Country Universe – A Country Music Blog

Retro Single Review: George Strait, “Nobody in His Right Mind Would’ve Left Her”

Saturday, February 18th, 2012

1986 | Peak: #1

Dean Dillon and George Strait are one of the finest songwriter and singer matches that country music has ever seen.

Why do they work so well together? I think it’s because George Strait has that everyman quality, a pure crooner that is as mainstream as it gets.  Dillon, on the other hand, is so quirky and offbeat that his material can seem a little out there.

Strait is able to close the gap, which makes songs that would sound odd in another singer’s hands sound a bit surprising but still completely natural in Strait’s.   Perhaps that’s why he pulls off Jim Lauderdale so well, too.

This is a standard country weeper with a mouthful of a title. Dillon took it to #25 in 1980, but Strait took it all the way to #1.

Written by Dean Dillon

Grade: B+

Next: It Ain’t Cool to Be Crazy About You

Previous: You’re Something Special to Me

Grammy Awards 2012: Staff Picks & Predictions

Saturday, February 11th, 2012

The 54th annual GrammyAdele Awards air this Sunday at 8 p.m. Eastern. Look for appearances by Miranda Lambert, Dierks Bentley and Lady Antebellum as well as country-ish performances by Jason Aldean, Glen Campbell (with the Band Perry and Blake Shelton), Taylor Swift and Carrie Underwood. We’ve picked and predicted the awards below – share your thoughts, and be sure to drop by on Sunday night for our live blog!

Album of the Year

Ben: Adele made some of the best and most memorable music of the year, and met with across-the-board critical and commercial success, so it’s hardly a stretch to say that she should and will emerge victorious here.

Tara: I don’t often agree with Bob Lefsetz, but his case for why 21 has resonated so well is spot on: “music trumps everything.” How true, and how refreshing that an album that embraced the hell out of this theme made such a commercial splash.

Sam: Lady Gaga is the only one of the nominees who can rival her for publicity in 2011, but Adele’s record sales should put her over the top. Oh, and it was a great record — not that that means anything where Grammy voters are concerned.

Dan: It helps that this is an especially lazy pool of nominees. 21 is certainly a strong album and a commercial landmark, but I do wish something like Kanye’s My Beautiful Dark Twisted Fantasy were here to help hold up the bar.

Kevin:  Adele made the best album by a wide margin.

Record of the Year

Should Win

• Adele, “Rolling in the Deep” -  Dan, Kevin, Ben, Tara, Sam 
• Bon Iver, “Holocene”
• Bruno Mars, “Grenade”
• Mumford & Sons, “The Cave”
• Katy Perry, “Firework”

Will Win

• Adele, “Rolling in the Deep” -  Dan, Kevin, Ben, Tara, Sam
• Bon Iver, “Holocene”
• Bruno Mars, “Grenade”
• Mumford & Sons, “The Cave”
• Katy Perry, “Firework”

2-in-1 Single Review: Alan Jackson and George Strait

Saturday, March 20th, 2010

“It’s Just That Way” (Alan Jackson)

Written by Vicky McGehee, Kylie Sackley, and Keith Stegall

“I Gotta Get to You” (George Strait)

Written by Blaine Larsen, Jim Lauderdale, and Jimmy Ritchey

Just because you can sing the phone book doesn’t mean you should.

Grade for Both:  C

Listen: It’s Just That Way ; I Gotta Get To You

Grammy 2010 Staff Picks & Predictions

Sunday, January 31st, 2010

Even in Grammy’s darkest hours, CU brings its picking powers!

- Superhero television show about our blog from the 50′s.

We won’t be live-blogging this time around, but will be reacting to the show in a full post tomorrow, and welcome your reactions in comments on this post. The awards telecast starts at 8 pm Eastern, and I imagine there will be some red carpet action in the hour prior.

