Country Universe

Charlie Robison, “Reconsider”

June 17, 2009 Leeann Ward 3

While I’m always interested in learning the story behind a song, I generally insist that a song must be able to stand on its own without the support of a back story to prop it up. In that vein, I typically balk against unconfirmed assertions regarding motivations for a song as a justification for the song’s existence. With that said, it would be remiss of me to deny that a confirmed story behind a song often positively helps to inform an artist’s performance of the said song.

Therefore, it’s not farfetched to assume that Charlie Robison’s fairly recent divorce from Dixie Chick, Emily Robison, has had a tangible effect on the maudlin “Reconsider”, which was recorded in the aftermath of the highly publicized 2008 divorce. While Robison did not write the song, his emotion is palpable enough to make us forget such a technical detail.

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.

George Strait, “Living for The Night”

June 14, 2009 Leeann Ward 10

It is already well documented that George Strait co-wrote “Living for the Night” with his son along with Dean Dillon, one of Strait’s most relied upon songwriters. With this knowledge, it is nearly impossible not to be curious as to how this song, one of Strait’s very few compositions, compares to the others in his strong singles catalog. Unfortunately, it is a cut below most of his biggest hits, but it’s not a complete throw away.

Strait sings “Every Day is a lifetime without you/Hard to get through/Since you’ve gone.” The days are a painful reminder of his loss. So, he drinks as he lives for the night because it’s the only way he knows how to escape the pain. In fact, he even creates his own night by drawing the curtains to keep the daylight out and waits for the night so that he can “venture out into those neon arms that hold {him} tight.”

Montgomery Gentry, “Long Line of Losers”

June 10, 2009 Dan Milliken 11

What do you know? Coming off of their invitation to join the Grand Ole Opry, Montgomery Gentry release their most country-sounding single in some time. The sound is a nice blend of Alabama, Hank Jr., and 70’s folk-rock, with a chorus ready-made for barroom singalongs and a colorful set of dobro fills.

It’s a credit to the songwriting that it manages to breathe life into a fairly tired theme. This whole “I’m proud of my broken family, gosh darn it” shtick has been done a good deal in recent years, and it’s been done well, with tracks like LeAnn Rimes’ “Family” and Eric Church’s “Sinners Like Me” providing some of the most memorable moments in those artists’ catalogs.

As with those examples, what elevates Montgomery Gentry’s take on the idea is its candor. Rather than try to falsely glamorize the relatives’ imperfections, as so many would-be Redneck Anthems would do, this song just throws them all out on the table, acknowledging them as they really are – not necessarily desirable, yet inescapable. Granted, the family does sound a little bit sensationalized, but the details are at least interesting enough to warrant a momentary suspension of disbelief.

Love and Theft, “Runaway”

June 10, 2009 Dan Milliken 6

Lyric Street really seems to lead the pack in terms of “country” acts who don’t sound particularly “country”, huh?

Their new rising act on imprint Carolwood is another three-piece boy band who sound like they paid a lot of attention to 80’s pop-rock and care deeply about the inner yearnings of suburban girls between the ages of 11 and 17. If you’re like me, you’ll play the first two seconds of this and marvel that it’s climbing the same charts that once featured the late Vern Gosdin.

But alright, I’ll admit it’s a catchy little thing. I don’t know that music gets a whole lot blander than this – even in fantasizing about ditching town and a paying job, they still sound as safe and neutered as can be – but it’s competent, pleasant pop-rock whose only real artistic fault is just that it’s not nearly as edgy or exciting as it would clearly like to be.

George Strait Goes Platinum…Again

June 10, 2009 Kevin John Coyne 18

George Strait’s Troubadour has been certified platinum, his 33rd album to reach that sales mark.

How rare is this accomplishment? He trails only Elvis Presley (45) and The Beatles (39) among all recording artists.

Strait’s nearest country competitors are Alabama (20), Reba McEntire (19), Kenny Rogers (19) and Garth Brooks (16).

George Strait is one of those artists that I buy every album of. I remember being amazed how many albums he already had released when I became a fan in the nineties. It’s good to see him still going strong.

