Album Reviews – Page 24 – Country Universe

Best Country Albums of 2009, Part 1: #20-#11

January 14, 2010 Dan Milliken 14

A tense uncertainty hung over 2009, as the world waited to see what would become of a new American president, an economy in crisis, and a full deck of divisive social issues.

Popular music tends to respond to such a climate in one of two ways: by confronting the issues and their ramifications head-on, or by cranking up the escapism to drown it all out for a bit. 2009 leaned heavily on the latter course, as the thumping sex-pop of Lady GaGa and the fluttery boy-centrism of Taylor Swift dominated the airwaves and the registers, offering listeners a chance to believe, if only for a few passing moments, that the world was as simple as a ride on a disco stick or the defeat of an evil cheer captain.

…

#20
One to the Heart, One to the Head
Gretchen Peters & Tom Russell

Gretchen Peters is best-known as a singer-songwriter, and a successful one at that, having penned the CMA. Song Of The Year “Independence Day” in 1994 and scored a top five hit when Faith Hill recorded her song, “The Secret of Life” in 1999. It is surprising then that, with her seventh album, One to the Heart, One to the Head, she and Tom Russell would release an album consisting almost completely of covers. Reminiscent of Willie Nelson’s penchant for relaxed delivery, One to the Heart, One to the Head flows with subtle emotion and western imagery. – William Ward

Review: Patty Loveless, Bluegrass And White Snow, A Mountain Christmas

November 30, 2009 Guest Contributor 11

bluegrass and white snow A Guest Contribution
by Stephen Fales

“the night was freezing cold, from a heavy snow that day, we warmed our hearts on old time songs and danced the night away” — Gordy/Loveless

Back in 2001, Patty Loveless made a wondrous, rustic and rootsy album called Mountain Soul, a stunningly beautiful and highly acclaimed work of art. Mountain Soul was a natural evolution for the coal miner’s daughter Loveless, who has always been known for the passionate mountain sound that she brings to her award winning Country repertoire. Mountain Soul is potential realized, a bountiful harvest that Loveless continues to cultivate to this day, her current masterwork Mountain Soul II being her most recent offering.

Album Review: Carrie Underwood, Play On

November 15, 2009 Kevin John Coyne 51

Play On Carrie Underwood
Play On

It’s getting easy to take Carrie Underwood for granted. Her vocal talent so far exceeds all of her contemporaries that she can outsing them all from the corner of her mouth. On her newest album, Play On, she continues to find new ways to stretch that voice, using a variety of approaches ranging from full-on power to subtle nuances.

It helps that she’s as comfortable singing a shameless pop hook as she is a pure country melody. This should come as no surprise. Any artist of Underwood’s generation has been weaned on both Randy Travis and Def Leppard, on both Reba McEntire and Madonna, on both the Dixie Chicks and Shania Twain. Play On makes the case that all of these influences can be mixed together, sometimes even on the same song.

Patty Loveless, Mountain Soul II

September 30, 2009 Guest Contributor 35

patty_loveless_mountain_soul_ii

Inhabiting the highest pinnacle of artistic integrity must be a lonely place to dwell. Patty Loveless remains a commercial exile, of sorts for the crime of being “too country” for country radio and TV. But Loveless is undistracted by the trendy and continues to adhere to her artistic vision, making music that matters, music of enduring merit, music that would make her Appalachian ancestors very proud. Music like her current offering, Mountain Soul II.

Back in 2001, her acclaimed Mountain Soul set a very high standard for artistic achievement. This shining original is a unique blend of Country, Bluegrass and Mountain music. It is a heartfelt tribute to her parents, especially her coal-miner father, and the Appalachian music that nurtured and sustained their family through many tribulations.

Miranda Lambert, Revolution

September 30, 2009 Leeann Ward 19

Miranda Lambert
Revolution

Miranda Lambert is a rare and fascinating case study of an artist who is able to push a significant number of records out the door, but is hard-pressed to receive equally significant radio airplay in return. While her first album, Kerosene, was certified Platinum and the follow up project, Crazy Ex Girlfriend, fared similarly well with Gold certification, she has only managed to squeak into radio’s top ten once with “Gunpowder And Lead.” On her third album, Revolution, it is entirely possible that Lambert has finally found a way to strike the tenuous balance of pleasing both critics and the general country music listening public with her album consisting of everything from sensitive ballads to rocked up, punk-flavored songs and a lot in between.

Sugarland, Live on the Inside

August 27, 2009 Kevin John Coyne 12

Sugarland
Live On the Inside

Sugarland has gone ahead and brought back the bootleg.

Their latest release is a CD and DVD combo that captures the essence of their live performances in two different ways. The DVD goes the conventional route, capturing one concert from start to finish in Lexington, Kentucky. The duo performs nearly all of their hits, and it’s a show with very little filler. They’ve had quite a few hits over the past few years, and they’ve held up well.

Sure, there are few of them that pack the punch of “Something More” or “Stay”, but they do their best to keep the older material fresh by updating the arrangements, and their unlimited and contagious enthusiasm for being on stage makes even the trite ones like “Settlin'” and “All I Want to Do” quite entertaining.

They make a darn good case for another Entertainer of the Year nomination. There are so few country artists who are able to radiate joy from the stage, and those that can do it end up with the audience in the palm of their hand, willing to do even ridiculous things like blow bubbles or sing a song about a drunk driving death in perfect unison.

