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
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
Cowboy Take Me Away Dixie Chicks
1999 | Peak: #1
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 →
New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.
There were some variants of this approach. A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay. George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.” Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!
Jones shared the CMA Vocal Event of the Year trophy for that collaboration with Clint Black, Garth Brooks, T. Graham Brown, Mark Chesnutt, Joe Diffie, Vince Gill, Alan Jackson, Patty Loveless, Pam Tillis, and Travis Tritt. He’d continue with this approach by teaming up with his vocal chameleon Sammy Kershaw on “Never Bit a Bullet Like This”, and he recorded an entire album of his own songs as duets with mostly younger stars. The Bradley Barn Sessions was represented at radio with “A Good Year For the Roses”, which found him singing one of his best hits with Alan Jackson:
Among the legends, the only other one to be successful with this approach was Dolly Parton, who used collaborations with young stars to score consecutive platinum albums for the first and only time in her career. Her 1991 set Eagle When She Flies was powered by the #1 single “Rockin’ Years”, co-written by her brother and sung with Ricky Van Shelton:
That album also included a duet with Lorrie Morgan on “Best Woman Wins.” She upped the bandwagon ante on Slow Dancing With the Moon, bringing a whole caravan of young stars on board with her line dance cash-in “Romeo.”
That’s Mary Chapin Carpenter, Billy Ray Cyrus, Kathy Mattea, and Tanya Tucker in the video. Pam Tillis isn’t in the clip, but she sings on the record with them. Parton also duets with Billy Dean on that album on “(You Got Me Over a) Heartache Tonight.”
Her next collaboration was with fellow legends Loretta Lynn and Tammy Wynette, but they couldn’t resist the temptation to squeeze in several younger stars in the video for “Silver Threads and Golden Needles.” Alongside veterans like Chet Atkins, Bill Anderson, and Little Jimmy Dickens, you’ll catch cameos from Mark Collie, Confederate Railroad, Rodney Crowell, Diamond Rio, Sammy Kershaw, Doug Stone, and Marty Stuart.
Parton scored a CMA award when she resurrected “I Will Always Love You” as a duet with Vince Gill:
And while it didn’t burn up the charts, her version of “Just When I Needed You Most” with Alison Krauss and Dan Tyminski:
Tammy Wynette made an attempt to connect with the new country audience with her own album of duets, Without Walls. Her pairing with Wynonna on “Girl Thang” earned some unsolicited airplay:
Perhaps the most endearing project in this vein came from Roy Rogers. How cool is it to hear him singing with Clint Black?
The new stars liked pairing up with each other, too. A popular trend was to have other stars pop up in music videos. There’s the classic “Women of Country” version of “He Thinks He’ll Keep Her”, for starters. Mary Chapin Carpenter sounds pretty darn good with Suzy Bogguss, Emmylou Harris, Patty Loveless, Kathy Mattea, Pam Tillis, and Trisha Yearwood on backup:
That’s a live collaboration, so at least you hear the voices of the other stars. But Vince Gill put together an all-star band for his “Don’t Let Our Love Start Slippin’ Away” video without getting them to actually play. That’s Little Jimmy Dickens, Kentucky Headhunters, Patty Loveless, Lee Roy Parnell, Carl Perkins, Pam Tillis, and Kelly Willis behind him, with Reba McEntire reprising her waitress role from her own “Is There Life Out There” clip.
My personal favorite was Tracy Lawrence’s slightly less A-list spin on the above, with “My Second Home” featuring the future superstars Toby Keith, Tim McGraw, and Shania Twain, along with John Anderson, Holly Dunn, Hank Flamingo, Johnny Rodriguez, Tanya Tucker, Clay Walker, and a few people that I just can’t identify.
