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George Strait's 2011 CD, Here For A Good Time. Photo courtesy of UMG Nashville.

What is it about George Strait that makes it so easy to pour your favorite beverage, press “Play” on the remote and nod along with every song? Thirty-nine studio albums in, it’s apparent that the 59-year-old Country Music Hall of Famer is as sharp as ever when it comes to crafting vivid story-songs that command the listener’s attention long after the album’s over. On Here For A Good Time, King George mixes lighthearted carpe diem with heartbreaking tragedy to create another “classic Strait” record.

George co-wrote seven of the album’s 11 songs, sharing most of the songwriting credits with son Bubba and writing partner Dean Dillon. This is the same lineup responsible for George’s Top 10 radio hit, “Living For The Night,” off his most recent record, Twang. The first single off the new album, title-track and current Top 15 radio song “Here For A Good Time,” is an optimistic, uptempo tune written by the trio that serves as a call to get up, get the party going and live like there’s no tomorrow. When I’m gone put it in stone, ‘He left nothing behind’/ I ain’t here for a long time/ I’m here for a good time, George sings with infectious energy. On “Blue Marlin Blues,” a tongue-in-cheek tale about being unable to haul in that elusive catch, a funky vocal melody is paired with traditional country instrumentation as George reels off, Seven hours later we still ain’t caught a thing/ Mood on this boat sure has changed. George’s smooth voice is at ease as he twists and turns through the line with an engrossing and accessible rhythm.

The songs on Here For A Good Time lean mostly traditional with a heavy dose of twang. “Lone Star Blues” kicks off with fiery fiddle and popping percussion before throwing in shout-outs to Texas landmarks like the famous Billy Bob’s Texas honky tonk in Fort Worth. I lost my wrist watch and my boots shootin’ dice with a dude from Houston, George sings, taking the listener on a lively, hard luck tour of Texas. The neo-traditional “Shame On Me,” with weeping pedal steel guitar, sounds like the jukebox soundtrack to a night spent alone at the local watering hole. I thought I won your heart, but you were still in love with him, George sings with quintessential honky tonk aching.

The album’s most powerful songs are those that deal with Continue Reading

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Jake Owen's 2011 CD, Barefoot Blue Jean Night. Photo courtesy of Sony Music Nashville.

Though Jake Owen found success with his previous blend of country/rock stomp on hits like “Eight Second Ride” and “Tell Me” off of 2009’s Easy Does It, he was left seeking a more personal sound when working on his new project, Barefoot Blue Jean Night. Teaming up with Producers Tony Brown (George Strait, Reba McEntire), Joey Moi (Nickelback) and Rodney Clawson (writer of such hits as Big & Rich’s “Lost In This Moment”), Barefoot Blue Jean Night takes a more reflective approach than its two predecessors, offering a more intimate look at the singer.

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Crisply produced, Barefoot Blue Jean Night is tied together with radio-ready choruses, hook-laden electric guitar melodies and songs about women, life’s lessons and a few good times. On the lead single and pop-leaning title track, “Barefoot Blue Jean Night,” the Florida native’s slight southern drawl sounds at home on the summer beach song amidst acoustic guitars, subtle drum programming and a couple well-placed Whoa-oh-ohs in the chorus. We were shining like lighters in the dark in the middle of a rock show, Jake sings with attention-grabbing imagery and a touch of nostalgia. The laid-back, standout song “Heaven” opens with sentimental piano as his smooth delivery intertwines thoughtfully with the notes. Well, there’s a place that they call heaven/ Just south of town way up on a hill, he sings with easygoing measure on the sexy love song. This same seasoned experience also extends to other songs like the traditional-based, “The Journey Of Your Life,” where Jake recalls his Grandfather’s words, singing possibly the album’s best line, Continue Reading

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Sunny Sweeney photo courtesy of Republic Nashville.

