward

#33
“Drunk On You”
Luke Bryan

Individual rankings:  Dan – #12;  Kevin – #14

In reality, I don’t think any woman could take a guy seriously if he told her that “you make my speakers go boom-boom.”  Funny how the best country music is far more forgiving than reality. – Kevin John Coyne

#32
“Cruise”
Florida Georgia Line

Individual rankings:  Dan – #3

Sorry, people with taste; there’s (I mean – there’z) a reason this abomination is riding high. It’s the catchiest country sing-along since “Wagon Wheel.” – Dan Milliken

#31
“When I’m Gone”
Joey + Rory

Individual rankings:  Kevin – #12;  Ben – #12

A pensive meditation on the process of grief, delivered through one of Joey Martin Feek’s most deeply moving performances on record.  While it obviously had no chance at country radio, “When I’m Gone” is nonetheless a standout career achievement for this exceptionally talented husband-and-wife duo.  – Ben Foster

#30
“Postcard from Paris”
The Band Perry

Individual rankings:  Ben – #11;  Sam – #13

In spite of their occasional misfires, “Postcard from Paris” is a moment in which the Perry siblings are able to effectively marry their lovably quirky nature to a lyrical concept that actually works – and works beautifully, with a titular analogy that’s both clever and effective, and a refrain that bites subtly but sharply (“The meanest thing you ever did is come around…and now I’m ruined”).  Finish it off with an arrangement that sounds like something off of the Dixie Chicks’ Fly, and everybody wins.  – Ben Foster

#29
“When It Pleases You”
Sara Watkins

Individual rankings:  Dan – #10;  Leeann – #17

With slow, seething ire, Watkins faces the truth that she’s giving her whole heart to a relationship and getting jack back.  “I call you when I want to hear –,” she sighs, “– my voice whisper…in your voicemail’s ear.” – Dan Milliken

#28
“Live and Die”

The Avett Brothers

Individual rankings:  Sam – #2

The lead single from The Avetts Brothers’ new album was the perfect middle ground between their charmingly rough-around-the-edges independent albums and their more polished I and Love and You release from 2010.  There is something about the Avetts singing sentimental, romantic lyrics over the strumming of a banjo that’s just so right– Sam Gazdziak

#27
“Is It Already Time?”
Wade Hayes

Individual rankings:  Kevin – #10;  Dan – #15

A to-the-point account of getting a diagnosis out of nowhere and suddenly having to stare down one’s own mortality. – Dan Milliken

#26
“Safe & Sound”
Taylor Swift featuring The Civil Wars

Individual rankings:  Leeann – #10;  Jonathan – #14

The soft production and gentle melody of “Safe & Sound” compliment Taylor Swift’s wispy voice rather than competing against it, as is prone to happen in many of Swift’s recordings.  The addition of The Civil Wars’ sublime vocal support greatly elevates a recording that would have been pretty good without them, but turns out to be even better with them. – Leeann Ward

#25
“I Like Girls That Drink Beer”
Toby Keith

Individual rankings:  Kevin – #9;  Leeann – #16

Keith revisits the classic uptown girl/downtown boy pairing that’s resulted in so many great country records in years gone by. – Kevin John Coyne

#24
“Plant White Roses”
Kelly Hogan

Individual rankings:  Jonathan – #1

Stephin Merritt of the Magnetic Fields is one of pop music’s most sardonic, morose songwriters, prone to declarations like, “Plant white roses, and plan to cry/If I can’t spend my life with you, I want to die.” But Kelly

Hogan, best known for her work singing back-up with Neko Case, is a such a gifted interpretive singer that she’s able to find the humanity in Merritt’s sad-sack narrators, and it’s her multifaceted, nuanced reading of “Plant White Roses” that ropes the song into the country genre. – Jonathan Keefe

#23
“Good Girl”
Carrie Underwood

Individual rankings:  Kevin – #6;  Dan – #16

A rockin’ little record that exudes Underwood’s growing confidence as a singer and a songwriter.  A much-needed shot of adrenaline into the arm of country radio. – Kevin John Coyne

