Tag Archives: Dwight Yoakam

Pop Goes Country – A Cover Song Report Card

Cover songs can be a hot topic at just about any given time.  We recently got to hear a somewhat underwhelming OneRepublic cover by Faith Hill, which Kevin recently reviewed.  Other recent attempts include Sara Evans’ pop-country reworking of Rod Stewart’s “My Heart Can’t Tell You No,” as well as last year’s polarizing Beyoncé cover by Reba McEntire.

Since cover songs are so much fun to talk about, I thought I’d weigh in on a few well-known cover songs from the past few years – the good ones, as well as a few that we would rather forget.  My criteria is simple:  A good cover song should bring something new to the table, and the song should be treated in a way that is well-suited to the artist as well as the genre.  This list focuses specifically on country covers of non-country songs.

 

Click the original artists’ names in parentheses to hear the original versions.

 

Rosanne Cash, “I Don’t Want to Spoil the Party” (The Beatles)
1989 | #1

Where it goes right:  Rosanne’s last career hit was a cover from a Beatles tribute album, and it didn’t sound quite like one might expect.  Though rarely one to use overt country instrumentation throughout most of her career, she delivers a brisk, upbeat take that’s layered in fiddling.  I’ll take it!

Grade:  B+

Mark Chesnutt, “I Don’t Want to Miss a Thing” (Aerosmith)
1998 | #1

Where it goes wrong:  It’s hard to imagine a worse pairing between song and performer.  Mark Chesnutt, the revered neotraditionalist behind “Too Cold at Home” and “Going Through the Big D” covering a rock power ballad?  It’s true – complete with apologetic steel guitar fills and a vocal smothered in autotune.  The end result is so cheesy that you might as well slap it between two crackers.  The fact that this is the top Mark Chesnutt iTunes download is very very sad.

Grade:  D

 

Dixie Chicks, “Landslide” (Fleetwood Mac)
2002 | #2

Where it goes right:  The Chicks give a well-known Fleetwood Mac favorite a stripped-down bluegrass treatment, which is a great fit for the nature-related imagery in the song’s lyrics.  The Chicks elevate the song further with their gorgeous harmonies.  As much as I love Fleetwood Mac, I have to say that this version tops the original.  It’s one of the best cover songs I’ve ever heard, and one of the Dixie Chicks’ personal best moments, of which there have been many.

Grade:  A

 

Sara Evans, “I Could Not Ask for More” (Edwin McCain)
2001 | #2

Where it goes right:  Evans delivers a stunning and powerful vocal performance that holds nothing back whatsoever.

Where it goes wrong:  The arrangement is a bit syrupy, and it’s essentially a pop cover of a pop song.  Is a little fiddle or steel too much to ask for?

Grade:  B

 

Faith Hill, “Piece of My Heart” (Erma Franklin, Janis Joplin)
1994 | #1
faith hill piece of my heart video Pictures, Images and Photos
(Watch the video)

Where it goes right:  The fact that Hill was unfamiliar with the Franklin and Joplin versions is telling.  You can easily tell that she is making no attempt to emulate the style of another artist, instead giving a performance totally her own, while the songs’s melody fits well with the countrified arrangement.

Where it goes wrong:  Again, the fact that Hill was unfamiliar with the previous versions is telling.  Her performance lacks the fire and fury of Joplin’s version, which makes it easy to see why one might consider Hill’s performance to be a bit too sugary.

Grade:  B-

 

Alison Krauss, “Baby, Now That I’ve Found You” (The Foundations)
1995 | #49

Where it goes right:  Krauss takes a forgettable Motown tune, and delivers a slowed-down mid-tempo version that much more deeply accentuates the emotions conveyed in the lyrics.  In contrast, the original sounded like one big party, which is an ill-fitting treatment of a song about trying to stop one’s lover from leaving.  The track is made all the more sweeter by Kruass’ angelic vocals, and by the expert instrumental backup of Union Station.  The song went on to win Krauss a well-deserved Grammy for Best Female Country Vocal Performance.

