Posts Tagged ‘Holly Williams’

Country Universe’s Best Albums of 2013, Part Two: #20-#1

Tuesday, December 31st, 2013

2013 turned out to be a banner year for new music, full of powerful songwriting, inspired collaborations, and truly cohesive albums that would rank among the best releases in any given year.  Many of this year’s top twenty would’ve ranked much higher in other years, and many of us writers couldn’t even include all the works we deeply enjoyed this year on our personal lists, making our collective list worthy of the heartiest endorsement we could ever give.

Here’s to a great 2013, and a greedy wish that 2014 will be just as wonderful on the music front. As always, share your thoughts and personal favorites in the comments.

Charlie Worsham Rubberband

#20
Rubberband
Charlie Worsham

Individual rankings:  #7 – Tara; #12 – Leeann

Like Chris Young two years ago, Worsham’s voice is a commodity that instantly elevates the new artist to an orbit above the male radio regulars. His is warm and cleanly expressive, lending itself best to songs that nurture his upper register, like the jaunty “Want Me Too,” haunting “Someone Like You” or those invigorating opening bars of “Could It Be.” If only life imitated “Nashville” and its fictional stars’ uncomplicated brand of pop country, Worsham might just be the next Luke Bryan and “Rubberband” –the album’s finely produced, genre-bending title track– his next big hit. - Tara Seetharam

Recommended Tracks:  “Rubberband,” “Someone Like You,” “Young to See,” “Could it Be”

Patty Griffin Silver Bell

#19
Silver Bell
Patty Griffin

Individual rankings:  #5 – Kevin; #13 – Jonathan

It was a banner year for Patty Griffin fans, as two new studio albums were released.  Silver Bell is the oddity of the two, in that it was recorded thirteen years ago and languished in the vaults (and on cherished bootlegs.)  For those who have discovered Griffin during her past few years as an Americana goddess, Silver Bell was her final attempt at a mainstream album for A&M Records, and it is fantastic.  She finds a happy medium  between the rawness of her debut album, Living with Ghosts, and the hard edge of its follow-up, Flaming Red.  Two of the best tracks, “Truth #2″ and “Top of the World”, would become two of the best tracks on Home, the landmark Dixie Chicks album from 2002.  Emmylou Harris joins in on harmony for “Truth”, but the true revelation is the original recording of  “World”, which is darker and more haunting than the excellent renditions that the Chicks, and Griffin herself, would later record. - Kevin Coyne

Recommended Tracks:  “Top of the World”, “One More Girl”, “Mother of God”

Son Volt Honky Tonk

#18
Honky Tonk
Son Volt

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

As one of the defining bands of alt-country, Son Volt have rarely taken a straightforward approach to the country genre, but they go full-on Bakersfield on Honky Tonk. It’s a move that suits the band well, as the laid-back arrangements on tracks like “Tears of Change” and “Hearts and Minds” balance frontman Jay Farrar’s trademark intensity. - Jonathan Keefe

Recommended Tracks: “Hearts and Minds,” “Bakersfield,” “Seawall”

The Steeldrivers Hammer Down

#17
Hammer Down
The SteelDrivers

Individual rankings:  #12 – Ben; #15 – Tara, Sam; #20 – Jonathan

In many instances, the replacement of a lead vocalist has spelled disaster for a band’s career. In the case of the SteelDrivers, it’s the beginning of a whole new chapter as Gary Nichols ably fills the shoes of the departed Chris Stapleton. But great singers and great pickers still need great songs, and from the haunting opener “Shallow Grave” to the piercing melody of album closer “When I’m Gone,” Hammer Down sets a consistent standard that never wavers. - Ben Foster

Recommended Tracks:  “Hard Way Home,” “Keep Your Heart Young,” “Heart’s Content”

Guy Clark My Favorite Picture of You

#16
My Favorite Picture of You
Guy Clark

Individual rankings:  #3 – Ben; #10 – Leeann

Guy Clark has already secured his place in country music history – not to mention a place in the Nashville Songwriter’s Hall of Fame – but on his first new studio effort since 2009, the songwriting icon is still finding ways to keep things fresh. On My Favorite Picture of You, Guy Clark addresses current events (“Heroes,” “El Coyote”) as well as personal loss (the achingly gorgeous title track, a tribute his late wife Susanna), his absorbing lyrics delivered through a wise and weathered voice which feels like that of an old friend. - Ben Foster

Recommended Tracks: “My Favorite Picture of You,” “El Coyote,” “Heroes”

Holly Williams The Highway

#15
The Highway

Holly Williams

Individual rankings: #3 – Tara; #7 – Leeann

Producer Charlie Peacock treads a dangerous line on The Highway, with arrangements so sparse they’d easily deflate a lesser artist’s work. But he and Williams work exceptionally well together on her third album, leaning on her character-filled voice to fill in the spacious canvas. The album’s themes are heavy and often morose, but Williams doesn’t weigh them down; instead, she approaches them with weathered sensibleness, using only the ragged edges of her voice to convey the underlying drama. As for that family of hers, if there’s a role for them on The Highway, it’s only to help sketch out the small, poignant details of her characters’ stories, like in the vivid history of her maternal grandparents’ eternal love in “Waiting on June.”  - Tara Seetharam