A word to the wise – don’t piss off Sunny Sweeney. Especially, and most emphatically, if you’re a guy she’s dating. Because if the 10 songs on the Texas singer/songwriter’s fantastic sophomore album, Concrete, are any indication, Sunny is not afraid to let you hear about it. Luckily for the rest of us, though, the fireworks exploding from this tight collection are like witnessing good drama; you can empathize with the stirring emotions and feel the pain involved, but you can’t help but keep looking.

Even Sunny herself can’t stop examining certain situations depicted on the album. On the first single, and Top 10 radio hit, “From A Table Away,” she watches from across the restaurant as the adulterer she’s dating mixes it up lovingly with his wife. The cheatin’ ballad is classic country with open guitar chords punctuated by thick telecaster tones. In her smooth and sweet southern drawl, Sunny sings, So I guess that means that things are better/ must not be so bad at home/ I thought it looked like you were leavin’/ but it don’t. On the bluegrass-tinged, “Amy,” Sunny conjures Dolly Parton in a reversal-of-fortune as she faces her cheating man’s wife. Amy, please let me explain, she sings before later adding, If you’d look right at him you might see/ he loves you, he never wanted me. The compelling story comes alive over a thumping, midtempo and stone cold country rhythm section.

Sunny’s voice and delivery shine as she displays the ability to convey complicated emotions through her well-phrased melodies and exceptionally chosen lyrics. On the brooding “Helluva Heart,” Continue Reading

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Pistol Annies' 2011 CD, Hell On Heels. Photo courtesy of Sony Music Nashville.

When Kentucky raised singer/songwriter Angaleena Presley got a midnight phone call from Ashley Monroe and Miranda Lambert, devising a plan to start a new all-girl country band, she wasn’t sure if the two were serious. Ashley, originally from Tennessee, was the mutual friend between Angaleena and Texan Miranda, and the late night invitation worked to bring all three together for writing sessions. What formed was the rough and rowdy Pistol Annies, and what was produced is a compelling, gritty and uncompromising group of 10 songs appropriately titled Hell On Heels.

Working with producer Frank Liddell, who produced all three of Miranda’s solo albums, the overall sound of Hell On Heels is rooted in straight up, traditional country. The songs are mostly acoustic-based with a touch of reverb-heavy lead guitar and pedal steel weaving throughout the record. Lyrically, touching on such themes as drowning in debt, shotgun weddings and looking out for number one, the album is unflinchingly honest in its approach.

I’ve been thinking about setting my house on fire, Angaleena sings on the beautifully tragic “Housewife’s Prayer,” where Ashley and Miranda join in harmony near the end of the line. The melody rises like flames over a midtempo sonic pulse, and the vocal delivery captures the moment of cold consideration on whether or not literally burning down the house for the insurance payoff is the way to go. On the uptempo “Bad Example,” the trio sings in three-part harmony, Somebody had to set a bad example/ Teach all the prim and propers what not to do, before the character defiantly upholds being a rambler and third generation bartender.

Miranda, Angaleena and Ashley take turns singing lead vocals throughout the album, each one of them adding their own inflection, tone and style to the songs. Ashley takes the lead on “Beige,” a slow, ¾-time ballad with a melancholy melody about a teenage couple getting married after getting pregnant. Continue Reading

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Eli Young Band's 2011 CD, Life At Best. Photo by Jeremy Cowart, courtesy of Republic Nashville.

Eli Young Band returns with their brand of Texas Country on Life At Best, the quartet’s fourth full-length studio album, and their first with the Republic Nashville label. Based in Denton, Texas, EYB builds on the loose country/rock vibe of 2008’s Jet Black & Jealous with fourteen songs highlighted by Tom Petty-esque grooves, insightful lyrics and the comfortable ease of a band that understands each other’s nuances.