#22
“Hello Cruel World”
Gretchen Peters

Individual rankings:  Ben – #8;  Sam – #12

An insightful, slyly self-deprecating take on middle age and mortality, with the narrator musing “I’m not dead, but I’m damaged goods, and it’s getting late.”  A clever pun of a title hook reflects the narrator’s resolve to make peace with the past, and to keep moving forward.  – Ben Foster

#21
“Dig Gravedigger Dig”
Corb Lund

Individual rankings:  Sam – #4;  Jonathan – #18

Lund gives a little love to the gravedigging profession with this bluesy stomper.  It’s perhaps a little twisted, but more country songs could stand to reference rigor mortis these days. – Sam Gazdziak

#20
“I’m a Mess”
Rodney Crowell

Individual rankings:  Leeann – #4;  Kevin – #16

From his collaborative project with Mary Karr that includes many esteemed guest artists, this Rodney Crowell-performed cut emerges as one of the strongest.  With a production that would neatly fit on one of his albums of the 2000’s, the lyric suits the chaos that its title suggests. – Leeann Ward

#19
“Fly Over States”
Jason Aldean

Individual rankings:  Tara – #7;  Dan – #9

Aldean relaxes his badass-hicktown-pride muscles for a moment and reveals the beating heart beneath.  It’s like a heartland-rock “Colors of the Wind” – and what could be more badass than that– Dan Milliken

#18
“Even If It Breaks Your Heart”
Eli Young Band

Individual rankings:  Sam – #5;  Tara – #16;  Jonathan – #16;  Dan – #20

The song was written by Will Hoge and Eric Paslay, but the Eli Young Band made this tale about preservation and hope their own.  Given the ups and downs and should’ve-been-hits that the Texas group has seen in its career, they’ve lived this song. – Sam Gazdziak

#17
“Two Black Cadillacs”
Carrie Underwood

Individual rankings:  Kevin – #4;  Tara – #4;  Ben – #18

A haunting Southern Gothic tale of revenge, heavy on the catharsis and light on the narrative.  Underwood fills in the gaps with a spot-on performance – imbuing it with chilling fury, sinister joy, and just enough poise to suggest she knows tantalizingly more than we do. – Tara Seetharam

#16
“Beer Money”
Kip Moore

Individual rankings:  Dan – #8;  Tara – #9;  Kevin – #11  Ben – #19

The year’s finest blue-collar drinkin’ song, crackling with desperation and sexual friction. – Dan Milliken

#15
“Better Dig Two”
The Band Perry

Individual rankings:  Jonathan – #7;  Leeann – #9;  Dan – #11;  Tara – #19

The second most surprising moment in country music in 2012 was that The Band Perry’s “Better Dig Two” finds producer Dann Huff, known for his heavy hand at the mixing board and his affinity for maudlin arrangements, doing an on-point impression of Rick Rubin.  But the most surprising moment in country music in 2012 has to be the casual reference to crystal meth in the single’s second verse.  Artists like Drive-By Truckers and Hank III have addressed rural America’s drug of choice for years now, but who would’ve ever expected that the exceedingly polite, ridiculously coiffed Perry siblings – and not, say, Eric Church in full “outlaw” drag – would’ve been the ones to bring a parallel between one of the nastiest, most damaging of vices and the addictive powers of love to country radio?  Or that they’d pull off such a thing with the kind of authority and conviction that make “Better Dig Two” so searing?  This isn’t a wistful fantasy about what happens if the narrator dies young; it’s an open threat of how things very likely will end. – Jonathan Keefe

#14
“I Just Come Here for the Music”
Don Williams featuring Alison Krauss

Individual rankings:  Ben – #6;  Sam – #7;  Dan – #17;  Kevin – #20

Don Williams’ return from retirement was a nice surprise in and of itself.  And So It Goes found Williams still at the top of his game, and this duet with Krauss is one of the many highlights.  His deep baritone and her angelic harmonies blend beautifully. – Sam Gazdziak