Recommended Tracks:  “Drinkin’,” “The Highway,” “’Til It Runs Dry,” “Waiting on June”

 Pistol Annies Annie Up

#14
Annie Up
Pistol Annies

Individual rankings:  #9 – Tara, Sam; #15 – Ben; #19 – Kevin

It was unlikely that the Pistol Annies would match their self-titled debut, a bullet of an album that flew in the face of everything manicured, polite and conventional in 2011. Their sophomore album, then, is a little less of a shock, but just as much of a raucous hoot. The ladies are still challenging societal norms (“Being Pretty Ain’t Easy”), lamenting and –surprisingly often– conceding to small-town marital discord (“Unhappily Married”), and, of course, dancing with their demons (“I Feel A Sin Coming On”). The breadth of their combined talent and mission is almost uncontainable, so misfires are expected (“Girls Like Us”); in the end, though, the album cements the trio’s place as the genre’s bravest truth-spitting chicks.  - Tara Seetharam

Recommended Tracks:  “I Feel A Sin Coming On,” “Being Pretty Ain’t Pretty,” “Unhappily Married,” “Dear Sobriety”

 Sturgill Simpson High Top Mountain

#13
High Top Mountain
Sturgill Simpson

Individual rankings:  #1 – Jonathan; #2 – Sam

Far too often, traditional-minded country acts fetishize the genre’s past and end up sounding like mimics of great artists, rather than becoming great artists in their own right. Sturgill Simpson, an acolyte of Waylon Jennings’ outlaw period, adopts a too-country-for-country throwback style on his debut, High Top Mountain. But the deceptively shrewd perspective that informs “Railroad of Sin,” “Water in a Well,” and “Old King Coal” is modern through and through, making Simpson one of country’s most exciting new voices. - Jonathan Keefe

Recommended Tracks:  “Railroad of Sin,” “Hero,” “You Can Have the Crown,” “Life Ain’t Fair and the World is Mean”

Patty Griffin American Kid

#12
American Kid
Patty Griffin

Individual rankings:  #10 – Jonathan; #12 – Kevin; #13 – Leeann; #18 – Tara; #20 – Ben

Not only is Patty Griffin a very deservedly respected songwriter of intelligent and often gut wrenching songs, she has what many sing-songwriter types don’t have–a sublime voice that pierces right through one’s heart and soul. Join those elements together and it’s no wonder that her first album of original songs since 2007 is at least as good as anyone would dare to hope it would be.

From the sweet cover of “Mom and Dad’s Waltz” to the powerful “Not a Bad Man”, Griffin’s album is a collection of masterful and intelligent songs that will make you think and want to think some more. - Leeann Ward

Recommended Tracks: “Mom and Dad’s Waltz”, “Irish Boy”, “Not a Bad Man”

Music Review Alan Jackson

#11
The Bluegrass Album

Alan Jackson

Individual rankings:  #7 – Kevin, Dan; #9 – Ben; #11 – Tara; #20 – Leeann

Once again, Alan Jackson sets out to do a vanity project and it ends up as good as his best mainstream work ever was.  His foray into bluegrass yields wonderful results, both in the form of compelling new material (“Blue Ridge Mountain Song”, “Mary”, “Blue Side of Heaven”) and well-chosen covers (“Wild and Blue”, “Blue Moon of Kentucky.”)  Like Dolly Parton and Merle Haggard before him, Jackson’s crossover from country to bluegrass shows just how little distance there is between the two, at least when the country artist in question has deep roots in the first place.  - Kevin Coyne

Recommended Tracks:  “Blue Ridge Mountain Song”, “Knew All Along”, “Mary”

The Mavericks

#10
In Time
The Mavericks

Individual rankings:  #1 – Sam; #10 – Tara, Ben; #18 – Kevin, Leeann

The Mavericks reunion may have been one of the more unexpected comebacks in recent country music history, but it should have come as no surprise that In Time was as excellent as it was. “That’s Not My Name” showed their classic country influences, but tunes like “Lies” and “Come Unto Me” blended in some rock, soul and Latin feel too. “Come Unto Me,” with its horn section and Raul Malo’s searing vocals, was the sexiest song in country music in 2013. - Sam Gazdziak

Recommended Tracks: “Come Unto Me”, “Lies”, “That’s Not My Name”

Billie Joe + Norah Foreverly

#9
Foreverly
Billie Joe + Norah

Individual rankings: #4 – Kevin, #5 – Leeann, #6 – Dan; #13 – Tara; #14 – Jonathan

Another quirky Norah Jones project, eh? Sounds about right; guess it’s been about six months since the last one. Oh, she got the guy from Green Day in on it? Well, that’s…huh. What? They’re covering an Everly Brothers album of traditional country and folk songs from the 50′s? They’re just, like, taking time out of their busy schedules to lovingly coo through a bunch of covers of the Everly Brothers’ covers, perhaps to help pass on the Everlys’ important legacy to younger generations, or perhaps just because they’re fans and love music and know Starbucks will sell it regardless? Who do these recording artists think they are — artists? - Dan Milliken

