Country Universe

Brooks & Dunn are Breaking Up

August 10, 2009 Kevin John Coyne 16

brooks-dunn Country superstars Brooks & Dunn are breaking up. They will release a hits collection this fall, followed by a tour next year. It seems that last year’s Cowboy Town will be their final studio album.

From their official website:

To Our Fans:

After 20 years of making music and riding this trail together, we have agreed as a duo that it’s time call it a day. This ride has been everything and more than we could ever have dreamed …. We owe it all to you, the fans. If you hear rumors, don’t believe them, it’s just time.

We will release our #1s … and Then Some on September 8th and come see you all one more time in 2010, with The Last Rodeo Tour (dates to be announced).

In honor of this classic nineties act, a Starter Kit will follow later tonight. In the meantime, here’s a video clip to help you get ready for “The Long Goodbye”:

The Civil Wars: A New Music Discovery

August 10, 2009 Kevin John Coyne 4

Out of all the writers at Country Universe, I’m probably the one who is least likely to discover an unsigned artist’s music online and fall in love with it. But thanks to a friend’s shout-out on Facebook, I’ve discovered The Civil Wars, a Nashville-based duo that is nothing short of completely awesome.

My friend linked to their cover of “Billie Jean”, which is charming in its own right, but it was the discovery of their live album that made me fall head over heels for this band. You can download their entire album for free at their website, or by following the link below. Here’s a clip of them singing one of my favorite songs from their album, “Poison & Wine,” which features the memorable chorus “I don’t love you but I always will”:

Lorrie Morgan Starter Kit

August 8, 2009 Kevin John Coyne 13

Amidst her generation of successful female country artists, Lorrie Morgan was the only one who was clearly from the tradition of heartbreak queen Tammy Wynette, with a healthy dose of Jeannie Seely in the mix. With her contemporaries far more shaped by the work of Linda Ronstadt and Emmylou Harris, Morgan was instrumental in keeping the sound of female country from the sixties still relevant in the nineties.

While Morgan never earned the critical acclaim or industry accolades of peers like Patty Loveless and Pam Tillis, she was immensely popular with country fans, able to sell gold with albums that radio largely ignored. She was the first female country artist to have her first three studio albums go platinum, with three additional albums going gold and a hits collection selling double platinum.

Many of Morgan’s best recordings were never sent to radio, and those interested in discovering her in depth should seek out her finest studio albums, Greater Need and Show Me How.

But her singles were pretty good too, with these being the most essential.

Ten Essential Tracks:

“Dear Me”
from the 1989 album Leave the Light On

This song broke through just as news of the death of Keith Whitley, Morgan’s husband, became known. She was unfairly accused of capitalizing on his death with this release, as people both misinterpreted the song’s meaning and apparently ignored the fact that it had gone to radio weeks before his death.

Read This: Country Dignity

August 8, 2009 Dan Milliken 10

Here you go.

Digging Deep: Ashley Monroe

August 7, 2009 William Ward 9

Ashley Monroe Recently, while listening to Kathy Mattea’s Coal, I realized that, perhaps, the most important aspect to creating a themed play list was the ability to find some obscure songs to include with all those well-known classics. While Merle Travis’s “Dark as a Dungeon” as performed at Folsom Prison by Johnny Cash and Darrell Scott’s “You’ll Never Leave Harlan Alive” as performed by Patty Loveless are two of my personal favorite coal miner songs—they are already in heavy rotation on several of my play lists and are drawn from albums I listen to regularly.

Ashley Monroe’s “Canary,” which can be unearthed on This is My America Volume 2, is the kind of hidden gem that often can be missed even by those paying close attention to the movements of country music. Similar in tone to classic coal mining songs but delivered with modern sensibilities “Canary” most closely resembles what I wish “radio friendly” country sounded like—it isn’t traditional but it feels like country music. Plus, it fits well between my more traditional favorites, providing some variety for myself and perhaps a surprise to anyone listening along.

Reba McEntire, “Consider Me Gone”

August 7, 2009 Leeann Ward 15

Reba One of Country music’s most respected female artists, Reba McEntire, has had an expansive career that has spanned three decades. Those who have assessed McEntire’s longevity have rightly concluded that she has reinvented herself several times within her long career to adapt to the ever changing climate of country music.

By in large, she has been successful in finding ways to stay relevant, including associating herself with one of the hottest, though still relatively young, record companies in the business thanks, in part, to the meteoric success of Taylor Swift.