#13
“The Dreaming Fields”
Matraca Berg

Individual rankings:  Ben – #2;  Leeann – #6;  Jonathan – #10

In one of the finest songs by one of country music’s finest songwriters, Matraca Berg lays bare her feelings of wistfulness over the loss of a family farm embodying scores of memories.  “The Dreaming Fields” boasts a deeply compelling melody, a chillingly effective arrangement, and a gut-wrenching vocal performance.  I may not know the first thing about farming, but one thing I do understand is the meaning of a memory.  This song rips my heart out. – Ben Foster

#12
“Springsteen”
Eric Church

Individual rankings:  Dan – #6;  Tara – #6;  Leeann – #15;  Jonathan – #17;  Ben – #20

The song was a pretty piece of nostalgia to begin with. But Jay Joyce’s hypnotic groove lifts the record to a higher ground, giving it the same sort of spiritual beauty often attributed to its namesake’s best work. – Dan Milliken

#11
“Blown Away”
Carrie Underwood

Individual rankings:  Kevin – #2;  Dan – #7;  Tara – #14;  Ben – #15

An epic single with both a theme and a production big enough to contain the overwhelming vocal powerhouse that is Carrie Underwood.  Give her points for being courageous enough to tackle this topic on record, but get down on your knees and offer praise and gratitude for being talented enough to pull it off. – Kevin John Coyne

#10
“The Wind”

Zac Brown Band

Individual rankings:  Jonathan – #2;  Tara – #11;  Leeann – #13;  Ben – #14;  Sam – #19

With an impressive string of Top 2 hits and a couple of platinum-plus albums to their credit, Zac Brown Band had earned the opportunity to take a risk leading up to the release of their third studio album.  While Uncaged had no shortage of obvious radio hits, the band, who have always been more of a “Southern” band than a proper “country” outfit, chose to prove their genre bona fides by releasing “The Wind.”  A fast-picking, freewheeling romp, “The Wind” sets the ideal stage for a “hoedown” vs. “hootenanny” debate. The song’s breakneck speed and clever turns-of-phrase may have proved too much for radio, where it became the band’s first single to miss the Top 10, but it’s a single that highlighted the real breadth of Zac Brown Band’s range. – Jonathan Keefe

#9
“The Sound of a Million Dreams”
David Nail

Individual rankings:  Tara – #1;  Kevin – #8;  Ben – #9;  Dan – #19

With an arrangement as rich as its sentiment, “The Sound of a Million Dreams” is an elegant tribute to songs, punctuated by a searing second verse.  Billy Joel could have mastered this piano ballad, but he wouldn’t have delivered it with such painfully earnest hope.  And in an era where too many artists have the audacity to present us with career-low music, Nail’s unapologetic faith in the power of his craft is deeply, depressingly refreshing. – Tara Seetharam

#8
“Creepin'”
Eric Church

Individual rankings:  Sam – #1;  Dan – #2;  Leeann – #8;  Tara – #15

With an ominous vibe and distorted vocals, Church manages to come up with a unique song in an increasingly cookie-cutter genre.  From the opening “bom bom bom bah-dom” to its searing guitar solos, “Creepin’” is one of the year’s most distinctive singles in any genre.  When all to many “country-rock” songs are really just rock songs about country things, “Creepin’” really does manage to blend the two elements into something new and exciting. – Sam Gazdziak

#7
“Neon”
Chris Young

Individual rankings:  Tara – #3;  Dan – #5;  Leeann – #7;  Jonathan – #8;  Ben – #13

Young’s ode to a bar gracefully treads the line between vintage and current, packed with clever imagery and backed by a sturdy neotraditional arrangement.  But don’t pity the patron a la “Neon Moon” – Young trades Ronnie Dunn’s loneliness for sweet, boozy contentment.  Note by note, he melts the entire song into a sublime pool of resignation, a near-perfect encapsulation of those hazy, memory-drowning nights. – Tara Seetharam