How many Strait albums do you own? What other artists do you buy every release from?

Playing Catch-Up

June 10, 2009 Dan Milliken 7

It’s one of those life/blog paradoxes: we dedicate a lot of words to the new – new releases, new issues, new news – and yet, when it comes down to it, our personal, non-internet selves spend just as much time trying to get up to speed on things we’ve missed. History is fat, full of great stuff that happened while you were preoccupied with playing on jungle gyms or raising babies. There’s always something to catch up on if you set your mind to it!

Like right now, for instance, I’m discovering the music of the 90’s. I was under 10 and on a Pacific island for most of those years, and was honestly only marginally aware of the “country” classification for most of them. So I’ve been diving in.

Although the 90’s are regarded by many as a very strong period for mainstream country, my current catch-up squeeze is the alt-country group Old 97’s, and one song in particular: “The Other Shoe”, from their ’96 set Wreck Your Life. It’s a catchy, clunky little tune about a creepy husband who tells his wife he’s leaving for Phoenix (the specific phrasing is an apparent nod to Glen Campbell’s “By the Time I Get to Phoenix” – cute), only to hide under their bed and await the appearance of her lover, whom he promptly guns down along with his adulterous wife.

Jason Aldean, “Big Green Tractor”

June 6, 2009 Leeann Ward 13

In Northern Maine, where I’m from, there’s something called tooling. You all know it by that term or other names if you live or lived in a small town, but it’s when people simply ride aimlessly around in their cars, up one street and down another with no reason but having “nothing better to do”, which may very well be true in my small hometown at least.

Well, Jason Aldean’s “Big Green Tractor” is the redneck version. Instead of a car, it’s a big green tractor and in the place of small town roads are country pastures and woods. At any rate, it’s the being together that’s the main attraction.
While it seems that Aldean’s more refined sweetheart is all ready for a date in town, he offers a more low key alternative: “We could take a ride on my big green tractor/We can go slow or make it go faster/Down through the woods or out to the pasture/Long as I’m with you, it really don’t matter…We could go to town/But baby if you’d rather/I’ll take you for a ride on my big green tractor.”

iPod Check: Recommend Ten Tracks

June 2, 2009 Leeann Ward 23

While I know it goes against the proper album listening experience, my favorite way to listen to my iPod is to put it on shuffle and see what pops up. It’s like my own personal radio station without the commercials, talking and music that I dislike. So, today I’m going to put my iPod on shuffle and list ten country songs that I would comfortably recommend to you. In the comments, you can do the same for us.

George Strait Honored As Artist of the Decade

May 28, 2009 Leeann Ward 43

There is really no new way to pontificate about the fascinating longevity of George Strait’s career. Many, including myself, have speculated regarding the many possible reasons behind his staying power, but it is more than likely that many of the factors that we have already considered could be easily applied to other artists with lesser careers to show for it. Therefore, the consensus that can be agreed upon by most everyone is that George Strait is consistent. In the last three decades, without being loud or splashy in any way, Strait has consistently remained a vibrant country music artist, both on the charts and in concert sales. As a result, he is one of the most respected, if not intriguing, artists in the business.

On May 27, the Academy of Country Music honored George Strait as their Artist of the Decade in a two hour CBS special. The show consisted of many of today’s biggest artists paying homage to Strait by singing the songs of the Man of Honor.

Unlike most tribute shows, this show moved along at a reasonably fast clip with few over-dramatic or slick moments to weigh it down, which was highly appropriate considering the man who was being honored that night.

The show opened with a rousing version of Strait’s Cajun flavored “Adalida” ably performed by Sugarland. Jennifer Nettle’s exaggerated drawl, while very different from Strait’s laid back vocals, gave the song energy and seemed to be a wise way to invigorate the crowd. Other energetic performances included a rocked up version of “All My Exes Live in Texas” by Jack Ingram, which was fun but lacked the whimsical charm of Strait’s western swing flavored interpretation. Alan Jackson did a faithful steel laden cover of “The Fireman”, which is always sung at events such as these, though it’s certainly not one of Strait’s most interesting classics.

« 1 … 358 359 360 361 362 … 504 »