Record of the Year

Picks

• Beyonce, “Halo” – Kevin
• Black Eyed Peas, “I Gotta Feeling”
• Kings of Leon, “Use Somebody” - Tara
• Lady GaGa, “Poker Face” - Dan
• Taylor Swift, “You Belong with Me”

Predictions

• Beyonce, “Halo”
• Black Eyed Peas, “I Gotta Feeling”
• Kings of Leon, “Use Somebody” – Kevin, Dan, Tara
• Lady GaGa, “Poker Face”
• Taylor Swift, “You Belong with Me”

Kevin: Am I wrong for preferring Eric Cartman’s rendition of “Poker Face” over the original? This is a pretty lightweight slate of contenders. I really like “Halo”, but I suspect Kings of Leon will win, simply because it’s the only rock song in a lineup of pop hits.

Dan: “Poker Face” just feels very representative of popular music in 2009. I wouldn’t whine if it got passed over so that “Bad Romance” could take this award next year, though.

Tara: I would’ve pulled for “Single Ladies” in a heartbeat had it been submitted, but “Use Somebody” is just as deserving of this award. It’s a fantastic song even outside the context of its moment in pop culture, and it’s the kind of larger-than-life song that the voters have picked to win in the past.

Album of the Year

Picks

• Beyonce, I Am…Sasha Fierce
• Black Eyed Peas, The E.N.D.
• Lady GaGa, The Fame – Kevin, Tara
• Dave Matthews Band, Big Whiskey and the Groogrux King
• Taylor Swift, Fearless - Dan

Predictions

• Beyonce, I Am…Sasha Fierce
• Black Eyed Peas, The E.N.D.
• Lady GaGa, The Fame
• Dave Matthews Band, Big Whiskey and the Groogrux King - Kevin
• Taylor Swift, Fearless - Dan, Tara

Kevin: I’d like to see dance music get some respect in the big category, even if there are a half-dozen Madonna albums at this point that would’ve been worthier winners than The Fame. Again, I think the Top 40 votes are going to be split, leaving Dave Matthews Band the winners.

Dan: In little over a year, Fearless has grown from success story to cultural artifact. It’s that rare pop album that seems to have a personality all its own, like Jagged Little Pill in a yellow sundress (and sung about as well). I could see anyone but the Peas taking this, but I think Swift’s support in both Nashville and the Top 40 crowd will take her to the top.

Tara: I have to say I was fairly shocked to see Swift’s truckload of Grammy nominations, so I’m having a little trouble wrapping my mind around the Academy’s thought process – but, I suppose a Swift win in this category is inevitable. However, I fully back Lady GaGa, who is the perfect storm of creativity, vision, swagger and raw vocal talent (remember that, pop world?). (more…)

Patty Loveless, Stone Mountain Arts Center (Brownfield, Maine)

Monday, July 13th, 2009

The following is a guest contribution from frequent commenter and devoted Patty Loveless fan, Stephen Fales, who is better known to Country Universe readers as Steve from Boston.

Country Universe is a site where timeless artists like Patty Loveless are not merely acknowledged, but embraced and celebrated. So when Leeann invited me to review my favorite artist’s Brownfield Maine concert as a guest contributor, I jumped at the chance. Thank you so much Leeann, Kevin and Country Universe for giving me this opportunity. And Leeann and Bill, it was a joy and an honor to join you folks for dinner and watch the concert with you. You both made this already memorable concert experience even more unforgettable for me, along with patty-loveless.net associates Nicole, Richard and Patti, and the following day Bob and Barbara, Kevin. And also, Marcia Ramirez from Patty’s band. Many, many thanks to all.

Patty Loveless at the Stone Mountain Arts Center, Brownfield Maine

July 3, 2009

Nestled in the northern reaches of the Appalachian Mountains, Brownfield Maine’s Stone Mountain Arts Center is a beautiful and intimate 200 seat converted barn turned listening room. It has a warm and rustic ambiance, and a very helpful staff. The wood beam framed building makes for a rich acoustical setting, almost like a giant, wooden resonator box. It is a hard place to find out there in the Maine wilderness, but well worth the effort, especially to enjoy artists and legends like Patty Loveless, Ralph Stanley, Marty Stuart, Suzy Bogguss and Kathy Mattea. Think of it as a quest.