Recommended Tracks:  “Long Time Gone”, “I’m Here to Get My Baby Out of Jail”, “Kentucky”

Vince Gill and Paul Franklin Bakersfield

#8
Bakersfield
Vince Gill and Paul Franklin

Individual rankings:  #4 – Leeann; #5 – Ben, Jonathan; #6 – Tara; #16 – Kevin

It may not be typical for a steel guitarist to receive top billing alongside a legend of Vince Gill’s caliber, but it’s certainly warranted in this case as the comforting whine of Paul Franklin’s pedal steel proves the perfect match for Gill’s distinctive tenor. It’s a delightful musical history lesson as the two lovingly cover ten beloved Owen and Haggard classics. Their takes are neither stale recreations nor scattershot attempts at modernizing and reinventing – rather, Bakersfield feels like a simple, unaffectedly sincere love letter to a unique and important era of country music. - Ben Foster

Recommended Tracks:  “Together Again,” “I Can’t Be Myself,” “Nobody’s Fool But Yours,” “Holding Things Together”

Emmylou Harris Rodney Crowell Old Yellow Moon

#7
Old Yellow Moon
Emmylou Harris and Rodney Crowell

Individual rankings:  #2 – Leeann; #6 – Kevin, Ben; #14 – Sam; #15 – Jonathan; #17 – Tara

The ease and friendship between Emmylou Harris and Rodney Crowell is undeniably palpable on their first full duets album, which is a huge part of what makes this project a blow out success. While the songs are mainly covers of their own songs, as in the sprightly “Bluebird Wine”, the new interpretations are fresh and feel like brand new songs, as is also the case with the covers of other people’s work, as proven by the sublime “Dreaming My Dreams.”

From the jaunty opener of “Hanging Up My Heart” to the gorgeous closer of the title track and all points in between, the entirety of Old Yellow Moon is a masterful collaboration between two brilliantly talented old friends.  - Leeann Ward

Recommended Tracks:  “Hanging Up My Heart”, “Dreaming My Dreams”, “Bluebird Wine”, “Here We Are”

kelly-willis-bruce-robison-cheaters-game

#6
Cheater’s Game
Kelly Willis and Bruce Robison

Individual rankings:  #5 – Dan; #9 – Leeann, Jonathan; #10 – Sam; #14 – Kevin, Tara; #17 – Ben

The first duets album by the Tim & Faith of Texas country lands, and the world immediately becomes a slightly better place. It’s an LP filled with smart Robison writing, golden Willis drawl, and enviable marital cuteness. True love is out there, guys. Listen to “Dreamin’” and sigh along with me. - Dan Milliken

Recommended Tracks:  “Cheater’s Game”, “Waterfall”, “Dreamin’”

Jason Isbell Southeastern

#5
Southeastern
Jason Isbell

Individual rankings:  #2 – Kevin, Jonathan; #3 – Sam; #5 – Tara; #8 – Dan

The best thing about Jason Isbell’s richly drawn stories from the underbelly of America is that he manages to humanize some quite despicable people without trying to make them likable at the same time.  There are very few anti-heroes to be found here.  Their stories are compelling, but you still root for the good guys and gals, and it’s rarely Isbell that is singing in their voice, preferring the challenge of bringing the often loathsome to life.

Which isn’t to say that’s the only role he plays, as there are hints of redemption in some of the best numbers.  The man haunted by the “Songs that She Sang in the Shower” might just treat the next one right, and there is nobody I enjoyed getting to know better this year than Andy in “Elephant”, a barroom louse who didn’t stick around when the girl was at her best, but is now by her side as she’s dying of cancer, singing her classic country songs and sweeping her hair up off the floor after putting her to bed.  – Kevin Coyne

Recommended Tracks:  “Elephant”, “Songs that She Sang in the Shower”, “Live Oak”

Kacey Musgraves Same Trailer Different Park

#4
Same Trailer Different Park
Kacey Musgraves

Individual rankings:  #3 – Dan; #4 – Ben; #6 – Sam; #8 – Leeann, Tara; #10 -Kevin

Kacey Musgraves set some mighty high expectations for herself to live up to with the universally acclaimed dark horse hit “Merry Go ‘Round,” but her major label debut release delivers in full. Same Trailer Different Park announces the arrival of one of country music’s most distinct and potent new voices, marked by keen-eyed observation, maturity beyond her years, and a refreshing willingness to tell it like it is.

The dawning optimism of “Silver Living” and “Step Off” is made all the more meaningful by the fact that Musgraves never shies away from themes of heartache, despondence, and frustration. But even the bitterest moments are sweetened by accessible melodies, comforting arrangements, and a down-to-earth vocal style.