Grade:  A

 

Reba McEntire, “Cathy’s Clown” (Everly Brothers)
1989 | #1

Where it goes right:  It’s extremely effective as a reinterpretation, as McEntire slows the song down to an emotional ballad, and tweaks the lyrics to fit her feminine perspective.  Did I mention that she also gives a mighty fine vocal performance?

Where it goes wrong:  The production is a bit watered-down, which was not unusual for Reba’s late eighties and early nineties output.

Grade:  B+

 

Pam Tillis, “When You Walk In the Room” (Jackie DeShannon)
1994 | #2

Where it goes right:  Tillis could hardly have chosen a better song to countrify, as the lyric about a nervous encounter with an old flame fits right in with classic country music.  She even tweaked the instrumental opening so as to be better suited for the steel guitar, which demonstrates her strong commitment to the country genre.

Grade:  A

 

Travis Tritt, “Take It Easy” (The Eagles)
1994 | #21

Where it goes right:  The Eagles were about the countriest rock band you’d ever meet, and did a great deal to influence the evolution of country sounds and styles, so they were a fitting candidate for an all-country tribute album.  The centerpiece of the collection was honky-tonker Travis Tritt’s version of “Take It Easy” – an energetic performance that had even more body than the original, but that still felt reverent toward the legendary group’s classic version.

Grade:  A

 

Conway Twitty, “The Rose” (Bette Midler)
1983 | #1

Where it goes right:  Nowhere.

Where it goes wrong:  Everywhere. (Can you say bad karaoke?)

Grade:  D

 

Jimmy Wayne, “Sara Smile” (Hall and Oates)
2009 | #31

Where it goes wrong:  To put it simply… reinterpreting a song does not mean simply “adding a banjo line.”  The fact that Hall and Oates even sing background vocals on this track only adds to the overall feeling of pointlessness.

Grade:  D+

 

Mark Wills, “Back at One” (Brian McKnight)
1999 | #2

Where it goes wrong:  If it made for an awfully cheesy pop song in the hands of Brian McKnight, it made a flat-out terrible country song when Mark Wills covered it a mere two months after the release of the McKnight version.  It’s a record characterized by superfluous genre-pandering steel guitar fills, and a lead vocal that sounds more occupied with grooving to the beat than making any sort of emotional connection.  The song peaked at #2, and then Wills tackled a Brandy song immediately afterwards.  Seriously, dude?

Grade:  C-

 

Dwight Yoakam, “Suspicious Minds” (Elvis Presley)
1992 | #35

Where it goes right:  Covering an Elvis song is a tall order, to say the least.  The fact that Yoakam’s version rivals the original, with its contemporized arrangement and knockout lead vocal, is hardly a small feat.

Grade:  A

 

What’s your take on these tunes?  What are your favorite cover songs?  What are your least favorite cover songs?

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iPod Playlist: Originals And Covers

As I’m sure the rest of you do, I make playlists all the time. Many of them are lists of individual artists, but some of them have a concept.

My latest playlist is of covers. First, I have the original version (or the one that’s famous for being the original) followed by my favorite cover of it. My only rule is that I have to like both versions. So, songs where I like the cover but not the original won’t make the list.

I’ll share a sampling of what I have so far, as long as you share your latest or greatest concept playlist in the comments:

