In a year that has already brought the deaths of immortal talents like George Jones, Slim Whitman, Patti Page, and Jack Greene, not to mention the untimely loss of Mindy McCready, it is understandable that the recent news regarding Randy Travis is having the country music fans collectively holding their breath with nervousness and dread.
There is something distinctly different about how I am processing the news about Randy Travis. The thought of losing him is inextricably linked with a feeling that we’d be losing an essential core of the country music that I fell in love with more than two decades ago. Now, I remember Randy Travis from when I was a child. What little kid wouldn’t be in love with a catchy song like “Forever and Ever, Amen”?
Even long-time readers of Country Universe could be forgiven for getting to #2 on our Top Country Albums of 2012 list and wondering, “Who on earth is Iris DeMent?”
Iris DeMent came out of nowhere in 1992 with a stunning debut album, Infamous Angel, that received rapturous critical acclaim. The general consensus was that it heralded the arrival of a new singer-songwriter for the ages.
It’s All Good
It’s impossible to review an album titled It’s All Good without indulging in a few witty remarks. Such a title tends to beg the question of whether or not the album really is “all good.” The vocals are all good, to be sure. Joe Nichols has already proven himself to be one of mainstream country music’s best male vocalists, and on his newest effort, his performances do not disappoint. The production, likewise, is consistently solid. Producers Mark Wright and Buddy Cannon back Nichols with arrangements that sound easily accessible and radio-friendly, while laced with traditional country trimmings of fiddle and steel, and it certainly is enjoyable to hear country music that is sonically recognizable as such.
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.
Listening to the new Joe Nichols single “The Shape I’m In”, I’m thinking the same thing about George Strait.
Perhaps it’s just because “The Breath You Take” is still a fresh disappointment in my mind, but I can’t help thinking Strait would’ve knocked “The Shape I’m In” out of the park.
There has been a fair amount of positive hype surrounding newcomer, Easton Corbin, as of late. He has been lauded as the next George Strait (not that George Strait is going anywhere quite yet, by the way!). Since he isn’t afraid to prominently feature the steel guitar on his self-titled debut record, such comparison is natural if not justified, though Corbin’s voice is not yet as strong as Strait’s.
The 201 Greatest Singles of the Decade, Part 3: #160-#141
Lee Ann Womack
Womack’s second-best Aughts song about late-night temptations is still better than a lot of people’s first-best songs about anything. Even in avoiding her drunken ex’s advances, she sounds positively heartbroken, suggesting she’d gladly make the other decision if she didn’t know better. – Dan Milliken
“She’s Not Just a Pretty Face”
Her motivation for her music has always been escapism, but I love the personal touch she slips into this one. Her late mother is the one who she’s referring to when she sings “at night, she pumps gasoline.” – Kevin Coyne
Instead of bombarding our readers with a million Christmas posts, we thought it would be more efficient to gather a bunch of 2009’s Christmas singles and provide a quick rundown in one post. So, in no particular order, here are my thoughts on this year’s Christmas singles.
Carter Twins, “Let It Snow” (Listen)
This brother duo treats this lightweight classic with an unimaginative contemporary production. It does not bring anything interesting to the table and is, mercifully, an all in all forgettable track.
It’s a shame that the most talented act (besides Keith himself, of course) on Toby Keith’s Show Dog label has not gained any traction in the last couple of years. It seems that, so far, the only way Carters Chord will be heard is through digital downloads, as their very good 2008 studio album was only released in digital form. Likewise, they have just released a 2-song Christmas EP that contains a pretty version of “O Come, O Come Emanuel” and a sassy interpretation of “Santa Baby.” Both tracks are well produced with prominent dobro and acoustic guitar in the mixes. “Santa Baby” is less whimsical and more assertive than the original version. “O Come O Come Emanuel” is well sung with beautiful sister harmonies and very few vocal gymnastics.