DISClaimer Single Reviews (4/04/12)

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Jerrod Niemann, Joni Rae Jack

There are lots of new faces to greet us this day.

Newcomers to the column include Chelsea Bain, The Coleman Brothers, L.D. Whiehead & The 80 Proof Band and our DisCovery Award winner, Joni Rae Jack.

Missouri’s LiveWire continues to impress. In between helping its hometown of Joplin rebuild from tornado devastation, the band continues to issue extremely listenable singles. “Gone” got to me. Similarly, Glen Templeton continues his winning ways. Both of these indie acts deserve your support.

You know what I like about Jerrod Niemann? I mean, besides the fact that he spells his last name with two “n’s.” He’s such a cool artist because he isn’t afraid to be different. His records don’t sound like they come from a factory. They sound hand-crafted. And that’s why he wins this week’s Disc of the Day honor. That, and the fact that “Shinin’ on Me” is the catchiest song in this stack.

KIX BROOKS/New to This Town
Writer: Kix Brooks/Marv Green/Terry McBride; Producer: Kix Brooks & Jay DeMarcus; Publisher: none listed, BMI; Arista (CDX)
—“Every street’s a memory/Of how things used to be.” Everywhere he goes, he sees her and remembers what they once had. Kix drawls this with conviction, and the track crackles with power and clarity. Rascal Flatts star DeMarcus continues to impress as a record producer.

JERROD NIEMANN/Shinin’ on Me
Writer: Jerrod Niemann/Lee Brice/Rob Hatch/Lance Miller; Producer: Jerrod Niemann & Dave Brainard; Publisher: none listed, BMI/SESAC; Sea Gayle/Arista (CDX)
—Quirky and funky, this has a loose-limbed charm that’s hard to deny. The bluesy vocal has immense personality, and the bright horn blasts, Dobro solo and organ riffs are all ear-opening. I remain a fan.

JONI RAE JACK/Maybe You’ll Love the Way I Leave
Writer: Wynn Varble/Randy Hardison; Producer: Shayne Morrison & Greg Hunt; Publisher: WB, ASCAP; Ah Ha (www.joniraejack.com)
—Lickety-split stuttering guitar. Pert, personable hillbilly vocal. Twinkling piano plunking. Rapid, bopping, backbeat percussion. Sizzling steel and fiddle work. This rocks splendidly.

MARTY RAYBON/I’ve Seen What He Can Do
Writer: Lee Black/Sue C. Smith/Kenna Turner West; Producer: Mark L. Carman; Publisher: Christian Taylor/BMG/House of Blacks/Universal/Brentwood-Benson/CCBT, no performance rights listed; Rural Rhythm (track) (www.ruralrhythm.com)
—Marty’s Hand to the Plow CD has already yielded one big Christian hit, his self-penned “You’ve Got to Move.” Its second single is a lovely, melodic ballad that glorifies the beauties of nature, the wonders of the human spirit and the power of love to prove the existence of the Almighty. As always, this man’s voice reaches right into your soul. He’s a hoss.

LIVEWIRE/Gone
Writer: Daniel Bell; Producer: Justin Woods; Publisher: Country Party, BMI; Way Out West (615-319-1863)
—I like their silvery harmonies, the catchy tune, the chiming tone, the sterling electric guitar work and the thumping rhythm. I even like the “kiss my ass” line. Definitely worth some spins.

NEAL McCOY/Shotgun Rider
Writer: Rhett Akins/Dallas Davidson/Keith Anderson/Ben Hayslip; Producer: Miranda Lambert, Blake Shelton & Brent Rowan; Publisher: none listed; Blaster (www.nealmccoy.com)
—The songwriting and production credits sure are impressive. In this friendly, innocent-sounding bopper, he wants to cruise in the country with her in the title role.

GLEN TEMPLETON/Sing That Song Again
Writer: Ben Hayslip/Deric Ruttan; Producer: none listed; Publisher: Sony-ATV/Warner Chappell, no performance rights listed; Black River Entertainment
—The songs in question are “Brown Eyed Girl” and “Glory Days,” both of which are certainly worth singing again. Yes, radio plays the soundtrack of our lives, which is what this rocking, romantic sound celebrates. Solid.

THE COLEMAN BROTHERS/Tribute to a Firefighter
Writer: Mike Black/Judy Kellersberger; Producer: Greg Cole; Publisher: Gaylord/Blanco River, no performance rights listed; American Sounds (www.thecolemanbrothers.net)
—At last, someone has rhymed something with “orange.” Here’s how: “The sky is ghostly orange/This ain’t no false alarm.” As the title indicates, it is a straightforward, literal ode to the heroism of these public servants. Complete with sirens.

CHELSEA BAIN/Rockin’ That Trailer
Writer: Peter J. Sallis/Brian Gene White/Karyn Kristyne Williams/Mark David Carson; Producer: none listed; Publisher: none listed; Jobe/Rock Ridge
—Another rock performance trying to pass itself off as “country” by name-checking “Hank” and “the truck” and “trailer” and all such as that. Loud, in-your-face and headache inducing.