1. Buddy Miller, “Somewhere Trouble Don’t Go” (Miranda Lambert)
2. Hank Williams, “Hey, Good Lookin’” (The Mavericks)
3. Elvis Presley, “Suspicious Minds (Dwight Yoakam)
4. Dolly Parton, “Coat of Many Colors (Shania Twain/Alison Krauss)
5. Waylon Jennings, “Dreaming My Dreams with You” (Alison Krauss and Union Station)
6. Johnny Cash, “Understand Your Man” (Dwight Yoakam)
7. Merle Haggard, “The Way I Am” (Alan Jackson)
8. John Prine, “That’s the Way the World Goes ‘Round” (Miranda Lambert)
9. John Anderson, “Swingin’” (LeAnn Rimes)
10. Buddy Miller, “Don’t Tell Me” (Alicia Nugent)
11. Kasey Chambers, “Pony” (Ashley Monroe)
12. Tammy Wynette, “Stand by Your Man” (Dixie Chicks)
13. Bill Monroe, “Blue Moon of Kentucky” (John Fogerty)
14. Conway Twitty, “Goodbye Time” (Blake Shelton)
15. Hank Williams, “I Saw the Light” (Blind Boys of Alabama/ Hank Williams Jr.)
16. Bob Dylan, “Shelter from the Storm” (Rodney Crowell/Emmylou Harris)
17. Merle Haggard, “Today I Started Loving You Again” (Buddy Jewell/Miranda Lambert)
18. Nitty Gritty Dirtband, “Fishing in the Dark” (Garth Brooks)
19. The White Stripes, “Dead Leaves in the Dirty Ground” (Chris Thile)
20. Al Green, “Lets Stay Together” (John Berry)
21. David Allan Coe, “You Never Even Called Me by My Name” (Doug Supernaw)
22. The Decemberists, “Shankill Butchers” (Sarah Jarosz
23. Steve Earle, “My Old Friend the Blues” (Patty Loveless)
24. Eric Clapton, “Lay Down Sally” (Delbert McClinton)
25. Fred Eaglesmith, “Time to Get a Gun” (Miranda Lambert)
26. Dolly Parton, “Jolene” (The White Stripes)
27. Johnny Cash, “I Still Miss Someone” (Suzy Bogguss)
28. Pearl Jam, “Better Man” (Sugarland)
29. Kris Kristofferson, “From the Bottle to the Bottom” (Dierks Bentley/Kris Kristofferson)
30. Don Williams, “Lord, I hope this Day is Good” (Lee Ann Womack)
31. Bob Dylan, “Don’t Think Twice, It’s all right” (Randy Travis)

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The 30 Day Song Challenge: Day 13

Today’s category is…

A Leaving Song.

Here are the staff picks:

Leeann Ward: “She’s Crazy For Leavin’” – Rodney Crowell

For me, this song plays out like a movie scene in one of those wacky romantic comedies. The guy is over-the-top trying to convince his girl not to go, saying that “she’s crazy for leaving”, while everyone else at the bus stop pretty much knows he’s the crazy one and tells him to just let her go. I especially love the hook, “You can’t stop a woman when she’s out of control.” Few can write tongue in cheek like Crowell and Guy Clark, I tell ya.

Dan Milliken: “She’ll Remember” – Dwight Yoakam

The zany first minute never gets old for me.

Tara Seetharam: “Let Him Fly” – Patty Griffin

To me, one of the most beautiful songs ever written. It so perfectly captures the equally peaceful and equally crushing “beauty of just letting go.”

Kevin Coyne: “Consider Me Gone” – Reba McEntire

Smart, adult, and even-tempered, this record claims the moral high ground while still managing to get in a subtle dig or two.

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Where’ve You Been? – 2011 Edition

It’s hard to believe that there once was a time that country artists put out two full-length albums a year.  If they were part of a regular superstar duet team, like Conway Twitty & Loretta Lynn or Porter Wagoner & Dolly Parton, a fan might hear as many as four new studio albums from their favorite artist.

By the time that I got into country music – twenty years ago, natch – things had slowed down a bit.  Artists usually released a new album every 12-18 months.  Sometimes they’d push it to two years, but not often.

Those were the days.  Waits between album releases have gotten crazy lately.  I’m all for taking the time to get it right, but once we push past the half-decade mark, things have gone too far.  Sure, we’re given side projects to carry us over, but there’s no substitute for a full-length studio album of all-new material.

Here are five artists who I’d really love to see make a long-awaited return with a new album in 2011, along with a brief rundown of the side projects that they’ve been busy with while we’ve waited for that new album:

Shania Twain

Last Studio Album: Up! (2002)

Side Projects: Greatest Hits (2005), featuring four new tracks; contributions to a Dolly Parton tribute album, a live Willie Nelson album, an Anne Murray duet album, and the Desperate Housewives soundtrack.

It’s been over eight years since Twain released that 19-track opus. It was cool that she released the album in three different mixes, essentially giving us 57 new mp3s for the iPods we didn’t even have yet. Of all the superstar acts, she’s the one who has been away the longest.