#6
“Takin’ Pills”
Pistol Annies

Individual rankings:  Jonathan – #3;  Leeann – #5;  Sam – #9;  Tara – #10;  Ben – #10

Miranda Lambert’s critical clout took a considerable hit in 2012 as a result of back-to-back career-worst singles, but the second proper single from the Pistol Annies was plenty strong enough to keep Lambert associated with some of the smartest, most self-aware songwriting in modern country.  “Takin’ Pills” finds the Annies having an absolute ball in playing dress-up, and the song is all the better because they give their audience credit for knowing exactly what they’re doing and why they’re doing it.  During a year when so many acts were preoccupied with misguided notions of authenticity, to hear the Annies flaunt their artifice so brazenly made for a welcome change of pace.  It’s a shame — albeit an unsurprising one — that country radio still won’t give them the time of day. – Jonathan Keefe

#5
“Like a Rose”
Ashley Monroe

Individual rankings:  Leeann – #1;  Ben – #5;  Jonathan – #9;  Sam – #10;  Tara – #13

Hearing a new country song from Ashley Monroe, as a solo artist, has been a long time coming.  While the wait has been tough, the payoff has certainly been worth it.  “Like A Rose”, the first song that the public has been able to hear from her upcoming 2013 album, is a crisply produced, sharply written and exquisitely sung gem.  High praise for a song that may unfortunately ultimately slip under the radar, but such praise is easily warranted here. – Leeann Ward

#4
“Drinkin’ Man”
George Strait

Individual rankings:  Kevin – #3;  Ben – #3;  Tara – #5;  Jonathan – #5;  Leeann – #11

There are few bright spots that come with the knowledge that Strait is in the twilight of his career, with retirement seeming more likely with each passing year.  One particularly shiny one is that Strait’s become something of a vanguard in these final years.  “Drinkin’ Man” is challenging, compelling, and subtly powerful, not adjectives typically associated with his remarkable thirty years of hits.  He’s always been good, but he’s rarely been this interesting. – Kevin John Coyne

#3
“What Have I Done”
LeAnn Rimes

Individual rankings:  Tara – #2;  Leeann – #3;  Dan – #4;  Ben – #4;  Kevin – #5

Music’s finest quality is its ability to express the intangible – the smallest trace of thought, the slightest nuance of emotion.  “What Have I Done” is a striking example of this, a quiet shuffle of pain, regret and reflection that, if only for a few minutes, elevates a well-known story to a three-dimensional reality.  The lyrics are sharp and unadorned, but the song’s soul is Rimes’ layered performance, easily the most compelling of the year. – Tara Seetharam

#2
“So You Don’t Have to Love Me Anymore”
Alan Jackson

Individual rankings:  Kevin – #1;  Ben – #1;  Jonathan – #4;  Tara – #8;  Sam – #11

Had it been released fifteen or twenty years ago, “So You Don’t Have to Love Me Anymore” would stand a much greater chance at being remembered as the classic it is.  Shameful #25 chart peak aside, this is an achingly beautiful, finely detailed story of a man who is willing to let his reputation fall into ruins for the sake of allowing his former lover to move on without him, resigning himself to a despondent, heartbroken existence in which nothing matters to him at all except the happiness of the one he loves.  A steel guitar, a nakedly sincere vocal, and the dark, bitter, aching truth – It’s everything a great country record should be.  A timeless career highlight from a true country music legend. – Ben Foster

#1
“Merry Go ‘Round”
Kacey Musgraves

Individual rankings:  Dan – #1;  Leeann – #2;  Sam – #3;  Kevin – #7;  Ben – #7;  Tara – #12

In a single masterful stroke, Musgraves cuts to the fearful, defeated heart of countless small-towners – countless any-towners, really.  The nursery-rhyme chorus is country poetry of the highest order, illustrating in a few simple lines how we compromise ourselves rather than face the unknown, turning to one distraction or another until we almost don’t notice the years rolling by, our dreams collecting dust.