L.D. WHITEHEAD & THE 80 PROOF BAND/Mexico
Writer: Larry Doyle Whitehead II; Producer: none listed; Publisher: none listed, BMI; 80 Proof (www.80proofband.com)
—There’s ability here in the writing, the instrumental support and the vocal. But it sounds kinda like a demo. A little more production polish, please.

DISClaimer Single Reviews (3/28/12)

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(L-R): Jessie James, Matraca Berg

Sometimes less is more.

And sometimes you have to vote for class rather than flash. Matraca Berg’s “The Dreaming Fields” is a very simple production, but it packs a big emotional wallop. There are more famous record makers in this week’s stack, but this Nashville Songwriters Hall of Fame member wins the Disc of the Day.

Both of the DisCovery Award contenders are Universal products. Greg Bates records for Republic, and Jessie James is on Show Dog. In a tight contest, I’m giving the nod to Jessie James.

I don’t give out an Album of the Day award. But if I did, it would most certainly go to Tuskegee by Lionel Richie and his country pals. Those songs of his are just so enduringly extraordinary.

EDEN’S EDGE/Too Good to Be True
Writer: Gordie Sampson/Hilary Lindsey/Troy Verges; Producer: Dann Huff; Publisher: No Such Music/Bug/Music of Windswept/BMG Chrysalis/Songs of Southside Independent/Raylene/Songs of Universal/Songs From the Engine Room, SOCAN/ASCAP/BMI; Big Machine
—This is a trio, but somebody decided to make it sound like a female solo performance with some background vocalists. Next time, bring the other two voices up in the mix. The song is cool and so are the Dobro licks.

DANIEL SMITH/Sometimes Love
Writer: Daniel Smith; Producer: none listed; Publisher: Daniel Smith, ASCAP; DLS (www.danielsmithmusic.net)
—I’ve always liked this guy in the past. This new ballad is about the sad side of love that you discover when a loved one passes away. He aches in all the right places.

MATRACA BERG/The Dreaming Fields
Writer: Matraca Berg/Gary Harrison; Producer: Matraca Berg; Publisher: Songs of Universal/Hannaberg, BMI; Dualtone (track) (www.matracaberg.com)
—The yearning title tune of Matraca’s lustrous album mourns the loss of her grandparents’ farm. Her trembling, highly emotional vocal is accompanied only by her piano playing and a sighing, moaning cello. Which makes it all the more moving. The song has just become the subject of her new video.

LIONEL RICHIE & SHANIA TWAIN/Endless Love
Writer: Lionel Richie; Producer: Nathan Chapman & Lionel Richie; Publisher: none listed; Mercury (track)
—Thirteen songs from Lionel’s awesome catalog have become country duets on his new CD Tuskegee. Some of the biggest stars of the genre eagerly participated — Tim McGraw, Blake Shelton, Willie Nelson, Jason Aldean and Rascal Flatts among them. Shania takes the Diana Ross part on what was a massive, massive hit in 1981. She has a fuller, richer voice than the reedy Supremes diva, so this raises genuine goose bumps. This is a thrilling performance by both partners. The whole album is one delight after another. And I have always believed that Lionel Richie was really a country artist.

RACHELE LYNAE/Party ‘Til the Cows Come Home
Writer: Rachele Lynae/Stephanie Bentley/Jamie O’Neal/Jimmy Murphy; Producer: Jamie O’Neal; Publisher: Rachele Lynae/Fru Fru/Sugar Dumplin/Pakimo, ASCAP; Momentum (www.rachelelynae.com)
—It sounds pretty much like you’d expect it to, given the title. Lots of screaming guitar work, pumping percussion and crowd shouting. Pass.

SCOTTY McCREERY/Water Tower Town
Writer: Cole Swindell/Lynn Hutton/Tammi Kidd; Producer: Mark Bright; Publisher: Sony-ATV/House of Sea Gayle/Mike Curb, BMI/ASCAP; Mercury/19 (track)
—The production on this celebration of small-town life rocks brilliantly. Scotty keeps up with it, but sounds like he’s having to make an effort.

JESSIE JAMES/When You Say My Name
Writer: Marshall Altman/Dylan Altman/Rose Falcon; Producer: Mark Wright; Publisher: Sons of the Galt Line/Razor and Tie/Music of Cal IV, BMI; Show Dog Universal
—Lively and tuneful, this has the sound of young romance running all through it. James has an intriguing vocal delivery, throaty in her lower register and brightly sunny on her soprano notes. Very radio ready.

DIERKS BENTLEY/5-1-5-0
Writer: Jim Beavers/Brett Beavers/Dierks Bentley; Producer: Brett Beavers & Luke Wooten; Publisher: Sony-ATV Tree/Beavertime/BMG/Chestnut Barn/Big White Tracks, BMI/IMRO/ASCAP; Capitol Nashville (track)
—The girl is driving him insane, and he can think of nothing else. It’s Dierks in his upbeat rocker mode, accompanied by plenty of stuttering, twang guitar and thumping beats. Highly infectious.