Wynonna

Last Studio Album: What the World Needs (2003)

Side Projects: Live album, Christmas album, covers album, Cracker Barrel album…

In a sense, she’s never really gone away. But despite being a fixture in the media and releasing so many other-type albums, we haven’t gotten a real studio set from Wynonna in over seven years. Given that the last one was among the finest in her career, it’s a shame she has yet to craft another mainstream country album.

Dwight Yoakam

Last Studio Album: Blame the Vain (2005)

Side Projects: A Buck Owens tribute album in 2007, Dwight Sings Buck.

The most distressing absence on the list, mostly because he’s been so prolific in the past. Movie appearances are keeping him busy. Here’s hoping that when he does return, we get more than ten songs.

Dixie Chicks

Last Studio Album: Taking the Long Way (2006)

Side Projects: “The Neighbor”, from the Shut Up & Sing documentary; contributions to a Tony Bennett duet project; Emily and Martie’s Court Yard Hounds set; Natalie’s duet with Neil Diamond.

It’s hard to follow up an album that wins a bunch of Grammys, but it’s not like they haven’t done so before. If they’re insisting on writing all of the next album, it could be gestating for a very long time. Can’t we get a Patty Griffin or Darrell Scott covers album to hold us over?

Vince Gill

Last Studio Album: These Days (2006)

Side Projects: A mother lode of duet and harmony appearances on other artist’s albums (Reba McEntire, Charlie Daniels, Amy Grant, Clay Aiken…)

Gill’s last album was a four discs worth of new material, so it’s understandable that it would take a couple of years for him to craft a new one. But we’re going on five now. Since Gill was able to create those four discs a mere three years after his previous studio set (2003′s Next Big Thing), we should be due for a new album soon.

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Best of 2011?

End-of-year lists abound, and we still have another on the way. But what about the best albums of 2011?

We’re in that super cool period of anticipation, where we wonder what the albums we know about will sound like, and hope that the albums that we don’t know about will be from artists who we can’t get enough of.

Right now, the announced albums that I’m most pumped for are the 2-CD live album from Todd Snider and the new studio album from Alison Krauss, both scheduled for release in early 2011.

Among the unannounced, I’m pining for new studio albums from Dwight Yoakam and Shania Twain. Feels like a lifetime since either had a proper album of new material.

If we’re getting into pipe dreams, I’ll add a new Dixie Chicks set into the mix.

What albums are you hoping for in 2011?

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Single Review: Alan Jackson featuring Lee Ann Womack, “Ring of Fire”

I am not one who typically embraces extremes, but I must make an exception for Johnny Cash’s recording of “Ring of Fire.” It’s the definitive version; it’s an untouchable. Sure, some people have made valiant attempts, even changing things up so as not to try to mimic Cash, but make it their own, and I even like some of these other versions. None of these other efforts, however, has surpassed or even come close to touching Cash.

So, I implore, why even try when any other version will only be runners up at best, especially when recording it for a tribute album isn’t the excuse? Although only in my head, I’ve asked this question of excellent artists such as Pam Tillis, Dwight Yoakam, Ray Charles, along with odder choices like Social Distortion and Blondie. Alas, now, I must ask the same of Alan Jackson and his somewhat superfluous (meaning she doesn’t add to or detract from the recording) accomplice, Lee Ann Womack.

While Alan Jackson’s version is technically easy on the ears, therein lies the major problem with the recording. It’s too mellow, devoid of passion. Instead of the imperative fiery recording that Cash seamlessly gave us, his is frustratingly lackadaisical, even amidst a bouncy, though uninspired, production. Ultimately, he seems to miss the point of the song altogether, which is a shame because it’s the only previously unreleased song on his 34 Number Ones Hits package that is supposed to hold us over until his next studio album.

Written by June Carter & Merle Kilgore

Grade: C

Listen: Ring of Fire

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400 Greatest Singles of the Nineties: #25-#1

And so we come to the end. The top of our list includes a wide range of artists singing a wide range of country music styles.  Thematically, these entries are diverse, but what they all have in common is what has always made for great country music. They are all perfectly-written songs delivered with sincerity by the artists who brought them to life.

