In theory, Wynonna Judd has the gravitas to pull off a feisty inspirational song like “I Will Stand By You,” the kind that builds on momentum and resolve instead of hope and compassion. And the lyrics, though clichéd, aren’t necessarily enough to kill the song’s spirit – because who better than Wynonna to breathe fire and energy into nondescript lyrics?
I think Tim McGraw is one of country music’s strongest singers. He doesn’t have the range or depth of a Vince Gill or a Toby Keith, but he can do what a great singer is supposed to do: deliver a song with sincerity and believability. That may seem like a low bar to clear, but it never ceases to amaze me how many country artists trip over it these days.
McGraw has a stellar track record in this area, but you’d never know it listening to “Felt Good On My Lips.” In fact, it seems that the record itself has so little confidence in McGraw’s ability to deliver a song that it puts every modern recording barrier it can think of between his vocal and the listener.
There’s no denying Keith Urban’s immense talent, which was brightly showcased on his first three major label albums, particularly Golden Road and Be Here. The music sounded articulate and fresh while being extremely accessible.
Urban’s last couple of albums, however, have been heavily influenced by electronic production where electric keyboards and drum machines largely filled the spaces instead of his prior muscular, yet more organic, production choices. Of course, this isn’t to say that there still weren’t some really good moments on both of those albums, as should only be expected by such a talented force, but they just seemed to lack the heart that was displayed on the previous two records.
Few mainstream singles this year have displayed the fine musicianship of “As She’s Walking Away,” the first single off the Zac Brown Band’s upcoming album, You Get What You Give. Sparsely produced, the song leaves ample breathing room for the equally gorgeous fiddle and full harmonies to make their respective impacts. More notably, the song is ripe with earnestness, from the sweet interplay between Brown and Jackson to the charming, honest performances. Even the energizing melody feels sincere.
A song about finding liberation on the open road shouldn’t put you in danger of falling asleep at the wheel.
I don’t know what’s going on with Mary Chapin Carptenter. She made my favorite album of all-time, Stones in the Road, and it wasn’t particularly upbeat. But the songs were amazingly good. I’m still learning new things from that album a full sixteen years after its release.
This single review is written by Guest Contributor Jennifer Bernard.
“Draw Me a Map,” the second single from Up on the Ridge, contains lyrics which are cleverly evocative and packed with passion. The acoustic arrangement combined with the vocals of Dierks Bentley and Alison Krauss make for a soothing delivery of words that definitely dive below the surface. Specifically with lines such as “I’d beg forgiveness but I don’t know where to start” and “I’ve never been so at loss, I’m at a canyon I can’t get around or cross,” you can truly feel the anxiety and hopelessness that Bentley illustrates.
This isn’t very good.
Perhaps it could have been, with a stronger melody and a more refined concept. The song itself is pretty good, but Evans turns in a listless performance, delegating all of the “oomph” to the background vocalists and studio musicians. And they’re pretty listless in their own right.
I’m getting tired of the dime store theology in country music today. It’s officially reached pandemic proportions.
Up for airplay are two new singles in which religion is just a decorative prop used to elevate a human role to something divine. Instead of achieving that impossible goal, all they do is cheapen the divine into something that is only human.
Love ain’t no fairytale.
The latest single from Carrie Underwood knows and embraces this. I can’t remember another wedding song that is so understated in its declarations. As she prepares to marry, she reassures her mother that this man is good. That’s pretty much it.
Pretty much it on paper, at least. But notice how the term is repeated – “He is good, so good.” Underwood chooses to emphasize those five words more than any others in the song, singing them as if just being good is enough to qualm a worried mother’s fears for her daughter’s future.
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