JASON STURGEON/Time Bomb
Writer: Jason Sturgeon; Producer: Greg Archilla & Jason Sturgeon; Publisher: Jason Sturgeon, BMI; Tool Pusher (www.jasonsturgeonmusic.com)
—It’s a roaring, rocking car song. It also has no melody.

GREG BATES/Did It for the Girl
Writer: Greg Bates/Lynn Hutton/Rodney Clawson; Producer: Jimmy Ritchey; Publisher: Super Effusion/Big Music Machine/Bates ‘N’ Hooks/Songs of Universal/House of Sea Gayle/Big Red Toe/Big Loud Bucks/Amarillo Sky, BMI/ASCAP; Republic Nashville
—This sways like a summer hammock in the backyard. He cleans up to look sharp for her. He shines his car for her. He plays his favorite George Strait tunes for her. He dances, sips Corona, enjoys the moonlight, lights candles and drives slow. Let’s face it, the boy is dizzy in love. An excellent debut.

DISClaimer Single Reviews (3/21/12)

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Chris Young rules — the title tune of his CD and newest single is a potent dose of audio magic.

As thrilling a listening experience as “Neon” is, it has to share the spotlight for ballad beauty with “Marry Me” by Martina McBride and Pat Monahan. And completely on the other side of the country spectrum is the frothing new rocker by Toby Keith, “Beers Ago.” Any of these three could easily be crowned a Disc of the Day. But I’m sticking with the man from Murfreesboro. Someday soon, he’s going to be as big a star as Martina and Toby already are.

Capitol Nashville’s Jon Pardi grabs the DisCovery Award.

ERIC PASLAY/If the Fish Don’t Bite
Writer: Eric Paslay/Dylan Altman; Producer: Daniel Hill & Billy Lynn; Publisher: Cal IV/Five Stone/Music of Cal IV, ASCAP/BMI; EMI (CDX)
—Bright and sunshiny, with plenty of verve and upbeat energy. The lovey-dovey lyric isn’t the deepest thing in the world, but it’s perfect for summertime.

JON PARDI/Missin’ You Crazy
Writer: Jon Pardi/Bart Butler/Monty Holmes; Producer: Bart Butler & Jon Pardi; Publisher: Song Factory/Golden Vault/Bill Butler/EMI April/Funky Merle, BMI/ASCAP; Capitol (CDX) ()
—Righteously rocking. The fiddle and steel solos sizzle, and his vocal has real personality. Promising.

BRIAN MILSON/Country Life
Writer: Jim McCormick/Randy Houser; Producer: none listed; Publisher: Alternator/Bug, BMI; Permian/
Quarterback (www.brianmilson.com)
—We’re poor, but we’re happy making do with what we have. Boring song. Boring production. Colorless singer.

CHRIS YOUNG/Neon
Writer: Shane McAnally/Josh Osborne/Trevor Rosen; Producer: James Stroud; Publisher: Crazy Water/Kobalt/Want a Fresh One Mysuc/Black River/Unfair Entertainment/BIMS, ASCAP; RCA (track) ()
—Drenched with atmosphere and mood. This guy can sell a ballad like nobody’s business. Pair him with something this melodic and add some throbbing production with sensational steel and guitar and it’s hillbilly heaven. An A-plus in every department.

BETH CAYHALL/Boys Eat Your Hearts Out
Writer: Beth Cayhall/Dave Robbins/Lonnie Wilson; Producer: Kent Wells; Publisher: none listed, ASCAP; Go TIme (www.bethcahall.com)
—Tuneless. It might as well be a spoken-word performance.

THE BAND PERRY/Postcard From Paris
Writer: Kimberly Perry/Neil Perry/Reid Perry/Kara DioGuardi/Jeff Cohen; Producer: Nathan Chapman; Publisher: Pearlleather/Famdamily/When I Go to the Moon/Rio Bravo/As You Wish/Art Is the Fodder/Sunshine Terrace/Bug/Arthouse Entertainment, BMI; Republic ()
—It’s a little difficult to follow, but I think the gist of it is that he sweeps her off her feet and wrecks her life. As always, the voices carry the day.

TODD FRITSCH/Calls I Haven’t Made
Writer: Fred Wilhelm/Mike Post; Producer: Butch Baker; Publisher: none listed; Saddle Up (www.toddfritsch.com)
—I’ve liked this guy in the past, and this is his strongest effort yet. In this extremely well constructed story song, he looks back at his life and starts making the phone calls that make up for his shortcomings. Essential listening.

MARTINA McBRIDE & PAT MONAHAN/Marry Me
Writer: Pat Monahan; Producer: Martina McBride & Byron Gallimore; Publisher: EMI April/Blue Lamp/EMI Blackwood/Reptilian/Mayday Malone, ASCAP/BMI; Republic (track)
—Monahan is the lead singer of Train, with whom Martina did a CMT Crossroads episode. He is also one of pop’s coolest vocalists, as this ballad performance abundantly demonstrates. Previously a Train single, this is a gorgeous song that works splendidly as a country duet. Play the heck out of this.