Brad Paisley, American Saturday Night

July 2, 2009 Leeann Ward 16

Anyone who has been following my reviews and commentary will know that popular mainstream country music has really been wearing thin on me. As much as it may seem to some people that I enjoy harping on mainstream artists, I truly do not. The fact is that it is pretty disheartening to me, because mainstream country music is where I came into this music that I regard so highly. Therefore, its marked decline is discouraging to say the least.

One of the few mainstream artists that I’ve been able to enjoy in the past few years has been Brad Paisley. His last regular album, 5th Gear was a disappointment for me, however. So, I anticipated this new album, American Saturday Night with both excitement and trepidation, especially since I was not impressed with the lead single, the generic “Then.” I knew that if I ranked it with 5th Gear, Paisley would end up being yet another current artist that I’d have to write off, which would tragically leave me with one less mainstream artist I could embrace—something my short list could not afford. To my relief, not only does Paisley’s new release not rank as low as the aforementioned album, but it may even surpass, Time Well Wasted, the Paisley album that I’ve touted as his best for the past few years.

Tanya Tucker, My Turn

June 30, 2009 Leeann Ward 1

As a tribute of sorts to her father who loved traditional country music, Tanya Tucker has compiled a set of twelve songs that pays homage to country music’s past. While not an example of traditionalism herself as a recording artist, Tucker ably demonstrates that she is more than capable of stepping into the role on this project, but also shows that this is not her most comfortable position as an artist.

Produced by accomplished and respected producer, Pete Anderson (Dwight Yoakam), Tucker’s new covers album, My Turn, is full of both oft sung and lesser known gems. Tucker shines on up-tempo fare such as Buck Owens’ “Love’s gonna Live Here” with guest help from Jim Lauderdale, Don Gibson’s “Oh, Lonesome Me”, Charley Pride’s “Is Anybody Goin’ to San Antone” and the album’s best track, Merle Haggard’s “Ramblin’ Fever.” With the support of snappy productions to match Tucker’s assured vocals, these interpretations aptly showcase Tucker’s spunk and are where she seems to fully connect, both vocally and emotionally, to the songs and their lyrics, which is likely why the straightforward “Ramblin’ Fever works so well for her. “If someone said I ever gave a damn/Well, the damn sure told you wrong/’Cause I’ve had ramblin’ fever all along”, she growls with utmost believability.

Sarah Jarosz, Song Up in Her Head

June 16, 2009 William Ward 9

Interview emerging country music stars today and it may surprise you—especially if you listen to the radio—that they are all influenced by Hank Williams, Patsy Cline, Loretta Lynn and (if they play mandolin) Bill Monroe. When you find that they also claim to emulate artists such as Garth Brooks, George Strait, Alan Jackson or whoever else has recently gone platinum (with the exception of the Dixie Chicks), it can be almost discouraging to consider that few are even that traditional.

This brings us to Sarah Jarosz, whose debut with Sugar Hill Records, Song Up in Her Head, presents a very different view of influences and a noticeably different performer in its eighteen year old co-producer.

Seven years ago, while requesting an autograph from Chris Thile, Sarah Jarosz, not yet a teenager, expressed interest in, someday, playing music with Chris Thile. Since then, she has added Darrell Scott, Tim O’Brien, Jerry Douglas, Aofie O’Donavan, and Abigail Washburn—all who appear on her album—to her most often quoted list of influences. As a result, we are presented with an impressive, but much less calculated list than one might expect from a newcomer. Given that these are some of my favorite artists, it also sets a high bar with this particular reviewer. Fortunately for this recent high school graduate who plays mandolin, guitar, clawhammer banjo, octave mandolin, piano, and toy piano (we will get to that) on her debut album, these lofty expectations are not beyond her ability.

Samantha Crain and the Midnight Shivers, <em>Songs in the Night</em>

April 29, 2009 William Ward 1

Samantha Crain hails from Shawnee, Oklahoma, and along with the Midnight Shivers, performs a variety of folk-esque rock that seems to have, by osmosis, absorbed the roots, Americana, and country flavors associated with her small town upbringing. However, listen to them in interviews and you are as likely to hear talk of Radiohead as you are Woody Guthrie, which is perhaps a sign that geography is not as influential as it once was. With so many traditional (i.e. alt) country artists coming out of California, one certainly can’t deny Oklahoma its indie-rock influences.

With Songs in the Night, the full-length debut following last year’s The Confiscation EP, Samantha Crain and the Midnight Shivers recorded eleven tracks in five days with producer Danny Kadar. It is a debut that feels comfortable. In fact, while the potential obviously lurking around the corner can leave one wanting, its natural sound speaks to endless nights on the road honing their craft.

Particularly appealing throughout Songs in the Night is Samantha Crain’s delivery, which makes one imagine a Neil Young/Bjork lovechild. The album bursts with heartfelt songwriting, natural charisma, and elusive enunciation. This effect is no doubt a byproduct of the group recording live in studio, a choice that really captures their energy. Flanked strongly by the Midnight Shivers’ ideal infusion of electric guitar Crain presents a first-rate follow-up, one that should invite new fans but still satisfy followers of the group.

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