This beautiful mountain setting was a perfect match for Patty Loveless, the celebrated neo-traditional Country artist with the warmly expressive Appalachian alto. The Queen of Mountain Soul seemed right at home in the northernmost reaches of her domain, and seemed to absolutely love the venue.

Patty Loveless is a warmhearted and humble lady, she is a true artist with a good sense of humor and down-to-earth personality, the “anti-diva” as her drummer, Martin Parker, calls her. She takes the stage with very little fanfare, no high tech video introduction or ostentatious stagecraft, no bells, no whistles. She just quietly joins her band and begins to sing. It is all about the music with Loveless, and she lets the music speak for itself.

Still, there was plenty of excitement in the air at Maine’s Stone Mountain Arts Center, but the magic emanated entirely from Patty’s empathetic heart and her crystalline Mountain-bred voice. She sings from a place even deeper than the heart, Patty Loveless sings from the very depths of her Appalachian soul. No smoke or mirrors needed, indeed, they would have been out of their league competing with such natural, God given talent. Patty Loveless sings without a net, and her performance on July 3rd, 2009 was inspired and virtually flawless.

Loveless is the prototypical Country artist. She has refined and perfected her inherent gifts through years of hard work and perseverance, and has become a living link to Country’s Golden age. The artistic (but not the chronological) scope of her work reaches all the way back to the works of the Carter family and Bill Monroe, and forward to the finest modern Country and Bluegrass artists. Folks like Jim Lauderdale who penned two of the 18 songs in Patty’s concert lineup. She is a master interpreter of their work, and a keeper of America’s rich Country and Bluegrass cultural heritage. Patty Loveless is herself, a national treasure.

All that’s good and great about Country music is embodied in the voice of Patty Loveless, and she brings it all to bear on her first rate, soul-nourishing material. Her mentors and musical heroes, her east Kentucky upbringing and authentic Coal-miner’s daughter heritage can be heard in the soulful Mountain timbre of each and every note that she sings.

Her amazing repertoire consists of songs that have been carefully selected over many years by Patty herself and her husband/producer (and genuine musical genius) Emory Gordy Jr. And this they have done with little regard to what is trendy, and with every regard to what is timeless, or potentially so. Patty and Emory choose and write their material with a profound understanding and appreciation of the heritage and traditions of authentic Country and Bluegrass, a heritage she often speaks of with great reverence between her songs. And by following her heart in all of her musical choices, Patty Loveless connects deeply with the hearts of her listeners.

Loveless’ song lineup at SMAC was a mix of real, hard-core Country, and the finest contemporary Country. But the lack of any Mountain/Bluegrass songs that she could have included from her catalog kept this generous sampling from being truly representative of who she is as an artist. Still, a generous lineup of her always high-quality hit songs, and her featured Sleepless Nights mini-set of classic Country covers was fine compensation, and is the stuff of legend in the making.

Patty blazed into her set list with passion and precision, leaving her audience awestruck and breathless. In a very real and literal sense, this was a breathtaking performance from start to finish. At 52, Loveless is still very much an artist on an upward trajectory, and her voice just keeps getting even better with the years.

Some notable highlights: Her heart wrenching rendition of the Jim Lauderdale penned “You Don’t Seem to Miss Me”, for which she won a Vocal Event of the Year award with the legendary George Jones. Loveless has collaborated with some of Country music’s absolute finest male singers, including Jones and Vince Gill, and for live performances she needs a strong male voice to fill the void on a few of those songs. Thankfully, she has found the perfect vocal partner in her band member, Garry Murray, who sang the tricky Jones harmony with feeling and finesse.

“Nothing But the Wheel” is the perfect Country song, by the perfect Country singer. It moves with a forlorn tempo, like the car the protagonist drives away from her heartbreak: ” And 41 goes on and on, and the lights go winding in the dawn, and the sky’s the color now of polished steel…and the only thing I know for sure, is if you don’t want me any-more then I’m holding on to nothing but the wheel.” With Patty Loveless at the wheel, it just doesn’t get any better or more Country.