THE WASHERS/Two Left Feet
Writer: Todd Janik; Producer: Billy Jo High & Adam Odon; Publisher: none listed, BMI; W (www.thewashersmusic.com)
—I would have brought the lead vocalist up more in the mix and turned down the band some. But this still has a rambling, rumbling, rumpled, rollicking charm. I bet these guys are a gas in performance.

TOBY KEITH/Beers Ago
Writer: Toby Keith/Bobby Pinson; Producer: Toby Keith; Publisher: Tokeco Tunes/Bobby’s Lyrics Land & Livestock/Do Write, BMI; Show Dog Universal (track)
—Turn it up! This rawks. Toby wails it with drawling bravado and plenty of characteristic wit. Guaranteed grins. Ya gotta love this guy.

DISClaimer Single Reviews (3/14/12)

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It is undeniable that much of the most creative music being made today is in the Americana genre, and that furthermore much of it comes from Nashville.

In today’s stack of platters, we find such stellar Music City contributors as Darrell Scott, Jeff Black, Rodney Crowell and Paul Burch. We can now add a new name to that list. Lend Bryan Clark and his New Lyceum Players your ears. The man is stepping up to the plate with guitar chops that equal Keith Urban, Brad Paisley, Vince Gill, Steve Wariner and our city’s other guitar-slinger heroes. He is also today’s DisCovery Award winner.

The Disc of the Day is also packed with Nashvillians. In addition to Crowell and Scott, they include Gary Nicholson, John Prine, Radney Foster, Emmylou Harris, Shawn Camp, Suzy Bogguss, Verlon Thompson, Tim O’Brien and Vince Gill. All of them are saluting the eternal greatness of Nashville Songwriters Hall of Fame member Guy Clark. A tip of the chapeau to This One’s for Him: A Tribute to Guy Clark, for it truly is a tribute worthy of the name.

SHELBY LYNNE/Heaven’s Only Days Down the Road
Writer: Shelby Lynne; Producer: Shelby Lynne; Publisher: none listed; Everso (track) (www.shelbylynne.com)
—Lynne’s Revelation Road collection is a true d.i.y. affair. She wrote all of its songs, played all the instruments and produced it. Its current emphasis track finds her emoting soulfully over a nervous beat and rapidly strummed acoustic guitar. The harrowing lyric seems to point back to her father, who murdered her mother and then killed himself while she and her sister watched. Gripping.

JEFF BLACK/Plow Through the Mystic
Writer: Jeff Black; Producer: Jeff Black; Publisher: Lotos Nile, BMI; Lotos Nile (track) (www.jeffblack.com)
—Speaking of doing it yourself, this superb Nashville song crafter produced his eighth CD on his own and played guitar, piano, banjo, bass and percussion on it as well. A few notables dropped by — Matraca Berg, Kim Richey and Gretchen Peters offer harmonies on a couple of tunes. Stellar instrumentalists Sam Bush and Jerry Douglas are here, too. Jerry is particularly prominent on this, the album’s shuffling title tune. Jeff, as always, sings with warm, throaty soul. Other standouts include the ballads “What I Would Not Do” and “New Love Song.” Jeff Black is booked to play at The Hard Rock on March 23 at 6 p.m. alongside Sam, Dierks Bentley and Jon Randall, all of whom have recorded his tunes, as has BlackHawk (”That’s Just About Right”).

DARRELL SCOTT/Hopkinsville
Writer: Darrell Scott; Producer: Darrell Scott; Publisher: none  listed; Full Light (track) (www.darrellscott.com)
—This awesome singer-songwriter’s new collection is titled Long Ride Home. Some of its tunes date back to his earliest years as a tunesmith while others are more recent collaborations with Marcus Hummon, Tia Sillers and others. This swinging bopper is a working man’s tune with snazzy steel by Lloyd Green, rolling piano by newly announced Country Hall of Famer Hargus “Pig” Robbins and a tenor harmony by Rodney Crowell. Elsewhere on this multi-faceted audio gem, other guests include John Cowan, Guy Clark, Patty Griffin, Mickey Raphael and Tim O’Brien. If you don’t love Darrell Scott, there’s something seriously wrong with you.

PAUL BURCH/Rave On
Writer: none listed; Producer: Paul Burch; Publisher: none listed; Ramseur (track)
—Burch’s latest is titled simply, Words of Love: Songs of Buddy Holly. His WPA Ballclub band lends the tunes a simplicity that is quite refreshing, considering how overblown most Holly tribute albums are. The arrangement of the set-opening “Rave On,” for instance, puts the spotlight on Burch’s jaunty, energetic vocal with nifty fiddle-and-squeezebox riffs, a simple rhythm section and little else. Ear opening.

MAD BUFFALO/Red and Blue
Writer: Randy Riviere; Producer: Chad Cromwell & Randy Riviere; Publisher: none listed; Mad Buffalo (track) (www.madbufffalo.com)
—Bandleader/songwriter Riviere hails from Montana, but traded Big Sky Country for Music City to record his latest CD. Stellar sidemen Dave Roe, Reggie Young, Jack Hoder and producer Cromwell make these tunes live and breathe as surely as Riviere’s shy, dry vocals do. This ballad title tune builds and swells around the philosophical lyric.