For pure star wattage, it took the bright lights of Hollywood to get a truly amazing group together. The Maverick Choir assembled to cover “Amazing Grace”, and it doesn’t get much better than country gospel delivered in a barn by John Anderson, Clint Black, Suzy Bogguss, Billy Dean, Radney Foster, Amy Grant, Faith Hill, Waylon Jennings, Tracy Lawrence, Kathy Mattea, Reba McEntire, John Michael Montgomery, Restless Heart, Ricky Van Shelton, Joy Lynn White, and Tammy Wynette.
What’s your favorite of the bunch? Any good ones I missed?
Keith Urban makes everything sound so effortless that it can be easy to overlook songs that legitimately could have used more effort.
This song sounds great, and will certainly pop on the radio. But for all his enthusiasm and the occasionally clever line, this doesn’t even approach the excellence of his earlier Radney Foster cover, “Raining On Sunday.”
If he’s going to use outside material, he should be more selective than he was this time around.
The 201 Greatest Singles of the Decade, Part 9: #40-#21
#40 “This Is Me You’re Talking To”
Flawless. Proof positive that the nineties formula at its best is better than anything on naughties radio. Perhaps they can’t play it too much for that reason. It’s not good for business to park a new Lexus in a used car lot of Ford Pintos. – Kevin Coyne
#39 “Famous in a Small Town”
This is one of those slice-of-life songs that anyone from a small town can easily relate to. What sets it above the pack of songs of that ilk is the witty nugget of truth that “everybody dies famous in a small town.” The Springsteen-esque vibe of the production is pretty cool, too. – Leeann Ward Continue reading →
Thus far, 2009’s releases have done little to fire up the charts,
with most of this year’s strongest-selling albums being holdovers from 2008. While Rascal Flatts, Jason Aldean, and Keith Urban have sold strongly, the chart remains dominated by last year’s releases from Taylor Swift, Sugarland, Zac Brown Band, Lady Antebellum, Darius Rucker, and Jamey Johnson.
So what’s left for 2009? Here’s what we know so far:
Carrie Underwood will release her third studio album on November 3, with a lead single going to radio this fall. Her previous set, Carnival Ride, is nearing sales of 3 million, and produced four #1 singles and a #2 single, all five of which were certified gold in their own right.
George Strait will release Twang on August 11. It’s the follow-up to his 33rd platinum album Troubadour, a set which produced his 43rd #1 single and earned him the first Grammy of his career, along with a pair of CMA trophies (Single and Album)
Miranda Lambert is readying Revolution for September 29. Lead single “Dead Flowers” is struggling at radio, but that’s never slowed her down at retail anyway.
Reba McEntire’s Valory debut Keep on Lovin’ You arrives August 18. Lead single “Strange” is approaching the top ten.
Willie Nelson releases another standards collection called American Classic on August 25.
Rosanne Cash will release The List, a covers album, on October 6.
Sarah Darling releases Every Monday Morning on July 28.
Mac McAnally’s Show Dog debut – Down By the River – comes out on August 4. McAnally recently scored a big hit teaming up with Kenny Chesney on “Down the Road”, and was the co-writer on several classic Sawyer Brown singles like “All These Years” and “Thank God For You.”
Mindy Smith releases Stupid Love on August 11.
Radney Foster and The Confessions release Revival on September 1, with guest appearances by Dierks Bentley and Darius Rucker.
Chris Young releases The Man I Want to Be on September 1.
Reissues and Compilations
Brooks & Dunn release the 30-track #1 Hits…and Then Some on September 8. Track listing here. The set is preceded by lead single “Indian Summer.” The duo’s previous set, Cowboy Town, was their first to fall short of gold certification. The new hits compilation is similar in set up to top-selling collections by George Strait, Toby Keith and Reba McEntire in recent years.
Wounded Bird just released 2-albums-on-1-CD collections for Kris Kristofferson on July 7. Eight albums are included from his 1972-1981 output
A pair of Tommy Cash’s albums from 1970 will combine on one CD on July 21; Tommy is the younger brother of Johnny Cash
Hank Snow’s 1958 album When Tragedy Struck is being remastered and reissued on August 11.
