Articles by Kevin John Coyne
Single Review: Lady Antebellum, “Compass”
A lot of country music lovers want to claim Mumford & Sons and Philip Phillips as their own.
There’s a joy, a rootsiness, and killer musicianship in the best records of those acts, despite them not being what we’d traditionally consider country artists. Lady Antebellum has never had much connection to what’s historically been considered country music, either. So it’s not entirely surprising that their path from pure, glossy pop to a more grounded, earthy sound, still takes its cues from the top forty music scene.
Single Review: Jon Pardi, “Up all Night”
Stop me if you’ve heard this one.
It’s been a long week, girl. It’s time to let loose. Let’s get together everything we need, and take a dirt road out into the country. Don’t forget your flip-flops, and don’t worry, we’re going to be all alone. Hope there’s a great song on the radio. Maybe a nice sunset, too.
Single Review: Cole Swindell, “Chillin’ It”
Here’s the dilemma.
Cole Swindell has turned in an excellent record by many measurable standards. It’s well-paced, he’s got some charisma behind the mic, it’s identifiably country, and intelligently structured. Any song these days that has a clear beginning, middle, and end, and also manages to get it all done in under four minutes, feels like manna from heaven.
Single Review: Keith Urban, “Cop Car”
One hallmark of a great singer is the ability to suspend the listener’s disbelief.
The storyline of “Cop Car” is very far-fetched, one of those Nashville compositions that takes fantastical lengths to try and tell the story of a young couple falling in love. In this case, they’re doing so right after being arrested for trespassing, while in handcuffs in the back seat of a police car.
Single Review: David Nail, “Whatever She’s Got”
Is “Whatever She’s Got” really just David Nail doing whatever he’s got to do to stay in the game?
Nail is one of the most distinctive and substantive new voices to emerge in recent years, especially among the crop of younger male artists. He’s had more false starts than most, going through two labels in eleven years and having moderate to major hits, but not building up enough momentum to string a few together.
Single Review: Brad Paisley, “The Mona Lisa”
Now this is how you write a love song!
Brad Paisley’s had a lot of hit love songs over the years, many of which I’ve found irritating because they are either blithely condescending (“To the world, you’re nothing, but to me, you’re the world!”) or downright insulting (“I love the little moments where you do something stupid!”)
Single Review: Eric Paslay, “Friday Night”
A breakthrough single that’s as notable for what it isn’t as for what it is.
“Friday Night” is nothing special in terms of lyrical content, and while Paslay is a competent singer, there’s nothing on the track that indicates he’s the next Keith Urban, or even the next Blake Shelton. But he’s learned a few lessons along the way about what not to do. The arrangement is simple, the musicianship clean and crisp, and the banjo drives the hook, rather than loud electric guitars or cumbersome percussion.
Country Universe’s Best Albums of 2013, Part Two: #20-#1
2013 turned out to be a banner year for new music, full of powerful songwriting, inspired collaborations, and truly cohesive albums that would rank among the best releases in any given year. Many of this year’s top twenty would’ve ranked much higher in other years, and many of us writers couldn’t even include all the works we deeply enjoyed this year on our personal lists, making our collective list worthy of the heartiest endorsement we could ever give.
Here’s to a great 2013, and a greedy wish that 2014 will be just as wonderful on the music front. As always, share your thoughts and personal favorites in the comments.
#20
Rubberband
Charlie Worsham
Individual rankings: #7 – Tara; #12 – Leeann
Like Chris Young two years ago, Worsham’s voice is a commodity that instantly elevates the new artist to an orbit above the male radio regulars. His is warm and cleanly expressive, lending itself best to songs that nurture his upper register, like the jaunty “Want Me Too,” haunting “Someone Like You” or those invigorating opening bars of “Could It Be.” If only life imitated “Nashville” and its fictional stars’ uncomplicated brand of pop country, Worsham might just be the next Luke Bryan and “Rubberband” –the album’s finely produced, genre-bending title track– his next big hit. – Tara Seetharam
Recommended Tracks: “Rubberband,” “Someone Like You,” “Young to See,” “Could it Be”