Patty’s interpretation of the George Jones gem, “If My Heart Had Windows”, is a song of deep gratitude for love gone right, and she sings this slow lover’s waltz with a torch style intensity that warms the heart and burns to the soul.

Patty’s knockout rockabilly rendition of “Why Baby Why” kicks off her Sleepless Nights classics set with high octane energy…Patty describes it as “George Jones meets Tina Turner” But it’s all Patty Loveless…Patty is far too humble to admit this, but she very often surpasses her musical heroes with her own interpretations, and her version and performance here was no exception.

Ray Price’s original version of “Crazy Arms” was charming, but the Loveless version is nothing less than enchanting. It is pure music magic. Pete Finney begins and ends the song with a palpable sting from his expressive steel guitar, but it’s Loveless’ soulful and soaring vocal that really penetrates the heart. When Patty and Emory recorded their version “Crazy Arms” they slowed down the tempo from a moderate shuffle to a torchy ballad. This serves Patty very well in concert by giving her the opportunity to find and wring out every last drop of emotion hiding in the potential of the original.

Some inspired phrasing enables Patty to put great emotional emphasis on the lyric “crazy dream” as in “this ain’t no cra-zy dream I know that it’s real” whereas Price’s original stressed the first word “This” instead. This subtle yet dramatic difference is but one example of the interpretive genius of Patty Loveless.

The title song of Patty’s Grammy nominated classic country covers album, Sleepless Nights, features Vince Gill, and once again Garry Murray came through with flying colors. Vocally flying with Patty Loveless cannot be easy, “why did you go, why did you go? Don’t you know, dont you know? I need you”, But Murray keeps right up and they both soar to the heights. There was lightning in the area during this concert, and there was a single crackle that seemed to come from the amplifiers during this song. But Patty never missed a beat, and the whole song came off perfectly. Patty Loveless is a force of nature, and she positively electrifies her audience.

Lead guitarist Tom Britt took his opportunity to shine during an extended and exciting slide guitar introduction to another Lauderdale song, “Halfway Down” He wailed away like a true rock star, building anticipation before the familiar opening chords of this Loveless hit. Likewise, Patty kept the excitement going full boil throughout this rip-roaring Mountain Rock song.

The set closer was “Blame It on Your Heart”, perhaps Patty’s most performed song of all. She sings it with an energetic enthusiasm that makes the song fresh for singer and listener, every single time. Indeed, this is the way that she approaches every performance, embracing each and every note like it was her first and only chance to shine and share her gift. This Harlan Howard song is just plain fun and children seem to love it as well, as they try to sing the tongue-twister chorus. Loveless is artist and entertainer in equal measure. No other singer on the scene today balances the two quite as well as Patty Loveless does, with the exception perhaps of Dolly Parton.

Patty’s stage presence is confident as one would expect from a seasoned veteran, but also warm, easy going, and playful. She has a natural Country charisma and even her speaking voice, her relaxed east Kentucky drawl is music to the ears of her audience. The stories of her musical heroes, and her accounts of her formative years as a young artist under the tutelage of the late great Porter Wagoner, and her 21 year membership in the Grand Ole Opry, are informative and entertaining.

Her audience interaction is often full of surprises. Observing the intimacy of the venue, Patty commented how folks in the front rows were so close, and jokingly suggested they grab an instrument and come on up onstage. “But don’t grab me”, she quipped. “Although on second thought, that may be fun” Then she quickly added, “don’t mind me, I’m just a real cut up and a harmless flirt”.

When she mentioned her husband Emory Gordy Jr., she received some noticeable applause from the audience. Patty responded saying that it was good that Emory had some fans here as well, and “I see a young lady here with an Emory (University) shirt, How many concerts is this now, Nicole?” to which Patty’s (and Emory’s) most devoted fan replied “199″, and Patty said with a smile, “Wow, I owe you one, don’t I?” Patty also said something about how she was glad Nicole was such a huge Emory fan, then added: “but don’t forget now, he’s MY man”, which also brought laughter from the audience.