It would have been a standout single in most any era of country music.  That it’s managed to go Top 20 in this era – in which the mainstream anxiously evades things that are smart, challenging, new, and female – feels like a small miracle, and speaks to the timeless power of great music to transcend meaningless boundaries.  It’s the most impressive debut country single in recent memory, and an enticing challenge to an ever-reductive Music Row:  Truth and creativity can still win out in 2012. – Dan Milliken

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Single Review: David Nail, “Someone Like You”

You really can’t mess this one up.

“Someone Like You” is going to be covered endlessly anyway.  It’s already a standard.

That being said, it’s hard to hear it with fresh ears, especially when it’s not Adele singing it.   But to David Nail’s credit, he keeps the simplicity of the original and doesn’t try to out-sing its originator.  He sounds like a less nasal Gary LeVox, which sounds pretty good, indeed.

His cover doesn’t elevate the song or bring any new discoveries to the surface, but neither is necessary to justify it being covered.   A great song sung well is good enough for me.

Written by Adele and Dan Wilson

Grade: B+

Listen:  Someone Like You

httpv://www.youtube.com/watch?v=KnOSjTm96nw

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Single Review: David Nail, “The Sound of a Million Dreams”

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.

Though the song references Bob Seger, Bruce Springsteen’s “Born to Run,” and Merle Haggard’s “Mama Tried,” it does so in a way that enhances the song’s meaning, as opposed to using such references as a crutch.  The narrator relates how such songs affect him emotionally, describing their ability to dredge up memories of his past – fond memories as well as painful ones.  The lyric begins on a light note, relating how Seger’s “Main Street” brings back pleasant memories of a former flame.  From there the song moves into deadly serious territory, as Nail looks back regretfully on the mistakes of his youth, saying that “When I hear ‘Mama Tried’ I still break down and cry and pull to the side of the road.”

Such thoughts and feelings move the singer to reflect on his own role as a musician, expressing the hope that “Maybe my voice will cut through the noise and stir up an old memory.”  The song squarely hits its target by using imagery that lends it a personal, relatable feel, with the narrator detailing how he personally is affected by the songs he has grown up with.  Perhaps the biggest thing the song gets right is that it taps into actual tangible emotions, as opposed to rudimentary, superficial details.

Though a portion of Nail’s past work has been marred by overproduction, such issues are nowhere to be found on this song.  Instead, we get a straightforward piano ballad with touches of steel guitar, which allows the song’s story to effectively resonate without needless distractions.  Nail for his part has already proven himself to be a gifted vocalist, but he has hardly sounded better than he does here.  Bolstered by a truly great lyric and a tasteful production, he shines with his strong, heartfelt, sincere performance.  Though he didn’t write the song himself (Scooter Carusoe and Phil Vassar did), Nail’s performance hints at a deep connection to the intent of the lyric.  The result ranks as easily Nail’s finest single to date, not to mention a shoo-in for my ‘Best of 2012′ list.

As he expresses in song the hope that his music will touch others in the same way that the music of his past has touched him, Nail reaches out to his listeners by putting all of himself into his performance, and in so doing, he just might have achieved that very goal.

Written by Scooter Carusoe and Phil Vassar

Grade:  A

Listen:  The Sound of a Million Dreams

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Top 40 Singles of 2011, Part One: #40-#31

For nine decades and counting, country music has been defined by the single, with only the format and definition changing over time.

Today, a single could be any one of the following: a CD sent to radio for airplay; a digital download released in advance of an album; a music video released to online websites and dwindling television outlets; and in a lovely throwback, a seven inch vinyl single sold in the indie record stores that have managed to outlast the chain stores that once threatened their existence.

Seven Country Universe editors and contributors each submitted their twenty favorite singles of the year.  59 different singles made the cut, and over the next four days, we’ll share with you the top forty.   You can listen to a sample from each song by scrolling down to the bottom of the post.

