No Picture

Single Review: Martina McBride, “Teenage Daughters”

March 17, 2011 Kevin John Coyne 19

This is the Martina McBride that I was really into when I was a teenager.

Well partially, at least. I love the huskiness of her voice, which I haven’t heard on record since her Wild Angels artistic peak. There’s none of the earnestness that has characterized her work ever since, and you’d actually have to remix “Teenage Daughters” quite a bit to get it to fit on AC radio.

No Picture

Single Review: Taylor Swift, “Mean”

March 10, 2011 Kevin John Coyne 65

I’m just gonna put it out there.

I’ve never been a big fan of Taylor Swift because of two reasons. One, I don’t find any personal relevance in the adolescent perspective that she usually writes from. And two, I don’t care for her vocal style.

No Picture

Single Review: Edens Edge, “Amen”

March 3, 2011 Kevin John Coyne 10

Add another track, and another new act, to my “Thank God for 2011” list.

Confident, completely country instrumentation. A lyrical framework – “Can I get an amen?” – that I can’t believe hasn’t been used before, at least anywhere that I heard it.

No Picture

Single Review: Toby Keith, “Somewhere Else”

February 18, 2011 Kevin John Coyne 6

“Somewhere Else” has a groove that is very similar to “Trailerhood”, the lead single from the set that features both songs.

The slightly meatier content of this one likely gives it a longer shelf life. Keith does breakup about as good as anybody, and he sounds great, as always. I don’t think the guy is capable of turning in a weak vocal performance.

No Picture

Single Review: Eric Church, “Homeboy”

February 17, 2011 Kevin John Coyne 31

Talk about a missed opportunity.

“Homeboy” is an impassioned plea for a small town boy to reject the forces that are leading him down a path of no return, one where family is rejected, values are corrupted, and incarceration is likely the end of the road.

No Picture

Single Review: Kenny Chesney, “Live a Little”

February 16, 2011 Kevin John Coyne 10

It starts with a pure pop/rock intro that goes on a little too long, but provides for a pleasantly jarring transition into acoustic country. The first thirty seconds have that contrast which made Shania Twain’s The Woman in Me hits work so well.

But then it quickly disintegrates to generic Chesney: loud but not assertive, cute but not clever, upbeat but not uplifting.

1 84 85 86 87 88 149