After “Blame” Patty introduced her incredible band. It is clear that all these folks are friends and fans of each other, and Loveless herself can often be seen warmly grinning, holding her heart and slowly shaking her head from side to side with enraptured appreciation during her band’s various instrumental interludes. And proficiency on multiple instruments almost seems to be a requirement in the Loveless band. Marcia, Deannie and Garry all play at least three instruments, and it seems most everyone is schooled on mandolin in a way reminiscent of Bill Monroe’s old Bluegrass string band. The stage, as wide as it was, could barely contain the scope of this incredible array of talent.

There are only a few criticisms for this otherwise flawless concert. The sound of the drums for the first few songs was much too loud, and competed for volume with Loveless’ strong vocals instead of supporting them. But that sonic imbalance was pretty well corrected by the sound techs before too long.

Also, Loveless seemed pitch perfect all throughout, with only one or two apparent missteps. Just enough to remind us that this is a gifted flesh and blood human being, and not some kind of angelic troubadour.

After the band introductions and some more friendly banter with her audience, Patty eased into her encore performance of the Hank Williams standard “Cold, Cold Heart”. With sparse acoustic instrumentation and a little steel, it was almost a capella, and one could hear a pin drop between the notes. Patty’s version is chill-inducing perfection, tear producing and is especially potent live. And that evening her performance was especially transcendent, almost supernatural. I almost expected to see the ghost of Hank Williams take a seat and tip his hat to the finest female interpreter of his work, bar none. I would love to see what Loveless could do with ole Hank’s “I’m So Lonesome I Could Cry”. The audience, and even her own band, was transfixed and mesmerized. Band members Marcia and Deannie especially, looked on with smiles of amazement.

With the completion of each song in the lineup, Loveless and her band received enthusiastic applause, which she greeted each time with sweet smiles and a grateful “God Bless You.” And at the end, she received thunderous standing ovations, and seemed genuinely humbled and overwhelmed. She gathered her band with her outstretched arms, and then they all graciously bowed a collective bow.

Patty Loveless is the most authentic voice in Country music today. Her fidelity to tradition, her creative blending of her own brand of mountain and country music, and her artistic integrity have rightly earned her the title of “Queen of Mountain Soul” from the great Ralph Stanley himself. And performances like her Brownfield concert on Friday, and albums like the exquisite Sleepless Nights demonstrate that she has earned the title “Queen of Country Soul” as well.

Patty’s long awaited follow up to her acclaimed 2001 classic Mountain Soul is scheduled for release on September 29th. Mountain Soul II has every essential ingredient to be yet another Loveless-Gordy masterpiece, and should enrich her already exceptional set list considerably. Just in time for the next leg of her tour starting this Fall.

As for a possible return to the Stone Mountain Arts Center? Word has it that Patty loved it so much, and felt so welcome by her gracious hosts Carol Noonan (folk singer and songwriter), and her husband, their staff and her appreciative fans, that she hopes to return twice a year.

Both on record and in concert, the music of Patty Loveless befriends the listener. She may sing “Soul of Constant Sorrow” on her Mountain Soul album, but the music of Patty Loveless is a source of great and constant joy, as well as inspiration, catharsis and consolation for all with attentive, listening hearts.

-Steve from Boston

For more information on Patty Loveless, visit

Patty-loveless.net,
Which is the most comprehensive and up-to-date Patty Loveless fan site.

Tanya Tucker, My Turn

Tuesday, June 30th, 2009

Tanya Tucker
My Turn

As a tribute of sorts to her father who loved traditional country music, Tanya Tucker has compiled a set of twelve songs that pays homage to country music’s past. While not an example of traditionalism herself as a recording artist, Tucker ably demonstrates that she is more than capable of stepping into the role on this project, but also shows that this is not her most comfortable position as an artist.