I’ll be picking up many of the above releases, but I have to say that I’m most looking forward to picking up all of the remastered Beatles albums and the Madonna anthology this fall.
What releases are you most looking forward to in the second half of 2009?
Personal hardship can be important source of inspiration for many artists. For Keith Urban, it’s been downright essential. Since his star-making Golden Road, the luster of Urban’s aesthetic package – talent, looks, catchy tunes – has stood in fascinating contrast to the pronounced sense of struggle in his music. When that struggle is present, it seems to manifest itself in every detail: the lyrics, the performances, even the restless arrangements. It’s as if Urban is fighting for salvation from untold demons with every note, like his music is the only thing powerful enough to dispel all the built-up pain.
Defying Gravity, however, marks a noticeable departure from that paradigm. Marriage to Nicole Kidman has apparently been good stuff, and this is Keith Urban at his most contented, both emotionally and – perhaps not by coincidence – musically. On both fronts, he seems to have found a comfortable, polished groove to play off of, and he and standby producer Dann Huff do so with ease and confidence over the course of these eleven tracks.
But here’s the thing: it’s kind of boring. Without the slightest bit of edge fueling his expression, Urban seems curiously devoid of the passion that marks his best work, and curiously uninterested in pushing himself very far musically. These are all highly competent songs and performances, to be sure – there was no reason to expect anything less, given the man’s technical abilities and generally agreeable track record – but they feel more executed than fully loved. There are zero true risks and zero unexpected rewards, and the feel-good vibes never manage to feel quite as good as they have in the past. It’s just all very nice.
Of course, Keith Urban doing “nice” still means a lot of cool stuff is going on. Several of these songs boast wonderfully breezy hooks – “Standing Right in Front in You”, lead singles “Sweet Thing” and “Kiss a Girl”, to name just a few – and sometimes, as on the vaguely tribal percussion of “If Ever I Could Love” or the somber atmospherics of “‘Till Summer Comes Around”, Urban’s willingness to stretch his palette of sounds imbues the album with some much-needed character (although, it should be noted, there are fewer distinguishable “country” elements here than ever).
Problem is, he never quite gets it totally right. Half of the time, the execution is just too bland to endow the songs with any personality, and the other half, the songs aren’t particularly interesting to begin with, usually as a result of bum lyrics.
Nowhere is the first problem better exemplified than on his cover of Radney Foster’s “I’m In.” It’s a charmer of a song, the kind of thing Urban should totally knock out of the park, but aside from an exploding guitar solo that breaks the monotony for a moment, his performance and Huff’s production do little more than add an unnatural muscle to Foster’s original version (the live rendition of which remains the song’s best incarnation to date). The opposite approach strikes on Urban’s direct ode to Kidman, “Thank You”, which would be one of the album’s best tracks if not for the life-draining drum-machine-and-keyboard combo (almost identical-sounding, incidentally, to the one employed on the last album’s “Got It Right This Time”, which was far more effective).
As for that second problem of song quality, it generally occurs here because Urban runs out of good rhymes or interesting ways to describe romantic feelings (or both at the same time: “If ever I could love / I think it could be with you / If ever I thought I’d / Found somebody so true.”). This issue emerges as early on as the chorus of “Kiss a Girl”, then carries on into essentially every song on the album that addresses love in a nondescriptly positive way – which is almost half of them.
And on those few occasions where Urban does mix up his theme a bit, the contrasting ideas don’t stand up strongly enough. “When Summer Comes Around”, in particular, has the skeleton to be a fantastic study of loneliness, but it stacks so much lyrical weight onto its “empty carnival” premise that it comes off sounding cheesy and melodramatic instead. Throw in “Why’s It Feel So Long” – which is too cute and fluffy for even Urban to sell – and all those nondescript love songs start to sound pretty good in comparison.