In a genre that has long prided itself on being “real,” Musgraves has become one of a precious few mainstream artists to actually live up to that ideal, and by so doing has laid bare just how contrived the format has become. The fact that Same Trailer Different Park found the mainstream audience it richly deserved feels like an answered prayer. Don’t blow this now, country radio.- Ben Foster

Recommended Tracks: “Merry Go ‘Round,” “Keep it to Yourself,” “Follow Your Arrow,” “It Is What It Is”

Ashley Monroe Like a Rose

#3
Like a Rose
Ashley Monroe

Individual rankings:  #3 – Jonathan; #4 – Tara; #6 – Leeann; #8 – Ben; #9 – Kevin, Dan; #13 – Sam

A beautifully drawn character sketch, Like a Rose showcases Ashley Monroe’s gift for using authentic first-person detail to give depth to her distinctive, unconventional narratives. The persona Monroe projects over the course of the album’s brief song cycle is one of a young woman who has been scarred by the events in her past but who uses those scars as the jumping-off point for compelling stories rather than letting them define who she is or who she aspires to be. - Jonathan Keefe

Recommended Tracks:  “Like a Rose,” “Two Weeks Late,” “Used,” “The Morning After”

LeAnn Rimes Spitfire

#2
Spitfire
LeAnn Rimes

Individual rankings:  #1 – Tara; #2 – Dan, Ben; #3 – Leeann; #8 – Kevin, Jonathan

Rimes subtitled Spitfire as the “truth in no particular order,” an apt description for an album whose truth shines like a prism, flashing different, nuanced colors at us with each twist and turn. If Spitfire is meant to narrate Rimes’ messy history –her “truth” as so many have come to define her by–, it succeeds; but, the gifted artist that she’s become, Rimes knows that truth is more than intentions and events and aftermath. It’s in the intimate honesty that spills out from the smallest corners of thought, whether from places of regret or passion, shame or fearlessness, or in those boundless grey areas in between. Spitfire has it all, packaged in the most colorful, intriguing performances of the year.  - Tara Seetharam

Recommended Tracks: “Borrowed,” “I Do Now,” “Who We Really Are,” “What Have I Done””

Brandy Clark 12 Stories

#1
12 Stories
Brandy Clark

Individual rankings:  #1 – Kevin, Leeann, Dan, Ben; #2 – Tara; #4 – Jonathan; #5 – Sam

Brandy Clark’s 12 Stories was shopped around to several record labels, but none of them would commit to taking on the album, even the ones that admitted that it was the best album they’d heard in years.

Since it’s impossible to reasonably imagine why label executives who loved the album wouldn’t jump at the chance to put Clark on their roster, perhaps they assumed that the album was just too smart and good for the mainstream music scene they put their dollars behind. While this is certainly a simple, and maybe even naive, view of things, other explanations simply evade me. Fortunately, however, somebody did believe in Brandy Clark’s music and the album was organically promoted as an independent release.

Even after listening to the album at least a zillion times since first receiving a promo copy well before its official release, it is a challenge to find the proper words to appropriately describe this nearly perfect debut album. Clark’s sharp, clear eyed songs are supported by crisp and satisfying productions and solid, warm vocals. Without judgment, but with intelligence, she observes and explores the tougher parts of life such as unfaithfulness, divorce and various forms of mental anguish; all the while keeping the album accessible.

As much as can and should be written about this album, the most direct thing to be said is that this was the clear favorite of the very diverse Country Universe staff, with most of us selecting it as our Number One album and none of us ranking it below number five.  The rest of this list shows how far apart we often are on tastes; Brandy Clark is one artist we can all get behind.   - Leeann Ward

Recommended Tracks:  “Pray to Jesus”, “What’ll Keep Me Out of Heaven”, “Take a Little Pill”, “Hungover”

Country Universe’s Best of 2013:

Best Country Singles of 2009, Part 1: #40-#21

Tuesday, January 5th, 2010

Here’s hoping you haven’t gotten completely burned out on countdowns yet. 2009 was hardly a favorite musical year for many of us, but amid each year’s glut of throwaway items, there’s always a good’un or two (or forty). The following is the first installment of our Best Singles of 2009 list, which will conclude tomorrow morning. Best Albums will follow next week.

As with the Singles of the Decade feature, this countdown has been compiled through combination of four equally weighed Top 20 lists by Kevin, Leeann, Tara and myself. An inverted point system was applied to the individual rankings (#1 on a list meant 20 points, while #20 on the list meant 1 point). The songs were then ranked together by number of total points, greatest to least. The final result is another rather stylistically diverse set.

As always, we hope you enjoy the countdown, and welcome all the feedback you can muster. Happy New Year!

#40

Lady Antebellum, “Need You Now”

The trio puts a country spin on an old school pop sound, but without forsaking raw emotion. The highlight of the song is Hillary Scott’s smoky performance, which draws out all the anguish and regret you’d expect from a desperate, 1 AM lover’s call. – Tara Seetharam

#39

Joey + Rory, “Play the Song”

While Joey + Rory’s image appears to be squeaky-clean, it is fascinating that their songs have displayed some of the most attitude in the mainstream country music world. After releasing the sassy “Cheater, Cheater”, they have appealed to radio (the very people holding part of the duo’s career in their hands) to stop limiting their playlists with safe choices and to just “play the song.” – Leeann Ward (more…)

Recommend Ten Tracks: 2009 Edition

Saturday, December 12th, 2009

2009Can’t say that I’m loving country music in its 2009 version, though my steadfast allegiance to the genre runs deep, so I hold out hope as a new decade is about to begin.  Tonight, I’m recommending ten tracks from albums that were released this year. I’ve avoided singles so there’s some sense of discovery.  I look forward to discovering music that I missed through the comments!