Produced by accomplished and respected producer, Pete Anderson (Dwight Yoakam), Tucker’s new covers album, My Turn, is full of both oft sung and lesser known gems. Tucker shines on up-tempo fare such as Buck Owens’ “Love’s Gonna Live Here” with guest help from Jim Lauderdale, Don Gibson’s “Oh, Lonesome Me”, Charley Pride’s “Is Anybody Goin’ to San Antone” and the album’s best track, Merle Haggard’s “Ramblin’ Fever.” With the support of snappy productions to match Tucker’s assured vocals, these interpretations aptly showcase Tucker’s spunk and are where she seems to fully connect, both vocally and emotionally, to the songs and their lyrics, which is likely why the straightforward “Ramblin’ Fever” works so well for her. “If someone said I ever gave a damn/Well, the damn sure told you wrong/’Cause I’ve had ramblin’ fever all along”, she growls with utmost believability.

The more inferior songs, admittedly, tend to be the slower tracks. While they are sung very well, there seems to be a palpable disconnect between the singer and the songs. Tucker’s version of Lefty Frizzell’s “I Love You A Thousand Ways” is, however, a welcome exception. It sticks close to the original, but Tucker’s relaxed vocal manages to help it stand out from the other slow compositions on the album.

As is naturally common on covers projects such as this, Pete Anderson applies a warm quality to the production, which is sonically pleasant, but perhaps not quite the fit that Tanya Tucker’s uniquely rough voice calls for. Instead of seamlessly blending with Anderson’s productions, Tucker’s vocals often seem to be muted, as if her voice needed to be turned up a bit in the mixes. Likewise, the choices for some of the guest vocalists (The Grascals and Rhonda Vincent) did not work especially well. Their rootsy vocals were more of a distraction than a compliment to the songs on which they appeared.

While it is likely unreasonable to compare this project to other albums of its ilk, it’s impossible not to hold it up to previous efforts that have been recently offered by her peers (Patty Loveless, Martina McBride, etc), especially since some of the same ground has been covered here. Tucker’s husky, and even flirtatious vocal style naturally sets this project apart from those of her fellow artists, but it is not as strong or cohesive as the others. Despite its few shortcomings, however, it is still a solid effort and deserves a high-profile spot in one’s collection of covers albums.

2009 Americana Music Association Awards Nominees Announced

Thursday, May 21st, 2009

The nominations for the 8th Annual Americana Music Association Awards have  been announced:

ALBUM OF THE YEAR
Real Animal, by ALEJANDRO ESCOVEDO
Written in Chalk, by BUDDY & JULIE MILLER
Jason Isbell & The 40 Unit, by JASON ISBELL & THE 40 UNIT
Midnight At The Movies, by JUSTIN TOWNES EARLE

ARTIST OF THE YEAR
ALEJANDRO ESCOVEDO
BUDDY MILLER
JUSTIN TOWNES EARLE
RAUL MALO

INSTRUMENTALIST OF THE YEAR
BUDDY MILLER
GURF MORLIX
JERRY DOUGLAS
SAM BUSH

NEW & EMERGING ARTIST
BAND OF HEATHENS
BELLEVILLE OUTFIT
JUSTIN TOWNES EARLE
SARAH BORGES

SONG OF THE YEAR
“Chalk,” written by JULIE MILLER, performed by BUDDY MILLER & PATTY GRIFFIN
“Country Love” by the GOURDS
“Homeland Refugee,” by JOE ELY, JIMMIE DALE GILMORE, and BUTCH HANCOCK, performed by the FLATLANDERS
“Rattlin’ Bones” by KASEY CHAMBERS & SHANE NICHOLSON, performed by KASEY CHAMBERS & SHANE NICHOLSON
“Sex And Gasoline,” by RODNEY CROWELL, performed by RODNEY CROWELL

DUO GROUP OF THE YEAR
BUDDY & JULIE MILLER
FLATLANDERS
KASEY CHAMBERS & SHANE NICHOLSON
RECKLESS KELLY

The awards will be given out at the Ryman Auditorium in Nashville on September 17. Buddy Miller and Jim Lauderdale will serve as hosts.

Tanya Tucker (featuring Jim Lauderdale), "Love's Gonna Live Here"

Thursday, April 23rd, 2009

Tanya Tucker has teamed with Saguaro Road Records, the same record company that hosted Patty Loveless’ stellar covers project, to create her own covers album entitled My Turn. The lead single is a cover of the Buck Owens’ classic, “Love’s Gonna Live Here.”