Top 40 Singles of 2011, Part One: #40-#31

#40
The Road
Emmylou Harris

Individual Rankings: #18 – Kevin; #18 – Ben; #20 – Jonathan

A musical expression of gratitude from the incomparable Emmylou Harris to her late musical mentor Gram Parsons. Through her lyric and vocal, Harris conveys a wide array of emotions – obviously sadness, along with nostalgia for times past, wonderment and uncertainty, as well as determination to persevere in spite of heartache, while also highlighting the invaluable role of music in coping with a devastating loss.

Above all else, however, “The Road” is a song of thankfulness for having had such a friend in the first place, even if for only a brief time. – Ben Foster

#39
Shut Up Train
Little Big Town

Individual Rankings: Kevin – #13

Far from the first country song to build a train metaphor around a heartache, this one is distinguished by a strong vocal performance and the creative approach of having the protagonist talk directly to the train. – Kevin John Coyne

#38
Let it Rain
David Nail featuring Sarah Buxton

Individual Rankings: Sam – #15; Dan – #19

Nail’s moody streak continues, this time with a ringing cheater’s lament. He’s so appalled at himself that he calls on the heavens to rain down judgment. But it’s Buxton who strikes the gavel in the end, as her voice shreds with the pain of a woman whose world will never be the same. – Dan Milliken

#37
Ours
Taylor Swift

Individual Rankings: #12 – Sam

The pop-country version of Taylor Swift is a bona fide superstar. However, when she strips down the production and shows off her quieter, folksy side like she does on “Ours,” she really shines. Based on the quality of her past singles “Ours” and “Mine,” she’ll have a real winner if she ever gets around to writing “Yours.” – Sam Gazdziak

#36
Shanghai Cigarettes
Caitlin Rose

Individual Rankings: #12 – Jonathan

It’s often hard to separate Caitlin Rose’s music from her Manic Pixie Dream Girl persona– that she sings like Zooey Deschanel with a far better sense of pitch doesn’t help, either– but “Shanghai Cigarettes” makes it clear that she learned a lot about songcraft from her mother, frequent Taylor Swift collaborator Liz Rose. – Jonathan Keefe

#35
You
Chris Young

Individual Rankings: #11 – Tara

Two parts neo-traditional charm, one part that voice and a dash of breezy sensuality. Goes down smoother than anything since James Otto rode the airwaves. More, please. – Tara Seetharam

#34
Fixin’ to Die
G. Love

Individual Rankings: #14 – Jonathan; #19 – Dan

One of the elements that distinguishes contemporary country from traditional genre forms is a heavy use of percussion, and G. Love ups the ante in that regard on “Fixin’ to Die.” By marrying a straightforward acoustic blues arrangement to a rhythm section lifted almost entirely from J-Kwon’s “Tipsy,” G. Love effectively thumbs his nose at the idea of a rural vs urban divide. – Jonathan Keefe

#33
Head Full of Doubt/Road Full of Promise
The Avett Brothers

Individual Rankings: #10 – Sam

The Avetts’ I and Love and You was one of the best albums of 2010, and this song was one of its highlights. For a band that can deliver some raucus punk-bluegrass tunes, they can also put together hauntingly pretty songs too.- Sam Gazdziak

#32
Barefoot Blue Jean Night
Jake Owen

Individual Rankings: #7 – Dan

Contrived, utopian visions of Southern partying are practically an entire country sub-genre now. “Barefoot” checks all the formulaic boxes, but for once the formula’s impossible details (“the girls are always hot and the beer is ice cold!”) are matched to an equally dreamlike, shimmering production, exposing what a fantasy the whole thing is. You can’t buy the premise, but you grant the underlying escapism.- Dan Milliken

#31
Down by the Water
The Decemberists

Individual Rankings: #11 – Sam; #17 – Leeann

As has been noted, “Down by the Water” seems influenced by an R.E.M. sound. However, the brightly placed harmonica and accordion, along with aggressive background vocals by Gillian Welch, make the melodic composition a memorable song on its own merits. – Leeann Ward

Next:  Top 40 Singles of 2011, Part Two: #30-#21

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