Recommend Ten Tracks: 2009 Edition

Lorrie Morgan, “I’m Always On a Mountain When I Fall” from A Moment in Time

I love the effect that was created by having this album recorded live in the studio. It’s like hearing her in a smoky nightclub. This is by far my favorite track on the album, a loser’s lament that was quite worthy of revival.

Aaron Tippin, “Prisoner of the Highway” from In Overdrive

He already has the default voice of the overworked working man, so his world-weary vocal is a perfect fit for this song about an imprisoned by the freedom of the road.

Miranda Lambert, “The House That Built Me” from Revolution

I find her new album to be a bit unwieldy as a whole, but I love this particular track about a woman asking the new owner of her childhood home to allow her some time alone with the place that raised her. Having just sold our family home of thirty years, this song has been resonating with me, as we truly can’t go home again.

Todd Snider, “Money, Compliments, Publicity (Song Number 10)” from The Excitement Plan

The wry and witty folkster at his most wry and witty, yet still spilling out nuggets of brilliance from the corner of his mouth.

Carrie Underwood, “Someday When I Stop Loving You” from Play On

Don’t count me among the folks that wish that Underwood would just stick to simple songs like this with quiet arrangements that showcase her voice at its most tender. I like my pop-country and want some more, thank you very much. But for those of you who just want to hear that voice and the barest of accompaniment, this track is golden.

Patty Loveless, “When the Last Curtain Falls” from  Mountain Soul II

Given the preference, I’ll take my Patty Loveless down from the mountain. I love that pure country voice contrasted against electric instrumentation. But the best reason to listen to Patty Loveless is to hear her wrap her voice around complicated and truly adult material that reflects the reality of life and love.  This track could stand toe to toe with the best of her material to date.

Tim McGraw, “If I Died Today” from Southern Voice

It’s not nearly as accessible an assessment on one’s own morality as “Live Like You Were Dying”, but it’s a heck of a lot more believable than sixteen seconds on a bull named Fu Man Chu.

Love and Theft, “Slow Down” from World Wide Open

He’s talking to life and it’s a sadly beautiful conversation.

Holly Williams, “Birds” from Here With Me

This song is hauntingly gorgeous, a requiem for a dying love and a wishful hope for the new love that has yet to come.

Keith Urban, “Thank You” from Defying Gravity

Urban’s explorations of his demons have produced some of his best tracks, like “You’re Not My God”, and this one is a winner, a love letter to the wife that helped pull him away from the precipice.


Catching Up with Joey + Rory

Monday, July 20th, 2009

Jory+RoryThree weeks ago, I had a chance to chat with one of my favorite new acts, Joey +Rory. It has been over a year since their break through on CMT’s Can You Duet and several months since the release of their album The Life of A Song. So, Country Universe thought it would be a perfect time to catch up with them to see what’s been happening since the whirlwind of their recent success.

Not surprisingly, it was a pleasure to speak with them. They were very honest and down to earth. Along with telling us how they’re handling their new found fame, they didn’t shy away from expressing their feelings on current country music, songwriting and what they are and are not listening to these days.

How has life been since Can You Duet?

Joey: Well, in a lot of ways, in last year’s time, our lives have changed tremendously. But, also, in a lot of ways, we’re still the same in terms of our relationship, marriage and closeness. We’ve gone from having the farm out here and the little restaurant and Rory writing songs to being on the road visiting different cities every other night.

All the TV exposure has obviously heightened people’s awareness of who we are. We literally can hardly go anywhere without people knowing who we are in airports, gas stations and restaurants and places like that. I think in a sense all of a sudden we’re very recognizable and people want our autographs and pictures. So, that’s changed. It’s kind of been different for us to have that.

But as far as our relationship, we’re very much the same. We’re just as in love as we were a year and half ago. Our marriage is even stronger. There’s no more stress related to this because we get to do this together and travel everywhere together.

Rory: Our life here at home is just the same. There are more people that know us and when we go to the restaurant (the restaurant that Joey owns with Rory’s sister, Marcie), there are people from out of town that drive in all the time, but we’re the same. Everything’s exactly the same; it’s just expanded a lot.

Do you ever get frustrated by all the extra attention?

Joey: We’re really grateful for it. I think there’s times where life on the road can be very draining. Jetlag and everything else kind of comes with that. There are times when we might be completely tired and not want to be somewhere or feel like we just want to go to sleep. Sometimes, it is what it is. But we really appreciate it and we know it won’t always be this way. We just take it a day at a time. The fans are just fantastic. We have an opportunity to do our music, because we have fans. And we have people who want to meet us to tell us how we’ve impacted their lives. You know, if it weren’t for them buying our records and coming to our shows, we wouldn’t be able to be successful and do what we do. It’s all for them.

Joey, in your bio, you list The Judds as one of your major influences. I can even hear a young Wynona in your voice. What was it like to have Naomi as a judge? Was it more nerve wracking having someone you respect so much critique you?

Joey: We’d never met the Judds before the show. In fact, the very first concert I ever went to was, I think, when I was nine years old. My dad took me to a Judds concert in Indiana.