BRUCE SPRINGSTEEN/We Take Care of Our Own
Writer: Bruce Springsteen; Producer: Ron Aniello & Bruce Springsteen; Publisher: Bruce Spingsteen, ASCAP; Columbia (track)
—Introduced as the opening number of last month’s Grammy telecast, this is also the opening salvo of Bruce’s just-released Wrecking Ball CD. Despite the driving, uplifting track, it is a portrait of American promise denied to the disenfranchised. The theme resonates throughout the album. This is political music at its most majestic and powerful. This is why he’s The Boss. By the way, his eulogy to Clarence Clemons in the liner notes will move you to tears.

BRYAN CLARK & THE NEW LYCEUM PLAYERS/Southern Amen
Writer: Bryan Clark; Producer: Bryan Clark; Publisher: none listed; Rainfeather (track) (www.bryanclarkmusic.com)
—Clark is a transplant to Music City from Texas and the Southern Intermission CD was recorded in Brentwood. But you’ll swear you are listening to a smoking studio session from Memphis or Muscle Shoals or, in the case of this tune, New Orleans. This roars with soul/rock conviction, and the man’s fiery, world-class, fleet-fingered electric guitar work will blow your mind. Guaranteed. Get on board, chillun.

RODNEY CROWELL/That Old Time Feeling
Writer: Guy Clark; Producer: Tamara Saviano & Shawn Camp; Publisher: Chappell, ASCAP; Icehouse (track) (www.icehousemusic.com)
—”Let’s give her a good go and make ol’ Guy proud of us,” says Crowell as he kicks off this opening track of This One’s for Him: A Tribute to Guy Clark. His subsequent delivery of the wistful waltz is smoky, dreamlike and achingly emotional. But, then, everyone on this outstanding double CD is at their absolute best — Lyle Lovett, Vince Gill, Steve Earle, Emmylou Harris & John Prine, Radney Foster, Kris Kristofferson, Rosanne Cash, Joe Ely, Jack Ingram, Robert Earl Keen, Jerry Jeff Walker, Kevin Welch, Willie Nelson, Suzy Bogguss and on and on. Buy this at once.

FIERY BLUE/Slow Down
Writer: Paul Marsteller; Producer: Gabe Rhodes; Publisher: Big Moment, BMI; Doubloon (track) (www.fieryblue.com)
—This Texas combo seems to consist of lightly lilting vocalist Simone Stevens, percussionist Hunt Sales and multi-instrumentalist Gabe Rhodes performing the works of songwriter Paul Marsteller (apart from a delightful cover of The Beatles’ “I’ve Just Seen a Face”). This lively country rocker has enough hooks and melodic charm to be a mainstream country hit. The album’s title is Our Secret. Well, the secret is out.

FRED EAGLESMITH/Cemetery Road
Writer: Fred Eaglesmith; Producer: Scott Merritt & Fred Eaglesmith; Publisher: Sweetwater/A Major Label/Bluewater, SOCAN/SESAC; A Major Label (track)
—This ruggedly individualistic and independent Canadian has nonetheless had cuts by Toby Keith, Alan Jackson and Miranda Lambert, plus Chris Knight, The Cowboy Junkies, Mary Gauthier, Todd Snider, Kasey Chambers and more. This opening track of his new 6 Volts CD is a thudding, minimalist slab of drawled, bluesy, raspy attitude. Spooky, but as compelling as ever.

DISClaimer Single Reviews (3/07/12)

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Valory Music’s Justin Moore lands his first Disc of the Day prize this week.

I’m digging this kid’s singing more and more. If memory serves, he has been at the top of the charts twice now. I’m betting that “Til My Last Day” makes it a trifecta.

There’s a lot more music to recommend this week. Curb’s Rachel Holder has her finest single to date. Lionel Richie & Shania Twain are glowing together on Mercury. The Michigan duo Some Velvet Evening have a refreshing retro sound. And speaking of retro, the always dependable Chuck Mead is back and sounding as great as ever.

Our DisCovery Award goes to Logan Mize. Next week, this Big Yellow Dog songwriter will also become the debut artist on the publishing company’s new record label. Raise a glass and wish him bon voyage.

ROY SOLIS/Corpus Christi
Writer: Roy Solis/Johnny Garcia/Troy Powers; Producer: Johnny Garcia; Publisher: Avenue 1/Busy at Play/Mia’s Pub Shop, BMI/ASCAP; Avenue 1 (www.roysolismusic.com)
—Gently rolling, with some wonderfully deft guitar picking in between his softly plaintive tenor vocal phrases. Pleasantly listenable and easily programmable.

