For as long as it has been written, “Love Like This” has been a hit waiting to happen. It was composed by the same trio of writers behind “Safe in the Arms of Love”, and
Country icon George Strait follows the title track of his latest album, Troubadour, with the new, calypso-laced “River of Love.” Troubador is light on radio-friendly material, and MCA leaves the Patty Loveless duet (“House of Cash”) and
Keith Urban and Monty Powell have always known their way around a shimmering pop hook, so it’s no surprise to hear their latest offering burst into a big, sunny, singalong chorus. What is surprising is
Martina McBride previews her forthcoming album with “Ride”, a high-energy single that surrounds one of her typical positive messages with atypically aggressive production. This is worth hearing for the guitar work alone, but stick around
At just twenty-three years old, Adam Gregory has built a following in Nashville based on a soulful vocal style and a strong dose of melody. His first single, “Crazy Days,” dinted the charts, and now he’s
A breakneck, banjo-riffic hoedown with a commanding vocal, seamless chorus, brilliantly minimalistic lyric, and friggin’ sweet instrumental break. That’s the closest I can come to explaining this wonder of a record, which marries the art
Meh. Old Crow have become a cult favorites by way of raucous roots revivals that often bulldoze the boundaries of proper content and delivery, but you probably wouldn’t get that just from this record. Sure,
Ah, developing niches. Newbie McComb had an solid debut playing the passively frustrated lonely guy in “This Town Needs a Bar,” and now he reprises the role in this buzzed-about follow-up. Fair enough. The song
Sad day: Heidi Newfield wastes her great voice on a super uncreative self-help song that recycles contemporary country’s favorite standby characters – women whose men mistreat them, and men who drink away their troubles –
Attempt #2 to follow up “Just Got Started Lovin’ You” finds Otto eschewing nostalgia to a groovy beat that sounds like something John Mayer might do at his sunniest and most simplified. There’s nothing really