Altogether, Defying Gravity comes off sounding like a whole lot of polish without much soul, a first for Urban’s career as a superstar. The dilemma he seems to face from here on out is finding ways to create invigorating music without recycling his own templates and resorting to cliche. Perhaps the solution will require some homework – a new producer? A new, perhaps rootsier musical approach? – but whatever it is, one thing is certain: if he insists on living a personal life free of constant struggle now (the nerve!), he’s got to find some other way to bring his old urgency back to the game. It may mean taking on new kinds of challenges along the way, but it’s like they say: no pain, no gain.
Almost twenty years after he first started touring in the Southeast, Azar signed his first major label record deal with Mercury in 2001. The resulting album Waitin’ on Joe, included a top five single “I Don’t Have to Be Me (‘Til Monday)” and the title track, best known for its corresponding video clip featuring Academy Award-winning film star Morgan Freeman. But Azar’s brand of delta blues failed to bust through radio’s brick wall. Instead of enduring an endless cycle of false starts, he exited the major label system.
Released on his own Dang Records, Indianola (named for the Mississippi birthplace of B.B. King) is a tribute to his down-home roots and a symbol of his vast store of experience. He’s pushed most of the right buttons on an album that teems with the gritty reality that stems from a life fully lived. By engineering and producing the set, along with writing or co-writing every track, Azar firmly establishes an engaging musical identity.
“Crowded” kicks off Indianola with a complaint, with Azar railing against a shrinking world (“I moved out to the country, but the city keeps movin’ in”). And as the album unravels, Azar’s longings for emotional freedom form the common thread. “Flatlands” takes him on a journey through “a thousand acres of cotton rows” as he seeks the comfort of the wide-open country. Later, in “Still Tryin’ to Find My Way Around,” digs under the skin with its story of a misdirected soul, sweetened by a beautiful steel guitar.
The strongest moments on Indianola come courtesy of Azar and co-writer Rafe Van Hoy. The pair’s artistic chemistry is evident on “The River’s Workin’,” a relevant portrait of back-breaking manual labor as a means of living. “Empty Spaces” is a reflective number tinged with traditional gospel, as Azar describes life as a “search of the pieces and the parts” that eventually fill our needs. And he seems to have stumbled upon what’s truly important in the Radney Foster co-write “You’re My Life,” where he worships a faithful wife, his first source of security during hard times.
The slightest stumbling block on Indianola is the fluctuation in musical arrangements, prompting some of the consistency in the collection to be lost. The best moments are the simplest. Two hidden tracks, “Mississippi Minute” and “Highway 61,” are bathed with acoustic settings, suggesting that Azar’s true strengths aren’t in the polished product, but in matter-of-fact musical statements that cut right to the chase without screeching guitars and bombastic production. By any stretch of the imagination, Indianola isn’t a radical change for Azar, but taking ownership of his craft has enabled him to follow his own path and reach deep for meaning within the music.
Life as a singer-songwriter has run the gamut from major-league success to disappointing failure for Steve Azar. Azar first signed a record deal in 1995, and his most notable single “I Don’t Have To Be Me (‘Til Monday)” earned Top Five status in 2002. The artist has endured long stretches of relative inactivity on the record shelves and on the radio. After leaving Mercury Records in 2005, he struggled in his pursuit of another recording contract, but returned this year with Indianola, an album on his own record label, Dang! Records. His latest single is “You’re My Life”, an ode to undying love and devotion.
The song, co-written by Steve and Radney Foster, owns an acoustic country-rock arrangement. Buoyed by a sweet organ sound and the bluesy quality of Azar’s voice, “You’re My Life” is a cut above the rest of country music’s love songs. Is the song revolutionary? No. But it does sprinkle enough unique details into the verse (his woman is a “smooth, rolling river” and a “warm and tender night”) to rise just a little higher than those paint-by-numbers sappy ballads that fill quite a few mainstream country releases.
Azar is a talent, and his album is distinctive in theme and sound. “You’re My Life” may not be the song that jump starts his career again, but it is a quality piece of work.