In theory, Wynonna Judd has the gravitas to pull off a feisty inspirational song like “I Will Stand By You,” the kind that builds on momentum and resolve instead of hope and compassion. And the lyrics, though clichéd, aren’t necessarily enough to kill the song’s spirit – because who better than Wynonna to breathe fire and energy into nondescript lyrics?
I think Tim McGraw is one of country music’s strongest singers. He doesn’t have the range or depth of a Vince Gill or a Toby Keith, but he can do what a great singer is supposed to do: deliver a song with sincerity and believability. That may seem like a low bar to clear, but it never ceases to amaze me how many country artists trip over it these days.
McGraw has a stellar track record in this area, but you’d never know it listening to “Felt Good On My Lips.” In fact, it seems that the record itself has so little confidence in McGraw’s ability to deliver a song that it puts every modern recording barrier it can think of between his vocal and the listener.
There’s no denying Keith Urban’s immense talent, which was brightly showcased on his first three major label albums, particularly Golden Road and Be Here. The music sounded articulate and fresh while being extremely accessible.
Urban’s last couple of albums, however, have been heavily influenced by electronic production where electric keyboards and drum machines largely filled the spaces instead of his prior muscular, yet more organic, production choices. Of course, this isn’t to say that there still weren’t some really good moments on both of those albums, as should only be expected by such a talented force, but they just seemed to lack the heart that was displayed on the previous two records.
Written by Bob Losche (Music & More)
Google “Gary Harrison songwriter” and you won’t find a website or MySpace. There’s not even a Wikipedia article. Don’t know where he’s from, how he got into songwriting or what he likes to eat for dinner.
As far as I know, he has never made an album. When he co-writes a song, does he write the music or the lyrics or a little of both? Don’t know. He’s a Grammy nominated songwriter as co-writer of “Strawberry Wine”, the 1997 CMA Song of the Year, and has penned many BMI Award-Winning Songs. It appears that his first big hit was “Lying in Love with You”, written with Dean Dillon for Jim Ed Brown and Helen Cornelius. The duet went to #2 in 1979.
Joey + Rory
Album Number Two
There is no sophomore slump for husband-wife duo, Joey+Rory, though the album’s title song displays a tongue in cheek awareness that doesn’t take the possibility for granted. As it was with their first album, their second album is a hybrid of sounds in true, producer, Carl Jackson fashion. A mix of hard core country, bluegrass, folk, acoustic and even contemporary touches are all present, woven together to form a sonically crisp and organic feel. The main difference between the two albums is that Rory takes the lead once in awhile on this album, which was Joey’s sole responsibility last time out.
By now, we are all aware of Joey Martin’s and Rory Feek’s genuine love for each other. We see it in their public interactions and we hear it in their songs. As they share singing duties on “Born to Be Your Woman”, we hear a sweet love declaration between a husband and wife. They also express the value that they place on their relationship on the gentle, “That’s Important to me.”
September has a lot of album releases that I’m really enjoying or looking forward to. In fact, it’s the most lucrative month for music for my taste in quite some time.
Last Tuesday (September 7), Rounder Records released The SteelDrivers’ second album, Reckless (which is pretty spectacular, by the way) and this week, they will be releasing Robert Plant’s follow up to his 2007 collaborative album with Alison Krauss, which was also released on Rounder. From the streaming preview that can be heard on NPR’s website until release day, the album is a wonderfully rootsy project helmed by Plant and Buddy Miller and includes guitar work from Darrell Scott. October will finally see the release of Joe Diffie’s bluegrass album, which is also to be released on the label.
Few mainstream singles this year have displayed the fine musicianship of “As She’s Walking Away,” the first single off the Zac Brown Band’s upcoming album, You Get What You Give. Sparsely produced, the song leaves ample breathing room for the equally gorgeous fiddle and full harmonies to make their respective impacts. More notably, the song is ripe with earnestness, from the sweet interplay between Brown and Jackson to the charming, honest performances. Even the energizing melody feels sincere.
A song about finding liberation on the open road shouldn’t put you in danger of falling asleep at the wheel.
I don’t know what’s going on with Mary Chapin Carptenter. She made my favorite album of all-time, Stones in the Road, and it wasn’t particularly upbeat. But the songs were amazingly good. I’m still learning new things from that album a full sixteen years after its release.
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