When we went and auditioned for the show, it wasn’t until we walked behind that curtain into the room that we knew who the judges were. You walk in and you’re taken back by it, but you can’t be at the same time, because you have a job to do. But throughout the whole show, Naomi was on our side from day one. She really liked what we did. She liked what we were, what we wore and our style of music. Coming from her, it was so well respected. You know, we all had to kind of critique ourselves and kind of take into account that everybody’s different, everybody has opinions. You just show up the next day and you just try to take it in and make those adjustments.

But for the most part, it was just a thrill to be around her. She had such an energy and presence in the room. Since the TV show she’s come to the restaurant. She’s featured in our “Cheater, Cheater” video. She’s been very supportive. I just received a letter from her, a card, two days ago, since we were on the CMT Awards. We’ve been to her house several times. I mean, we feel like we’re all just one big family now. It’s been an amazing year.

My favorite artist is Vince Gill and to have him just hanging out in my living room is just something I can’t even imagine.

Rory: Our daughter is an aspiring singer-songwriter. So, they had a big event about three nights ago that was sort of like “famous fathers and their daughters.” It was Heidi and me and Vince Gill and his daughter, Jenny and some other people. It was really a thrill. I was just like you. I’m a humongous Vince Gill fan. There’s a lack of realness I see in people. There’s lots of talent and a lot of hard work, but he’s one of those people that always seems like a real, average, everyday guy with extraordinary talent and a real big heart. I just loved seing him and he was wonderful. It was our first time meeting him. He really gushed over Joey and Joey’s voice. So, he was aware of us. Of course, we’re tickled by that. I’m like you, if he was in our living room this evening, having dinner and visiting…that would be a thrill.

I admit that I didn’t actually watch Can You Duet when it originally aired, because I didn’t really know much about it until after the big hype that surrounded it on some blogs. As you may already know, the world of blogging can be pretty harsh, but you guys managed to be very well liked throughout the run of the show. But it wasn’t really until I read that you had signed with Sugar Hill Records that I took a sudden interest. How did that marriage come together?

Rory: First off, we had a pretty strong sense that we weren’t going to win, even before the show was over. We just were not a major market act. Actually, we are a mainstream act. But mainstream has turned so far that people who are mainstream acts have to go somewhere else. And people that are rock acts, pop acts, they’re now all of a sudden mainstream acts or what mainstream labels want.

At the time of the show, we were under contract with RCA and Sony, since the final five were all under contract with them. When we knew we didn’t win, we asked Rene Bell right away if she was going to pick up the option to keep us and she said “No. We’re only going to focus on this one act (winners, Caitlin & Will).” She said, “You guys are free to go and do whatever you want.” So, they released us. American Idol, who also had us under contract because of the show, released us as well.

I’m an independent guy anyway. We have our own Indy record label that we started a few years ago called Giantslayer Records and we broke anew artist named Blaine Larsen. We created and put up his record, put it out and broke him into mainstream. So, we’ve really been working in that world for a long time. The one thing I knew was that we couldn’t champion ourselves. So, we were immediately thinking about Indy labels. I brought up Vanguard to a very good friend of mine and he had a relationship with the people there. He said that he’d be glad to call them. So, he did and it turns out that Vanguard and Sugar Hill were interested in getting involved in mainstream country. We had had a lot of exposure and they got up to speed on it quickly and they thought that we were authentic at the same time that we were commercial. It seemed like a good marriage and a good step into this mainstream world for them. So, we just sort of shook hands over the phone, cut our single, cut our record, put our record out. Our single was in the top 40 and our album was in stores before we actually had flown to L.A. and signed our record deal with them. They were just that trusting and able to work that part just on our word. So, it’s been a great marriage. We love ‘em; we really, really do.

When you went in to record, did you already have a vision for the sound of the record or was it highly influenced by the sounds of Vanguard/Sugar Hill’s previous output? Would your record sound the way it does no matter what company you were with?

Rory: It would have been this way. They really didn’t have any input on our producer or the songs, the sound or anything else. We had met Carl Jackson a long time before and we had wanted Carl to produce Joey anyway. Then we just sort of by accident became a duo for this TV show. So, Carl said, “Well, gosh, I’ll just produce both of you.” He’s a fan of my songwriting and I’m a fan of his. Both Joey and I love Carl’s production. He had done a record on Bradley Walker that’s one of our favorite records in five years—mostly the sounds and songs and everything. You know, we knew what we wanted to do a hundred percent. We’d never recorded with Carl, so the sound happened because of Carl, but he had the particular way of doing it. He’s very vocal heavy and very acoustic instrument heavy and that’s exactly what we wanted and wanted to be a part of. So, it wasn’t the Indy label influence at all for the sound of the album. What it was, I think, is that they recognized that’s what we were going to do. I think they realized that it was going to fit in their world also.

I was excited about Sugar Hill, but I was also excited about Carl Jackson, knowing of his previous work. Earlier, you mentioned Blaine Larsen. I know that he’s cut some of your songs, Rory. Is there a difference between the songs that you pitch to other people versus the songs that Joey + Rory would record?