While this union with Valory Music (sister label to Swift’s Big Machine Records) may seem odd at first glance, the fact that Reba had once worked with label president, Scott Borchetta, when he was MCA’s Senior Vice President of Promotion, helps it all make more sense.

Incidentally, McEntire’s second single from her anticipated debut album with Valory Music sounds much like the Reba McEntire singles that Borchetta had promoted in the nineties, as far as production is concerned. With an easy melody, listenable production and McEntire’s typical quality vocal performance, “Consider Me Gone” is a solid effort by an artist who has managed to remain relevant on the public’s radar, in one way or another, in a time when it is difficult for both older and/or female artists to receive significant attention in the world of country music.

Miranda Lambert, “White Liar”

August 7, 2009 Dan Milliken 26

miranda white I think someone’s in a little songwriting funk. The #37-stalled “Dead Flowers” had intriguing lyrics but a generally bland sound; this one has the inverse problem. The melody and production are reminiscent of Little Big Town’s best rustic country-rock, and there’s a much more commanding hook here than “Dead Flowers” had, but the effort is compromised by throwaway lines like the chorus’ closing “And I don’t know why, white liar.” Don’t know why what, MirLam?

Pam Tillis Starter Kit

August 6, 2009 Kevin John Coyne 18

Pam Tillis The first week of Back to the Nineties will wind down with women who have something in common. Each one is the daughter of a legendary country star that struggled to break through during the late seventies and most of the eighties, then became commercially successful throughout the nineties.

Today, our Starter Kit is for Pam Tillis. Now, those of you who are longtime readers of this site are already familiar with much of Pam’s work. Perhaps you’ve read my interview with her, or her 100 Greatest Women entry, or that edition of Favorite Songs by Favorite Artists.

But for those less familiar with her, Pam Tillis was one of the most surprising country stars during the boom years. After a pop album and several country singles with Warner Bros., she resurfaced as the flagship female artist for Arista Records. Between the time of her first single for the label going to radio in 1990 and the end of the decade, she’d amass thirteen top ten hits, three platinum albums, two gold albums, a Grammy, and two CMA Awards, including the 1994 trophy for Female Vocalist of the Year.

Ten Essential Tracks:

“Don’t Tell Me What To Do”
from the 1991 album Put Yourself in My Place

Her breakthrough hit was one of two tracks from her first country album to be nominated for CMA Single of the Year. It’s also one of many Tillis hits that helped bridge the generational gap between the self-pity queens of earlier decades and the rah-rah independent women of the post-Shania age.

Picking the CMA Nominees: Music Video of the Year

August 6, 2009 Dan Milliken 25

Ah, Music Video of the Year. The awkward stepchild of the CMA Awards. Aside from provoking fewer blog wars than the bigger races, it’s also the category that apparently takes the least effort for voters to fill up, since predicting the nominees is often as easy as asking yourself, “well, which songs are probably going to be nominated for Song and Single?”

Nevertheless, music videos remain an important aspect of an artist’s public image, and sometimes even rise to the level of legitimate art. Keeping in mind the eligibility period (July 1st, 2008 – June 30th, 2009), below are the five videos I would most like to see recognized as such by CMA voters. Interestingly, four of them were breakthrough videos for their artists:

Travis Tritt Starter Kit

August 5, 2009 Leeann Ward 9

While Travis Tritt didn’t acquire quite as many number one hits as many of his fellow artists in the nineties, with only 3 to claim, he was still a solid hit maker and strong force throughout the decade. His soulful brand of “southern rockin’ country” is often what he associated himself with, as noted in “Put Some Drive in Your Country”, but he was just as vocally connected to ballads and other more standard country fare.

Even as an artist of the nineties who was not honored as much by the industry as some of his peers, likely as a result of his outlaw image, his album sales still managed to be impressive. They included albums that went gold (1), platinum (3), double platinum (3) and triple platinum (1).

As one of my favorite artists of the nineties and in general, it was difficult to point to only ten essential tracks of Travis Tritt’s to spotlight, especially since the majority of my favorite songs of his were either not hit songs or even released at all.

Ten Essential Tracks:

“Here’s A Quarter (Call Someone Who Cares)”
From the 1991 album It’s All About to Change

In the nineties, Tritt was credited as having a strong personality, though people close to him, including various opening acts, have reported that he was always surprisingly friendly and accommodating. This satisfyingly and refreshingly retaliatory song, however, helped to perpetuate the feeling that Tritt is not someone to be crossed. It is a glimpse of how it would feel to actually respond with one of those quippy comebacks that we only dream of lobbing, after the fact, of course.