JUSTIN MOORE/Til My Last Day
Writer: Brian Dean Maher/Justin Moore/Jeremy Stover; Producer: Jeremy Stover; Publisher: Tunes of Bigger Picture/Big Music Machine/Double Barrel Ace/Super 98/EMI Apirl/Songs of Countrywood, ASCAP/BMI; Valory (track)
—He’s a bad boy who promises to change in order to prove the depth of his love. In fact, he’s vowing to love her until the day he dies. The driving, percussive production is terrific. His performance is soaked with sincerity, and the way he employs that small-town Arkansas drawl is completely endearing. This thing is going places.

SOME VELVET EVENING/Shooting the Breeze
Writer: Carrie Shepard/John Holkeboer; Producer: John Holkeboer; Publisher: none listed; SVE (track) (www.somevelvetevening.com)
—This Michigan duo is going for a retro sound here, and they nail it with charming simplicity. The nifty guitar twang and well-practiced harmony singing are both delightful. Check out their vintage, Opry-style video on the website.

LIONEL RICHIE & SHANIA TWAIN/Endless Love
Writer: none listed; Producer: none listed; Publisher: none listed; Mercury (ERG)
—The production is quite toned down from Lionel’s massively successful 1981 version with Diana Ross. But like virtually everything he’s ever written, the melody is so irresistible that you get swept away no matter what the musical surrounding. And, yes, this deserves to be a country smash.

RACHEL HOLDER/In Your Arms
Writer: none listed; Producer: none listed; Publisher: none listed; Curb (ERG)
—I was smitten with this the moment I heard it during CRS. It’s a lushly melodic power ballad with an almost hymn-like quality, and she delivers it with full fervor. Hang on for the chill-bump, upward modulation in the last chorus.

GEORGE HAMILTON IV & DARRELL McCALL/Abilene
Writer: L. Brown/G. Gibson/J. Loudermilk/A. Stanton; Producer: Justin Trevino; Publisher: Sony-ATV Acuff Rose, BMI; Heart of Texas (track) (325-597-1895)
—The much-loved and durable Grand Ole Opry star traveled to the Lone Star State to record his new CD, In the Heart of Texas. He kicks it off with a reprise of his 1963 signature song that’s drenched in steel and twin fiddles. Honky-tonk great McCall takes a turn at the mic, too, but with quite a bit more vibrato.

EASTON CORBIN/Lovin’ You Is Fun
Writer: Jim Beavers/Bob DiPiero; Producer: Carson Chamberlain; Publisher: Sony-ATV/Beavertime/Love Monkey, BMI; Mercury (CDX)
—There’s nothing really wrong with this blandly bouncy ditty. But considering the caliber of material he’s previously released (”A Little More Country Than That,” “Roll With It,” “I Can’t Love You Back”), this has to be counted as a disappointment.

DEEANN DOMINY/Daddy Went to Prison
Writer: none listed; Producer: none listed; Publisher: none listed; Dizzee (track) (www.deeanndominy.com)
—This gal is a previous DisCovery Award winner, and I still say she deserves major-label attention. This is a distinctive, individual new songwriting voice that needs to be nurtured and encouraged.

CHUCK MEAD & JAMEY JOHNSON/You Better Treat Your Man Right
Writer: none listed; Producer: none listed; Publisher: none listed; Ramseur (track) (www.chuckmead.com)
—Back at the Quonset Hut is the second solo CD by this former BR5-49 frontman. In between them, he was the musical director for the successful Broadway musical The Million Dollar Quartet. The concept here is to return to Music Row’s very first studio and cut some straightforward country classics with his band, members of the original A-Team and some terrific guests. Jamey is a merry and lively vocal foil on this wry, Wayne Raney outing. Elsewhere, you’ll find Bobby Bare (”Hey Joe”), Elizabeth Cook (”Pickin’ Wild Mountain Berries”) and Old Crow Medicine Show (”Wabash Cannonball”). Highly recommended.

LOGAN MIZE/Rock N Roll Band
Writer: Logan Mize/Blake Chaffin; Producer: Daniel Tashian & Logan Mize; Publisher: Even the Losers/Year of the Dog/Big Yellow Dog/Music of Parallel/Amplified/Zoe and Her Friend Munkee, ASCAP/BMI; Big Yellow Dog (track) (www.loganmize.com)
—Logan’s Nobody in Nashville debut CD drops next Tuesday. His website is teasing this track as a sneak peak. It showcases his raspy, gripping delivery amid a blue-collar rock audio surrounding. He says he’s a disciple of Tom Petty, but you can also hear the hook-conscious, hillbilly influence of his uncle Billy Mize (who wrote Charlie Walker’s iconic 1960 hit “Who Will Buy the Wine”). To say the least, extremely promising. Count me in.

DISClaimer Single Reviews (02/29/12)

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Phillip Thomas and Joanna Smith

I love it when the underdog wins.

Despite the presence of legendary Johnny Bush, superstar Carrie Underwood and funnyman Cledus T. Judd, it’s the far lesser known Joanna Smith who carries home today’s Disc of the Day award. She and producer Buddy Cannon have the finest sounding single of this week, by far.

Our DisCovery Award winner introduces himself with a seven-song EP titled Scars. Phillip Thomas recorded it in Austin with what appears to be a largely Latino supporting cast. Bueno.

