Country Universe

Carrie Underwood featuring Randy Travis, “I Told You So”

March 24, 2009 Kevin John Coyne 14

What a fascinating collaboration. Both Randy Travis and Carrie Underwood have recorded distinctly different but equally compelling versions of “I Told You So.”

Travis was all tortured uncertainty in his version, like a nervous inner monologue made public. It was only on the chorus that he truly sang, as the verses were practically spoken.

Underwood chose to sand down those rough edges in her spin on the classic, expanding the hook into a power note and crafting a smooth melody out of the jagged verses.

Each original recording played to its artist’s strengths, but how can such disparate performances come together to make one cohesive record?

Martina McBride, Shine

March 24, 2009 Kevin John Coyne 16

Like Waking Up Laughing before it, Shine promises a far more upbeat album than Martina McBride intends to deliver. It’s almost disappointing, as McBride can be a burst of positivity when she sets her mind to it, with deliciously upbeat treats like “Safe in the Arms of Love” and “Happy Girl” to her credit.

There are a few songs in that vein this time around. “Ride”, the infectious first single, open with a “Yeah!” that would make Shania Twain proud, and McBride belts the song with eager intensity. Equally charming is “Sunny Side Up”, which was co-written by McBride herself. It’s the closest thing to “Walking on Sunshine” that we’re ever likely to hear in country music.

The best of the upbeat material comes late in the album. “You’re Not Leaving Me” is McBride’s most convincing rocker to date, all fiery conviction and stubborn will. You can almost hear her furrowing her brow and putting her foot down, stopping her weak-kneed partner in his tracks.

But a few of the other uptempo attempts falter because they don’t strike the right tone. The jangly “Don’t Cost a Dime” is almost Beatlesque, but the banality of the lyrics make it an unconvincing attempt at boosting the morale of those dealing with hard times.

The lyrics are stronger on album opener “Wrong Baby Wrong Baby Wrong”, but the song never gets off the ground. With a faster tempo and a more energetic production, it would have been far more effective.

Say What? – Little Big Town

March 24, 2009 Guest Contributor 23

In a review of the recent Little Big Town concert in Minneapolis-St. Paul, Star-Tribune reporter Jon Bream commented on the group’s lack of a lead singer. He noted that although the group has the potential

The Return of Recommend a Track

March 23, 2009 Kevin John Coyne 20

It’s been a good long while since I’ve shamelessly plugged a favorite song, and far too long since all of you have made me break the bank to purchase your recommendations. We’ve taken some heat

Toby Keith, “Lost You Anyway”

March 23, 2009 Dan Milliken 8

Toby Keith is such an ace ballad singer that he can make a totally lame ballad still sound kind of cool. That’s pretty much the story with “Lost You Anyway.”

The song attempts to flesh out a relationship which has presumably been doomed from the beginning, but reveals frustratingly little about why that is, content to linger in one-dimensional self-pity instead. The chorus is especially annoying, as the strong melody gets neutered by a barrage of lazy, vague lyrics (“could’ve tried just a little bit harder…dug down just a little bit deeper.” Are we talking about the relationship or the songwriting?)

But the vocal performance is strong as ever, and the production does the country-arena rock hybrid thing better than most of its ilk, with a repeated electric guitar fill that manages to not sound obnoxious. I doubt anyone is going to remember this five years from now, but as skip-it radio filler goes, it’s palatable.

William Ward joins Country Universe

March 22, 2009 Kevin John Coyne 9

I am proud to announce a new staff member at Country Universe!

William Ward has been a regular contributor to discussions on this site since his wife and CU editor Leeann Ward became a lead writer in early 2008. He is joining Country Universe in a special capacity. As Online Marketing and Publicity Director, he will be primarily responsible for promoting and publicizing Country Universe through various online outlets, including social networking sites.

Please join me in welcoming William Ward to Country Universe. Here is his bio:

William Ward is an Orientation and Mobility Specialist for the Maine Division for the Blind and Visually Impaired. He has earned a Bachelor’s of Arts in English and a Bachelor’s of Liberal Studies in Cultural Studies from the University of Maine, Presque Isle; he also completed a Master’s of Arts in Orientation and Mobility from Western Michigan University. William became Online Marketing and Publicity Director at Country Universe in March 2009.

Brad Paisley, “Then”

March 22, 2009 Leeann Ward 24

With a few notable exceptions Brad Paisley’s catalog consists of jocularity and love. He covers both categories rather well, but he also runs the risk of sounding stale after trotting out the same themes time

Jo Dee Messina, “Shine”

March 22, 2009 Kevin John Coyne 3

Jo Dee Messina’s singles generally into two categories: empowering anthems and sardonic kiss-off numbers. Her best singles, like “Bye Bye” and “Downtime”, are a little bit of both.

Given the title, it doesn’t take a rocket scientist to figure out which type of song “Shine” is. She’s had enough of looking at the glass half empty and is now determined to live her life to the fullest, taking every moment that she can to shine.

It’s decent enough, but the problem with releasing so many songs in the same vein is that the new releases are invariably stacked up against the old ones. In this case, the comparison does “Shine” few favors.

It doesn’t feature the energetic spark normally associated with Messina’s spurts of positivity, and she sounds more resigned to her life rather than reinvigorated by it. It doesn’t help that the production has such little luster, a strange choice to make for a song that is trumpeting the sunny side of life.

Aaron Tippin Starter Kit

March 21, 2009 Kevin John Coyne 11

Starter Kits are Country Universe’s way of introducing country music fans to an artist that they might not be fully aware of. This Starter Kit features Aaron Tippin, who will soon enter his third decade as a country recording artist.

Tippin was a hit from the beginning, launching his career with a gold-selling debut album. Over the course of the nineties and early 2000s, he would reach that sales level multiple times, racking up several top ten hits along the way. He recently released In Overdrive, a solid collection of truck driving anthems.

The Starter Kit includes one track from this recent release, along with nine others from throughout Tippin’s career that are required listening. As always, let me know what was missed in the comments.

“You’ve Got to Stand For Something” from the 1991 album You’ve Got to Stand For Something

Tippin established his artistic identity immediately with his debut single. Pride in family, pride in country, and pride in your beliefs are themes that Tippin would revisit frequently over the years, making much of his best music in the process.

“There Ain’t Nothin’ Wrong With the Radio” from the 1992 album Read Between the Lines

Tippin scored a huge hit with this ode to his car radio, the only part of his vehicle that isn’t falling apart.

“I Wouldn’t Have it Any Other Way” from the 1992 album Read Between the Lines

One of his many hits to champion the underdog, the accompanying video clip has him playing a factory worker who rallies for better working conditions.

Tracy Lawrence, “Up to Him”

March 21, 2009 Leeann Ward 2

Let me preface this review by disclosing that Tracy Lawrence was among my favorite hit makers in the early to mid-nineties. His voice was gritty and distinctive.
Moreover until the latter part of that decade, his song choices were enjoyable and even solid.

Regrettably, I cannot apply the same praise to his single, “Up to Him”, which is the lead single for his upcoming inspirational album. As has been a looming factor with Lawrence’s career ever since the album following Time Marches On, there is nothing remotely interesting about this song.

While the premise is arguably a legitimate sentiment for a country song, neither the song nor the delivery of it brings anything new or fresh to the oft sung about theme of working hard for one’s family through the strength of God. Instead, we are subjected to blandness that is not sonically or lyrically engaging. Furthermore, Lawrence doesn’t even sound as though he’s especially interested in what he’s singing about either. His voice is still recognizable, but it lacks the charisma it once had, which, incidentally, also happens to be the song’s ultimate downfall.