A single acoustic guitar opens the record on the lead track “Even If It Breaks Your Heart,” before singer Mike Eli’s fluid vocal enters to describe a young boy being helplessly wrapped up in music, from steel guitars to Memphis all the way to rock and roll. That line goes a long way to describe EYB’s sound as the band (made up of lead guitarist James Young, bassist Jon Jones and drummer Chris Thompson) breaks in on the chorus with a heartland rhythm section and ringing guitars a la Petty’s “American Girl.” The hard-hitting drums and locked electric/acoustic guitars of title track, “Life At Best,” show the band’s love for uptempo country/rock as they support the song’s message of joy and pain all being part of truly living. The group’s quick, rhythmic left turn through the pre-chorus works nicely to give the song additional depth while bassist Jon Jones’ smooth playing through the breakdown anchor the track before taking off again towards the song’s exciting climax.

On “Skeletons,” slightly distorted guitar notes ring through the verse as Mike’s vocal delivery sounds completely at ease admitting, Continue Reading

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Connie Smith's 2011 CD, Long Line of Heartaches. Photo courtesy of Sugar Hill Records.

Though nominated for a Grammy in 2010 on a duet with husband Marty Stuart, Connie Smith’s new album, Long Line of Heartaches, is the first time the classic country singer can be heard on a full release of her own since 1998’s self-titled effort. Long Line of Heartaches, a collection of 12 burning tracks, is a poignant return to form as Connie delivers the heartbreak beautifully through her timeless voice.

Connie wrote five of the album’s songs with Marty, who serves as the project’s producer. Opening with a trademark “Connie Smith Sound” pedal steel guitar lick, the record’s title track issues a statement that followers of traditional country should stand on high alert. Oh, it does you no good, when those burning teardrops fall/ sayin’ everything’s gonna be alright to a heart that’s seen it all, Connie sings with a vintage honky tonk touch on “Long Line of Heartaches,” reminiscent of greats like Loretta Lynn. Many of the songs on the album tell stories with heart-wrenching clarity about trying to be as strong as possible in the face of lost love. Surrounded by reverb-heavy guitar on the dreamy “I’m Not Blue,” Connie sings, You may think I’m falling apart/ but I’m just missin’ all the love we knew, before admitting, The truth gets hard to say when pride stands in the way/ So just let me lie to you/ I’m not blue.

“Ain’t You Even Gonna Cry,” a slow, acoustic-based ballad and one of the album’s standouts, features Connie’s voice richly conveying the hurt and dumbfounded disbelief of a woman realizing she cares more than the man she’s leaving. Continue Reading

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Suzy Bogguss' 2011 CD, American Folk Songbook. Photo courtesy of Lotos Nile Media.

On her 13^th studio album, American Folk Songbook, Grammy and CMA-award winning singer Suzy Bogguss takes a journey into the vaults of American music. With a pristine voice that is both technically savvy and emotionally charged, Suzy works with stripped down arrangements to add a modern touch to classic Americana.

Stemming from the idea that American heritage music was being lost on today’s children, Suzy set her mind to capturing traditional folk, bluegrass and Americana songs for a new generation. Paired with a separately-sold 96-page book that includes historical accounts of the songs, illustrations and sheet music, American Folk Songbook is an enthralling 17-song collection that succeeds in preserving many pieces of our storied musical history.

Suzy’s rich voice shines on the album as she masterfully approaches such iconic works as “Swing Low Sweet Chariot.” After an emotional measure of nothing but a single track of her singing, Swing low sweet chariot, comin’ for to carry me home, banjo slowly enters to support her delicate voice as acoustic guitars and bass ease in. Suzy shows that she has a couple tricks up her sleeve with Continue Reading

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Ronnie Milsap's 2011 CD, Country Again.

Grand Ole Opry member and American music legend Ronnie Milsap has country in his soul. With 40 No. 1 country hits to his credit, third only to George Strait and Conway Twitty, he has already cemented a place for himself in the cathedral of holy honky tonks. On Country Again, his first new country set in five years, Ronnie shines as he once again shows how it’s done.