PHILLIP THOMAS/Weather Man
Writer: Phillip Thomas/James DeBerry; Producer: Omar Vallejo & Phillip Thomas; Publisher: Matt Stevens, BMI; Muy Grande  (www.phillipthomasmusic.com)
—The scampering banjo that underscores this country rocker is just one of the reasons that it’s a slab of excitement. Deft electric guitar work, a pulse-quickening rhythm track and a soaring melody bring this thing home smartly. And then there’s his youthful, soaring, tenor vocal. You’ve got something, kid.

CLEDUS T. JUDD/Double D Cups
Writer: Brett Beavers/Jim Beavers/Brett Warren/Brad Warren; Producer: Cledus T. Judd & Chris P Cream Clark; Publisher: Beavertime Tunes/Chestnut Barn/Chrysalis One/EMI Blackwood/Sony-ATV Tree/StyleSonic, BMI; Warner Bros.
—As usual, his parody perfectly apes the original sonically. In this case, it’s “Red Solo Cup.” If they left out any synonym or nickname for breasts in this lyric, I sure didn’t spot it.

MARTY McINTOSH/She Makes Me Look Good
Writer: Tom Botkin/Tony Stampley/Toni Dae; Producer: Frizzell Productions; Publisher: Paris Landing, BMI; Nashville America (track) (www.martymcintoshmusic.com)
—You have no business being in a recording studio.

JOHNNY BUSH /Who’ll Buy My Memories
Writer: Willie Nelson/Eddie Noack; Producer: Justin Trevino; Publisher: none listed; Heart of Texas (track) (www.heartoftexascountry.com)
—This Texas honky-tonk legend’s latest is a whopping 16 songs long. Some of the tunes are chestnuts, such as “Am I That Easy to Forget,” “Pop a Top,” “Drinking Champagne,” and “I’ve Got a New Heartache.” Others are lesser known, but ALL are bona fide classic country. His vocal on the Willie Nelson title tune is robust, if a little timeworn in the vibrato department. Trevino’s production is hillbilly perfection.

JERRY VANDIVER & VICTORIA BANKS/Leave No TraceWriter: none listed; Producer: Jerry Vandiver; Publisher: none listed; Paddle Songs (track) (www.jerryvandiver.com)
—Vandiver is a successful Nashville tunesmith with such credentials as Tim McGraw’s “For a Little While” and Gene Watson’s “Don’t Waste it on the Blues.” He is also an avid canoer, and his True and Deep concept CD is a celebration of paddling on America’s waterways. This lilting, dobro-laced duet with 2010 Canadian Country Female Vocalist of the Year winner Banks is about enjoying nature without marring or spoiling it. Soothing and highly listenable.

CARRIE UNDERWOOD/Good Girl
Writer: Carrie Underwood/Chris DeStefano/Ashley Gorley; Producer: Mark Bright; Publisher: Carrie-Okie/EMI April/Sugar Glider/External Combustion/Out of the Taperoom/Songs of Southside Independent, BMI/ASCAP; 19/Arista
—It’s a rocker that warns the title femme about the no-good guy she’s seeing. Oddly for someone with such a fine vocal instrument, she often chooses material with more attitude than melody. This is one of those, but the production surrounding her dazzles.

CURTIS & LUCKEY/Tattoo
Writer: Curtis/Flanery/Rhem; Producer: Budy Cannon; Publisher: Tattoo/More Luckey, BMI/ASCAP; KMG (track) (www.curtisandlucke.com)
—They fall in love on spring break, and he becomes her “naughty little secret” just like that bit of body art. Extremely catchy and sung with jaunty charm.

JOANNA SMITH/We Can’t Be Friends
Writer: Brandy Clark/Shane McAnally/Shelley Skidmore; Producer: Buddy Cannon; Publisher: Tunes of Bigger Picture/Bigger Pictures Group/Vista Loma/Crazy Water/Little Blue Egg/Kobalt/Chrysalis/BMG Rights, ASCAP/BMI; Columbia
—This sweet/sad ballad portrays the complexities of lovers who’ve broken up beautifully. Her wistful vocal is echoed by lovely acoustic guitar work and framed in a gorgeous, echoey, wafting production. This is as pretty as it gets.

ANSON CARTER/Blue Collar
Writer: Casey Coesel/Chad Hudson; Producer: Michael Bowen & Anson Carter; Publisher: none listed; Black Gold (track) (www.ansoncartermusic.com)
—There already is a Montgomery Gentry. Also, “I’ve got blue collar running through my veins” makes no sense.

ONE NIGHT RODEO/We Could Go to Jail
Writer: Kim Tribble/Keith Follese; Producer: Kim Tribble; Publisher: Songs of Category 5/Tunes of RPM/Magic Midas/Jamanayre, SESAC/BMI; Fox Hill (CDX) (www.onenightrodeo.net)
—They’re so hot for each other that what’s on their minds could be illegal. I like the rapid-fire lyric delivery and the Southern-rock guitar work.

