Review: Ryan Bingham, “Country Roads”
Hey, here’s something new: a gritty-sounding Americana dude singing about open roads and not giving a damn. Pretty novel, right?
Well, no. But there’s a fierce vitality to Ryan Bingham’s “Country Roads” that transcends the song’s somewhat hackneyed Dylan-on-a-dirt-bike aesthetic. The opening snare fires off like a racetrack gunshot, and the harmonica-driven sound that barrels out after it is so recklessly joyful that it makes every word it touches sound brand-new – and better, somewhat universal.
Evidently, country artists in Nashville are damn proud to be from the country – so proud that they each feel the need to record a song proclaiming just this and, no less, release it to country radio. I’ve lost track of the number of these singles put out in the past year, a handful of which I’ve found to be borderline offensive. As a city girl with a heck of a lot of love for the spirit of country music, I’d rather not be made to feel like I’m being excluded from a members-only club.
There is a God” is a thought that often crosses my mind when Lee Ann Womack is singing, so it’s somewhat appropriate that she’s released a song with that title. Of course, Womack’s more effective when she’s singing about Saturday night than she is about Sunday morning, unless she’s hating herself in the morning after that Saturday night.
At this point in Toby Keith’s career, he is most associated with a tough guy, ultra-masculine persona that he is usually all too happy to perpetuate. So, it is always a pleasant treat when he slows things down and reminds us that he actually has one of the better voices in contemporary country music. Furthermore, his strong vocals naturally wrap around a ballad better than many of his more ballad heavy peers, which is well demonstrated in his latest single, the jazz style “Cryin’ for Me (Wayman’s Song)”. 
Certain country songs have a vibe so inviting that you’re immediately pulled in – such is the case with “Gimme That Girl.” Its sound is fresh and almost organic, laced with a catchy beat and a charming sexiness that few male country artists can pull off.
I have a weakness for songs that mix in elements of fate, particularly love songs. Like no other genre, the best country music has the ability to make me not only believe in but feel invested in the journey of a man and woman.
There’s no doubt that Gretchen Wilson is very talented. She proved it with her smash debut song, “Redneck Woman”, which was a catchy rave up that joyously celebrated the less fine things in life. It easily struck a chord with a lot of people, due to its universal appeal (even men could champion the message) and its loud, but fresh, production. Wilson is also equipped with a voice that can sing a tender country ballad as adeptly as a country rocker like “Redneck Woman.” Unfortunately, radio has historically cast her as the party anthem, redneck woman and she has found it nearly impossible to escape the narrow typecast as a result.
Empty barrels make the most noise.
Rosanne Cash previews her collection of classic popular songs with a spin on the Don Gibson classic “Sea of Heartbreak.” The impact of Cash’s music usually depends on her incisive songwriting, but she’s had success in the past with well-chosen covers.
At the intersection of Taylor Swift’s present-tense teenage angst and Kenny Chesney’s trademark “those were the good old days” rememberings of carefree youth, you’ll find the new Bomshel single.