Rory: Well, the only difference is there was never a Joey + Rory and so I’ve always just written songs. A lot of them I’ve put my heart and soul into and our lives into, but those songs are just largely ignored at all times, because they have some personal element or they’re not radio friendly. Whatever that is. The only difference is that we’re much more willing to be honest as artists than artists who would, maybe, cut our songs. No one’s willing to cut “Play the Song.” No one’s going to cut a number of songs that we have, like even “Cheater, Cheater.” So, it’s the same songwriting; it’s just that it’s more like we’re willing to be more honest, I think, and outside the box.

But now that we are a duo, we all the sudden do want to, not just by chance, write things that have part of our story and our heart and soul in it. Because that’s the way it would have been in the past. I would be writing songs really hoping Tim McGraw or someone else would cut the song and, hopefully, it would have some of what’s important to me in it. But now, all the sudden, we have the opportunity to write a hundred percent of what’s important to you, that you think is relatable to other people. You don’t have to wonder, is it relatable to Tim McGraw or to Sugarland. That’s not even an interest anymore. It’s like, we’ll just write a hundred percent from our perspective. That’s a very, very freeing thing for us.

Yeah, I imagine… Who are you listening to these days in country music? Assuming that you are listening to anybody in country music.

Rory: I listened to a bunch of albums here, recently, a bunch of new release albums that I personally thought were okay or not okay, somewhere in there, but okay. Then, the other day, I just got online and I downloaded an album that Carl Jackson had produced on Alecia Nugent. And I’d never even heard an Alecia Nugent record. We’ve met her, but we’ve never heard one. It just blew my mind, because it’s just like our record. It’s got the same kind of sound, same kind of production and it’s got a real focus of great songs on it, and great singing and great harmony. That’s what I’m listening to, because, in my opinion, it’s head and shoulders above all the other production and artistry that I’ve heard in the last six months.

Mainstream wise, we love Josh Turner and, basically, the really country things like…

Joey: Lee Ann Womack, Jamey Johnson

Rory, Yeah, yeah.

Joey: They’re very acoustic or they’re very country sounding and very traditional. That’s what we kind of lean toward.

Rory: What do you listen to now, Love?

Joey: I’d say I listen to Bradley Walker all the time. He’s a nice bluegrass artist that Carl Jackson did a record on.

We actually heard the new Holly Williams album. It was really, really great.

Rory: We really liked that.

Joey: we really did. We’re excited for her.

I discovered Bradley Walker, because Vince Gill sang on his record. In fact, I’ve discovered a lot of good music that way. So, maybe you guys could invite Vince to sing on your next album…just an unsolicited suggestion…something to think about (laughs).

Rory: (laughs) Yeah, that’d be great. Carl can probably make it happen. Maybe we’ll also invite Emmylou.

 That would be awesome. That’s actually one of my favorite songs on your album. It’s gorgeous. There’s a lot to choose from, of course, but…

Rory: Thank You.

I already think I know the answer judging by our conversation today, but I have to ask: Is Joey + Rory a permanent act now? You’re not going to go back to doing your own things after this record, are you?

Joey: No…

Okay, good.

Joey: No, no. I tried for a long time to be a solo artist, because I never knew that there would be a platform for a married duo, a married couple. You know, it wasn’t something that Rory had wanted in the last twelve years. But now that we’re doing this together and traveling everywhere together, I would not have any desire to do this on my own or just go out in solo. We’re a duo in life because of our marriage and it just carries on into our careers; I think it’s the way it’s supposed to be.

Rory: I feel the same way. I really feel like this is her career and her opportunity and God has just given me a huge opportunity to be part of it. You know, I’m thrilled to death and having a great time. I think that we do have something special that we didn’t even know that we had. We’re having a good time spinning our wheels out there on the road, playing for people and we’re getting ready to do some more recording soon.

Well, I suppose it’s time to let you go. I just want to end by saying that I, along with many of the Country Universe readers, am a huge fan. So, I’m really glad that we had a chance to chat today and thank you for your time.

Joey: It was really nice to meet you. Hopefully, we’ll be able to come up to your neck of the woods, sometime.

Rory: It was sure nice to talk with you. Have a great morning.

Album Sales Update: July 2009

Saturday, July 11th, 2009

It’s time for an album sales update, our first since May 23.   Brad Paisley is off to a strong start with American Saturday Night, selling 130k in its first week. That’s about 70k less than his previous two studio albums – Time Well Wasted and 5th Gear – opened with, but not a terrible drop-off, considering the state of the music market.

Meanwhile, the new studio albums by Rascal Flatts and Keith Urban are slowing down considerably, now being outpaced on a weekly basis by 2008 releases by Taylor Swift, Zac Brown Band, Darius Rucker and Lady Antebellum.

Among younger acts with a new album in 2009, the most impressive sales are coming from Jason Aldean, while 2008 releases from Kellie Pickler, Billy Currington, and Randy Houser are showing new signs of life.

Biggest disappointments? It’s hard not to look in the direction of Martina McBride, who has barely cleared the 100k mark on her new studio set.  Lee Ann Womack’s 2008 set just made it over that mark, too.  Then again, one only needs to have sold 455 copies to make the chart this week, with the anchor position going to Wynonna with that total. Her covers album Sing – Chapter 1 has sold 41k to date.