While it is impossible to predict if Tucker’s effort will be as well received as Loveless’ highly regarded album, “Love’s Gonna Live Here” provides a promising glimpse of the direction that the album is likely to take.

With “Love’s Gonna Live Here”, Tucker does not set out to reinvent this iconic song, but rather, pay tribute to a beloved classic. With the help of Jim Lauderdale’s very recognizable twang, Tanya’s signature husky voice leans into the Owens composition with decided grit and re-energizes a song that is always deserving of being revived.

Admittedly, those who are looking for something

fresh or new may be disappointed, but those who enjoy hearing polished tributes of old classics will be rather satisfied by the result of Tuckers latest outing.

Written by Buck Owens

Grade: B

Listen: “Love's Gonna Live Here”

Favorite Songs by Favorite Artists: George Strait

Sunday, March 1st, 2009

Write this down: George Strait will be recorded in the annals of country music history as the greatest singles artist of all-time. He already ranks third among all artists in terms of chart success, trailing only Eddy Arnold and George Jones. By the dawn of the next decade, he’ll be on top.

Now, I don’t place inordinate value on what radio decides worthy of massive spins, but I do think that Strait’s hit singles are usually much better than the album cuts that aren’t sent to radio. Even though I have all of his albums, only two of the tracks on this list weren’t released as singles.

With more than thirty albums to his credit, I’m sure that there are many songs that readers love which I haven’t included here. Here are my favorite songs by George Strait.

#25
“Blue Clear Sky”
Blue Clear Sky, 1996

This is the type of song that Strait is perfect for. He can elevate a standard uptempo country love song into something special. When he wraps his voice around the hook – “Surprise! Your new love has arrived!” – it’s the sound of weathered experience with a shot of unrestrained joy.

#24
“It Ain’t Cool to Be Crazy About You”
#7, 1986

You can’t be smooth and sophisticated when you’re dealing with a heartbreak. “It ain’t suave or debonair to let you know I care.” In lesser hands, this would be delivered in a straightforward way. But Strait adopts the smooth styling of a pop balladeer throughout this record. If Frank Sinatra had ever made a country record, it would’ve sounded just like this.

#23
“Troubadour”
Troubadour, 2008

Perhaps the secret to Strait’s longevity is that his image of himself hasn’t changed, despite his legendary success. He still sees himself as just getting started. “I was a young troubadour when I rode in on a song, and I’ll be an old troubadour when I’m gone.”

(more…)

Kevin J. Coyne’s Top Ten Albums of 2008

Sunday, December 28th, 2008

This is my fifth such list in as many years, and I have to say that I was mostly underwhelmed by the albums of 2008.  If it wasn’t for the contributions of the other writers, who made me aware of some fine albums I might have otherwise missed, it would’ve been difficult to compile a list at all.  That being said, there were at least ten albums from 2008 that I will be listening to in 2009 and beyond.

#10

Jim Lauderdale & The Dream Players, Honey Songs

No matter how much honey you put in the mix, the ragged words and vocals of Jim Lauderdale will cut through.  The glorious contrast between Lauderdale and his sonic surroundings make for a fascinating listen.

#9

Joey + Rory, The Life of a Song

It’s rare for any act to make a debut album without compromise, let alone one that hails from a reality competition show.   This is pure, straight off the back porch joy.

#8

Kasey Chambers & Shane Nicholson, Rattlin’ Bones

A pure roots album with a progressive edge, the best of its kind since the Dixie Chicks moved to L.A.

#7

Lee Ann Womack, Call Me Crazy

While it doesn’t reach the heights of There’s More Where That Came From, there are some fine moments here that are on par with Womack’s best work, especially the passive-aggressive “Either Way” and the Wynette-worthy “If These Walls Could Talk.”

#6

Patty Loveless, Sleepless Nights

Effortlessly excellent.   Loveless is so in her element here that it’s a wonder that it took more than two decades to record this in the first place.   A wonderful treat to feast on while we wait for her next proper studio album.

(more…)