It would be futile of us to ignore the recent sad news of Miranda Lambert’s and Blake Shelton’s divorce announcement, since it is a reality. We, however, have no desire to participate in the speculation or sensationalism of the news. Instead, it seems most appropriate to put some focus back on the music right about now. It’s no secret that Miranda Lambert is one of the few mainstream country artists that I enjoy anymore. As I contemplated this FSBFA, I wondered if she would have 25 songs that would warrant such a feature on her, since she’s only released five albums so far. It turns out that, as is the case with every FSBFA feature, not only are there 25 Lambert songs that I love, the 25 slots felt limited, as I had to leave many songs off the list. So, here are 25 of my favorite Lambert songs in Read More
Wrecking Ball: Deluxe Edition
Nonesuch has released an impressive deluxe edition of the landmark Emmylou Harris album, Wrecking Ball. For those who are new to the set, this is the edition you should buy. But it’s also worth the upgrade for those who already have this set in their collection.
Produced by Daniel Lanois, this album was a stunning departure for Harris, so much so that she personally requested that it not be eligible for the country charts. That’s funny in retrospect, given that alongside legends like Jimi Hendrix, Bob Dylan, and Neil Young, the album was anchored by compositions by up-and-coming songwriters like Gillian Welch, Lucinda Williams, and Julie Miller. With further cuts by writers like Anna McGarrigle, Steve Earle, and Rodney Crowell, Wrecking Ball helped set a template for what would become a vibrant Americana scene over the years that followed.
Round 2 – FIGHT!
World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.
Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam
As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward
The 100 Greatest Albums of the Decade, Part 2
Miranda Lambert, Kerosene
On her first major-label album, Lambert reveals herself as a fiery, spirited artist with a lot to say, and a clever voice with which to speak. Her sharp songwriting skills, though a work in progress as we’d later learn, take her naturally from aggression to desolation and back again. But most notably, through Kerosene, Lambert got the traditionalists to pay a little more attention to mainstream country music and its more promising artists. – Tara Seetharam
Recommended Tracks: “Kerosene”, “I Can’t Be Bothered”
Kris Kristofferson, This Old Road
This Old Road has not have received as much mainstream attention as Kristofferson’s recent appearance in Ethan Hawke’s Rolling Stone article; an unfortunate fact, given it was the legendary writer’s first album of new material in 11 years. With This Old Road Kristofferson shines a spotlight on the world much in the same his earlier writing shined a spotlight on himself. The result is an overtly political album with more depth than most modern attempts have been able to produce.- William Ward
Recommended Tracks: “The Last Thing to Go”, “Pilgrim’s Progress”
Miranda Lambert is a rare and fascinating case study of an artist who is able to push a significant number of records out the door, but is hard-pressed to receive equally significant radio airplay in return. While her first album, Kerosene, was certified Platinum and the follow up project, Crazy Ex Girlfriend, fared similarly well with Gold certification, she has only managed to squeak into radio’s top ten once with “Gunpowder And Lead.” On her third album, Revolution, it is entirely possible that Lambert has finally found a way to strike the tenuous balance of pleasing both critics and the general country music listening public with her album consisting of everything from sensitive ballads to rocked up, punk-flavored songs and a lot in between.
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
JUSTIN TOWNES EARLE
INSTRUMENTALIST OF THE YEAR
NEW & EMERGING ARTIST
BAND OF HEATHENS
JUSTIN TOWNES EARLE
Allison Moorer Mockingbird Allison Moorer’s latest album is an exercise in splendid restraint. Excepting the title track, a Moorer original, Mockingbird is a collection of songs written and performed by the women who serve as her musical idols. Moorer shows an overt dedication to honoring the timeless rhymes of her sistren, drawing inspiration from a diversity of musical styles that she whips into an intoxicating cocktail. Mockingbird experiences a hiccup early, when Moorer chooses two fine songs marred by bland production. The cover of the Cash family classic “Ring of Fire” is presented as a ballad, with a fraction of the intensity that charged the original, and Patti Smith’s “Dancing Barefoot” suffers from its brittle, progressive rock arrangement.