Here are the latest totals for albums released over the past three years that are still charting:

2009

  • Rascal Flatts, Unstoppable – 842,000
  • Keith Urban, Defying Gravity – 452,000
  • Jason Aldean, Wide Open – 384,000
  • Kenny Chesney, Greatest Hits II – 281,000
  • Dierks Bentley, Feel That Fire – 219,000
  • Martina McBride, Shine – 104,000
  • John Rich, Son of a Preacher Man – 103,000
  • Eric Church, Carolina – 94,000
  • Rodney Atkins, It’s America – 88,000
  • Jake Owen, Easy Does It – 81,000
  • Randy Travis, I Told You So: Ultimate Hits – 78,000
  • Montgomery Gentry, For Our Heroes – 64,000
  • Willie Nelson & Asleep at the Wheel, Willie & The Wheel – 56,000
  • Steve Earle, Townes – 47,000
  • Colt Ford, Ride Through the Country – 45,000
  • Jason Michael Carroll, Growing Up is Getting Old – 45,000
  • Wynonna, Sing – Chapter 1 – 41,000
  • Hank Williams Jr. – 127 Rose Avenue – 34,000
  • Ryan Bingham, Roadhouse Sun – 15,000
  • Tracy Lawrence, Rock – 11,000
  • Darryl Worley, Sounds Like Life – 8,000
  • Holly Williams, Here With Me – 5,000
  • Charlie Robison, Beautiful Day – 3,000
  • Tanya Tucker, My Turn – 3,000

2008

  • Taylor Swift, Fearless – 3,464,000
  • Sugarland, Love on the Inside – 1,683,000
  • George Strait, Troubadour – 914,000
  • Alan Jackson, Good Time – 869,000
  • Darius Rucker, Learn to Live – 754,000
  • Kenny Chesney, Lucky Old Sun – 721,000
  • Zac Brown Band, Foundation – 681,000
  • Rascal Flatts, Greatest Hits Vol. 1 – 680,000
  • Lady Antebellum, Lady Antebellum – 674,000
  • Toby Keith, 35 Biggest Hits – 652,000
  • Jamey Johnson, That Lonesome Song – 509,000
  • Toby Keith, That Don’t Make Me a Bad Guy – 403,000
  • James Otto, Sunset Man – 374,000
  • Julianne Hough, Julianne Hough – 314,000
  • Kellie Pickler, Kellie Pickler – 261,000
  • Dierks Bentley, Greatest Hits – 255,000
  • Brad Paisley, Play – 247,000
  • Dolly Parton, Backwoods Barbie – 208,000
  • Tim McGraw, Greatest Hits Vol. 3 – 206,000
  • Billy Currington, Little Bit of Everything – 191,000
  • Trace Adkins, X – 185,000
  • Montgomery Gentry, Back When I Knew it All – 184,000
  • Joey + Rory, Life of a Song – 167,000
  • Blake Shelton, Startin’ Fires – 165,000
  • Eli Young Band, Jet Black and Jealous – 108,000
  • Lee Ann Womack, Call Me Crazy – 102,000
  • Craig Morgan, Greatest Hits – 81,000
  • Hank Williams III, Damn Right Rebel Proud – 80,000
  • Randy Houser, Anything Goes – 79,000
  • Lost Trailers, Holler Back – 69,000

2006-2007

  • Taylor Swift, Taylor Swift – 4,129,000
  • Carrie Underwood, Carnival Ride – 2,918,000

Holly Williams, "Mama"

Friday, May 15th, 2009

holly-williamsJustin Townes Earle, son of Steve

Earle, has recently received considerable press regarding his beautiful and classy song that pays tribute to his mother. It’s been reported that before he sings the song at a show, he introduces it by saying that his father gets enough credit, but someone who does not is his mother. This is easily true about most spouses or ex spouses of famous people. So, it’s nice when an adult child takes advantage of his/her platform to rectify the oversight, which is something that Hank Williams Jr’s daughter has done as well.

Holly Williams sings a tribute to her selfless mother, simply titled “Mama.” While the song is as simple as the title, it is sweet and intriguingly revealing about her childhood. In “Mama”, Williams thanks her mom for shielding her from the emotional turmoil that undoubtedly plagued her as a result of a broken marriage to the famously rebel rousing, Hank Williams Jr. Through the sincere lyrics, we learn that while her mother had ample reason to turn her children against their father, she chose to put aside her natural emotional pain to ensure that they had a chance

to enjoy a meaningful relationship with him instead. She sings: “You did more good for me than you will ever know./I’ve seen mothers fill their children’s hearts with hate./But you knew better than to drag me down with you/You let me love my daddy just the same.”

Holly Williams smoky, yet sensitive vocal, is supported by the aid of pleasant and unobtrusive production, which mostly consists of tasteful mandolin, Dobro and light drums. While it’s not as intricate and subtle as Justin Townes Earle’s tribute to his Mama, it is equally as heartfelt and just as emotional.

Grade: B+

Listen: “Mama”

Buy (for free):

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