Posts Tagged ‘Shane McAnally’
Friday, March 22nd, 2013
Same Trailer Different Park
In just over half a decade, the now-24-year-old Texan Kacey Musgraves has gone from placing seventh on the 2007 season of Nashville Star and releasing a trio of independent albums to finally being granted some well-deserved mainstream exposure. It was beyond a pleasant surprise when her beautifully written, critically lauded debut single “Merry Go ‘Round” became an honest-to-goodness Top 10 hit at country radio – a format not known for being friendly to intelligent, honest women. Whether the industry will continue to support her remains to be seen, but Kacey Musgraves’ major label debut effort positions her as a ray of hope for country music at a time when such are very few – an artist who, if given the platform, just might have the potential to change country music for the better.
Appearing as a co-writer on every track along with a co-writer pool that consists of Brandy Clark, Shane McAnally, Josh Osborne, and Luke Laird, Musgraves displays a songwriting voice characterized by clear-eyed insight and a tone of simple, plainspoken honesty. She neither preaches nor judges; she simply observes. ”Merry Go ‘Round” foreshadowed this trait quite accurately. On her debut hit, Musgraves mused on the human tendency to try to escape heartache through a variety of vices such as drug use or illicit sex, but noting that ultimately that “same hurt in every heart” still remains – each distraction is like a medicine that covers up the symptoms, but doesn’t cure the cold. On “Follow Your Arrow,” she sneers at small-town gossip while laying bare the futility of living to please others, noting that “You’re damned if you do; you’re damned if you don’t.” On the witty upcoming single “Blowin’ Smoke,” she takes on the voice of a working class woman who chats with her co-workers on a smoke break about plans to leave her current line of work in pursuit of bigger dreams, but admits that “We’re just blowin’ smoke.” The set is ripe with a strong sense of self-awareness that country radio has been sorely lacking for years now.
Musgraves clearly understands the value of escapism in country music, as evidenced by songs like opening track “Silver Lining,” in which she makes creative use of familiar metaphors to illustrate the point that if one wants good things to happen, one must accept the bad things that come along with it. ”My House” is a delightful ode to life on a house with four wheels, and to having someone with which to share it. ”Any place beside you is the place that I call home,” Musgraves sings, backed by a charming harmonica-laced arrangement. Every bit as enjoyable is the witty “Step Off,” which plays like a Jason Mraz song with a banjo.
But oh, how rewarding it is when Musgraves channels pure vulnerability – a gift that finds its fullest expression in the pleading ballad “Keep It to Yourself,” in which Musgraves begs a former lover to let her move on, the lyric anchored by a melody that pierces deeply. And while “It Is What It Is” has been nicknamed The Slut Song, such a moniker says nothing of the raw desperation that Musgraves conveys through her quivering performance.
Same Trailer Different Park sets itself apart from the pack by honoring genre traditions while slyly subverting modern conventions. For a genre that takes pride in being the realm of “real” music, Kacey Musgraves is
one of precious few mainstream country artists to actually live up to that ideal, and for country radio programmers to let her slip through their fingers now would be an awful shame. To call Same Trailer Different Park one of the year’s best mainstream country albums would not do it justice – it’s one of the year’s best albums period.
Top Tracks: “Merry Go ‘Round,” “Keep It to Yourself,” “Follow Your Arrow”
Saturday, September 1st, 2012
Listening to the new Joanna Smith single, I’m reminded of when Lee Ann Womack first hit it big. I was impressed by her taste in material and I thought the production of her records was impeccable.
But on those early hits like “The Fool” and “A Little Past Little Rock”, I always had the nagging feeling that the songs would’ve been better if they’d been recorded by Pam Tillis, who has a similar vocal style but more power and range.
Over time, Womack perfected her vocal technique and created her own distinctive style, one that is best showcased by simple arrangements and tasteful restraint. The power of later hits like “I May Hate Myself in the Morning” and “Last Call” comes from her ability to accentuate an understated vocal will little punches of twang and power that create a dramatic effect.
So now, fifteen years after Womack first surfaced, I find myself listening to the new single by Joanna Smith and wishing it was being sung by Lee Ann Womack. Smith’s got a great song, and she sings it well, following Patty Loveless’ golden rule: “Don’t get in the way of the song.”
But she stays out of the way of the song just a little too much, and there aren’t enough moments of twang or power to make the record interesting. I still hope it gets a shot at radio, as it would be the best breakthrough single for a new female artist in a good long while. I want to hear more from Smith, so I can hear more of Smith as she hones her style over time.
Written by Brandy Clark, Shane McAnally, and Shelley Skidmore
Listen: We Can’t Be Friends
Saturday, September 3rd, 2011
Tailgates & Tanlines
Got a little boom in my big truck/Gonna open up the doors and turn it up. – “Country Girl (Shake It for Me)”
Girl you make my speakers go boom boom/Dancin’ on the tailgate in the full moon. – “Drunk on You”
Looking at those two lyrics from Luke Bryan’s new album, you can assume one of two things: Either Bryan was heavily influenced by hip-hop pioneers L’Trimm and their hit “Cars With the Boom,” or Tailgates & Tanlines falls victim to lazy songwriting. With all due respect to Tigra and Bunny, it looks like it’s the latter.
The country references are thrown about so fast and furiously here that duplicates inevitably pop up. There are multiple references to girls dancing on tailgates, squirrels and other assorted critters, moonshine, Dixie cups, dusty boots, old trucks, catfish and tractors. Sometimes the songs are about certain people or places, and sometimes they’re just about setting the RRPM (rural references per minute) record.
Occasionally, the country setting is put to good use. “Harvest Time,” for example, paints a vivid picture of a small town in the middle of its busiest season. “Tailgate Blues” takes many of the familiar references and turns them upside down, as even the usual comforts of quiet country hideaways can’t heal a broken heart.
All too often, though, the songs have no real meat underneath the catchphrases and references. They’re the same tired look at a vast hillbilly paradise – Val-holler, if you will – where the homemade wine is always flowing into Dixie cups, good ol’ boys are always ready to drive around in their trucks to find a good time after a hard day’s work on the farm, and the women are sexual props whose only purpose in life is to dance on tailgates on command.
When Alan Jackson sang “Chattahoochee,” there was so much detail that the listener felt certain that Jackson lived through all those experiences. Bryan’s “Muckalee Creek Water,” by comparison, has no such connection or personal attachment, even though there is a Muckalee Creek near Bryan’s hometown in south Georgia. That song, incidentally, references “a catfish line going bump bump bump,” so if you’re really into onomatopoeia, this is your album of the year.
The real shame is that those throw-away songs are a waste of some tremendous talent. Bryan has a strong voice that can make a good song sound even better. “You Don’t Know Jack,” written by Erin Enderlin and Shane McAnally, gives a sympathetic portrayal to someone trapped by addiction. Sure, it won’t get a concert audience cheering and shouting, but it’s a standout track and one of the better songs of the year. While he is partly responsible for some of the album’s weakest tracks, Bryan also co-wrote some of its best, including “Harvest Time” and “Faded Away” (with Rodney Clawson and Michael Carter, respectively).
“Country Girl (Shake It for Me)” is turning into one of the biggest hits of Bryan’s career, which is bound to influence his future song choices. Good-time party anthems aren’t necessarily bad things, but too many of them on one album overwhelms the rest of the songs. Still, Kenny Chesney had to go through the “She Think My Tractor’s Sexy” phase before he got to covering Guy Clark, so there’s hope for Bryan.
Just leave the “booms” and “bumps” to fight sequences in the old Batman TV show, where they belong.