400 Greatest Singles of the Nineties: #25-#1

#25
Smoke Rings in the Dark
Gary Allan
1999 | Peak: #12

Listen

A dark, atmospheric wonder, as Allan delivers the final eulogy for a love that couldn’t help burning out. – Dan Milliken

#24
Just to See You Smile
Tim McGraw
1997 | Peak: #1

Listen

Being deeply enamored of someone can make it easy – even appealing – to forfeit your own well-being. This single’s sunny tone reflects the persistent affection running through its protagonist, but its story demonstrates the heartbreak to which such unmeasured selflessness leads. – DM Continue reading

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400 Greatest Singles of the Nineties: #50-#26

The themes of love and loss have permeated country music for as long as it’s been in existence.  This second-to-last batch of great nineties hits contains songs that are direct descendants of well-known classics like “Can the Circle Be Unbroken” and “I’m So Lonesome I Could Cry”, along with a Shania Twain hit that would  have made Roba Stanley smile.

400 Greatest Singles of the Nineties: #50-#26

#50
Here’s a Quarter (Call Someone Who Cares)
Travis Tritt
1991 | Peak: #2

Listen

From the first forceful guitar strum on, this kiss-off number somehow manages to seem unusually cool and collected in its own aggression. You get the impression that Tritt’s character has been anticipating this moment, and has already made up his mind that he’s going to relish every second of it. – Dan Milliken

#49
I’ve Come to Expect it From You
George Strait
1990 | Peak: #1

Listen

This is about as dark and bitter as George Strait gets. It’s a coat that he wears well. – Kevin Coyne Continue reading

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400 Greatest Singles of the Nineties: #75-#51

As might be expected, the subject matters are getting more intense as we edge closer to the top.  But there’s still room for some carefree moments here, thanks to the Dixie Chicks and Jo Dee Messina.

400 Greatest Singles of the Nineties: #75-#51


#75
When You Say Nothing at All
Alison Krauss & Union Station
1995 | Peak: #3

Listen

This Keith Whitley classic was recorded as part of a tribute album to the late country star. It became a hit all over again, perhaps because Krauss performed it in a near-whisper. The quiet arrangement matches the sentiment beautifully. – Kevin Coyne


#74
Alibis
Tracy Lawrence
1993 | Peak: #1

Listen

Lawrence dishes on his ex’s cheating ways to her new potential lover. How did she get that way? He reveals that he’s the one who taught her everything she knows from the cheater’s playbook. Moreover, he seems regretful of her corruption. – Leeann Ward

#73
Cowboy Take Me Away
Dixie Chicks
1999 | Peak: #1

Listen

In a modern world where life can so easily feel cold and mechanical, love remains earthy and exciting and mysterious. It’s a window into a different world, one where we’re not defined by the predictables of our routine – the same stresses, the same cars and buildings – but by our core nature as people, our place in the greater fabric of Earth and, perhaps, heaven. On the surface, “Cowboy Take Me Away” sounds like just a sugar-sweet love song – I’ve even heard it called “pre-feminist”  – but there’s something else going on here: a plea for life to have meaning again. – Dan Milliken Continue reading

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400 Greatest Singles of the Nineties: #100-#76

Many a star was launched in the nineties, a few of them right out of the gate. This section includes the debut singles from Toby Keith, Jo Dee Messina, LeAnn Rimes, and Doug Stone, along with Grammy-winning hits by Alison Krauss and Dwight Yoakam.

400 Greatest Singles of the Nineties: #100-#76

#100
The Battle Hymn of Love
Kathy Mattea & Tim O’Brien
1990 | Peak: #9

Listen

Wedding songs are typically made of the same fiber, but this one is a little different: it’s energized by burning conviction and fierce pledges. – Tara Seetharam

#99
Blue
LeAnn Rimes
1996 | Peak: #10

Listen

Sure, the novelty of thirteen year-old Rimes’ prodigious Patsy imitation helped things along. But that unshakable yodeled hook would have made “Blue” a classic in any era of country music. – Dan Milliken Continue reading

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