First and foremost, Country Again is couuuunnn-try. The overall feel is a blend of Nashville Sound (think strings, delicate supporting harmonies and a nice polish), honky tonk and pop production that stays true to Ronnie’s classic sound of the ’70s and ’80s. Songs like “A Better Word For Love,” an acoustic ballad with strings and a dreamy chorus, showcase Ronnie’s tender voice as he sings, Tonight when I’m out walking, I’ll ask the stars above/ if out there, somewhere, there’s a better word for love. His inflection and ability to squeeze every ounce of expression out of a single note are compelling. “You’re The Reason I’m Living” is a slow-burning love song with layered harmonies. Here, Ronnie lets all the twang hang out singing, A long long time ago, when I was down/ you picked me up and showed me true love still could be found.

Produced by Ronnie and Rob Galbraith, the twang is joyfully strong on Country Again. The repetitive, dirty electric guitar riff of the album’s title track sets the scene for some brilliant honky tonk twists. “Country Again” starts in straightforward, standard 4/4 time Continue Reading

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Kevin Fowler's 2011 CD, Chippin' Away. Photo courtesy of Average Joe's Entertainment.

On the heels of scoring his second consecutive No. 1 hit on the Texas Music Chart with “Hell Yeah, I Like Beer,” Kevin Fowler is set to release his rowdy new album, Chippin’ Away. With a quick tongue and a voice that sounds like an old country highway meeting between Randy Rogers and John Mellencamp, Chippin’ Away offers 11 songs about beer, women, a little more beer, and a few simple pleasures all mixed together with a heavy dose of honky tonk.

Everybody knows you shouldn’t drink too much/ so why’s it always seem like there’s never enough?, Kevin wonders on “Hell Yeah, I Like Beer,” a straight up honk tonk number with no chaser. Swinging guitars with a touch of distortion, loose pedal steel and a pinch of fiddle support Kevin’s warm, road-worn voice on the barroom sing-along. Kevin’s rugged style combines traditional country with a rough-around-the-edges rock element that sounds completely natural. Kicking off with a twanged-out guitar riff, “Girl In A Truck,” (the album’s lead single and other No. 1 Texas Chart hit) is an ode to all those country girls driving jacked-up Fords with mud on the tires. With a melody and vocal delivery that bounces like driving down a back road, Kevin’s voice matches the song’s subject and structure while nimbly moving through thumping chords.

Kevin’s quick sense of humor is on display throughout Chippin’ Away. Even on a ballad like the acoustic-based “Daddies and Daughters,” a song about that special relationship and the protectiveness of a father, Kevin uses an understated joke to help complete the overall picture. Amidst tender guitar and quiet piano, Kevin sings Continue Reading

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Luke Bryan's 2011 CD, Tailgates & Tanlines. Photo courtesy of Capitol Nashville.

After going Gold with his 2009 breakthrough album Doin’ My Thing, and taking home the Academy of Country Music’s Top New Solo Vocalist prize in 2010, Luke Bryan returns with his third full-length studio album, Tailgates & Tanlines. Featuring a mix of uptempo party songs, loose country rockers and compelling storylines along the way, the 35-year-old Georgia native displays impressive depth, moving from frat boy fun into deeper territory over the diverse collection.

Reuniting with producer Jeff Stevens for the third time, Tailgates & Tanlines is front-loaded with fun, whimsical songs that sound like the soundtrack from a party weekend in Panama City Beach. “Country Girl (Shake It For Me),” the album’s opening track and lead single, kicks up the tempo with a pounding bass drum and descending chord progression. Crisply produced electric guitars and banjo run underneath the chorus’ quick recitation, as Luke makes it clear that if it’s breathing, well then it’s most certainly checking out the hot muse’s moves with the lines like, Shake it for the birds, shake it for the bees/ Shake it for the catfish swimming down deep in the creek.

Big ringing guitars open “Kiss Tomorrow Goodbye,” with pedal steel swimming throughout the reflective hook. Luke’s warm southern drawl sounds at ease moving through the admitting chorus, Ain’t gonna beg you to stay, ain’t gotta ask you what’s wrong/Ain’t no reason running after something already gone. Here, as well as in others like the midtempo summer party song “Drunk On You,” there’s an essence of living in the now, not worrying about the future and fondly remembering those wild nights.

As the album moves on, it becomes more reflective. Continue Reading

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