DISClaimer Single Reviews (2/22/12)

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Everybody’s trying to introduce new artists, so do you think it might be Country Radio Seminar week or something?

More than half of the contenders in this week’s column are baby acts. But despite the plethora of newcomers, I didn’t find one that I thought deserved a DisCovery Award.

On the other hand, there were plenty of Disc of the Day contestants. So many, in fact, that I’m giving out Male, Female and Group honors. The Male Disc of the Day prize belongs to Hunter Hayes, who sounds like he has a real breakthrough single with “Wanted.” The Female is my longtime favorite Kellie Pickler with her “100 Proof.” The Duo/Group disc is unquestionably Thompson Square’s striking “Glass.”

Party on, conventioneers.

LISA MATASSA/Wouldn’t You Like to Know
Writer: Lisa Matassa/Don Rollins/Jody Gray; Producer: Jody Gray & Don Rollins; Publisher: Strike the Match/Curtis E. Flush/Smyth of Tunes/Chrysalis, BMI/ASCAP; 9 North/itiswhatitis (www.lisamatassa.com)
—The gals giggle and whisper to each other in the dance club, keeping the guys in the dark about what is going on. The production has a rocking, country-funk backbeat, and Matassa sings with plenty of oomph.

KELLIE PICKLER/100 Proof
Writer: none listed; Producer: none listed; Publisher: none listed; BNA (ERG) ()
—Their love might be soaked in sauce, but it’s the real thing. Beautifully done.

THOMPSON SQUARE/Glass
Writer: none listed; Producer: none listed; Publisher: none listed; Stoney Creek (ERG) ()
—This extremely well-written love ballad points to the fragility of romance. The harmony blend is just perfect, and the ear-tickling track ebbs and swirls. Spin this.

CLINT MARTIN/I Love Being Me
Writer: none listed; Producer: Tommy Detamore & Clint Martin; Publisher: none listed; CM (www.clintmartinband.com)
—This is a textbook example of what country rock is supposed to sound like. He sings with a down-to-earth drawl, and the band kicks butt behind him. Stinging guitar work, crisp percussion and righteous energy.

AARON LEWIS/Endless Summer
Writer: Aaron Lewis; Producer: James Stroud & Aaron Lewis; Publisher: WB/Greenfund, ASCAP; R & J (www.aaronlewismusic.com)
—He shows off confident lung power here. It’s the same old song, the one about country kids hanging out and having summer fun, but you have to wonder a little about someone who name-checks Jason Aldean and Miley Cyrus in the same lyric. I never liked Staind as a rock band, but I have to confess that with this single, its lead singer’s transition to country is complete.

KRISTEN KELLY/Ex-Old Man
Writer: Kristen Kelly/Paul Overstreet; Producer: Tony Brown & Paul Overstreet; Publisher: Sony-ATV Tree/Scarlet Moon, BMI; Arista Nashville ()
—He was cheating on her with her best girlfriend. Then he gets tired of the girlfriend and hits on her again. No wonder she’s ticked off. Funky fun.

HUNTER HAYES/Wanted
Writer: Troy Verges/Hunter Hayes; Producer: Dann Huff & Hunter Hayes; Publisher: Songs of Universal/Songs From the Engine Room/Happy Little Man, BMI; Atlantic ()
—Not to be confused with the 1990 Alan Jackson smash with the same title, this song’s a tenor-voiced ballad wherein he wants to make her feel wanted. Hayes’ perfectly expressed vocal is a thing of wonder, and the melody is magnetic. I hear a hit.

BRAD WOLF/Too Many Mondays
Writer: Brad Wolf/Don Goodman/Sharon Resnick; Producer: Johnny Morris, Buddy Resnick & Don Goodman; Publisher: Big Hitmakers/Circle South/Little Tornadoes, BMI; Motion ()
—The blue-collar lyric is so strong that it really doesn’t matter that he sounds like he’s struggling to stay on pitch. Raucous barroom shenanigans.

CLAUDIA LEE/Hollywood Sunset
Writer: Max DiCarlo/Adam Iscove; Producer: none listed; Publisher: none listed, ASCAP; CLM 96 (www.claudialeelive.com)
—This pert blonde is featured on the CW TV series The Hart of Dixie. She’s 15 and sounds almost exactly like Taylor Swift.

LORI SMITH/What’s in it for Me
Writer: Bucky Jones/Tom Shapiro/Ron Hellard; Producer: none listed; Publisher: Universal Polygram/McBeck, BMI/ASCAP; 615 (615-776-2060)
—Not to be confused with the 1994 John Berry hit with the same title, this one’s a slow, sultry ballad pleading for lasting love. She has an interesting voice with a slight vibrato that’s particularly ear-catching when she dips into her dark alto register.

DISClaimer Single Reviews (2/15/12)

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Eric Church and David Nail are finishing in a dead heat for the Disc of the Day award.

David’s single is a range-y ballad. Eric’s is a throbbing tempo tune. What’s interesting is that they are both singing about how deeply blue-collar rock classics can penetrate your heart and mind. We can all relate to the extraordinary lyrics of “The Sound of a Million Dreams” and “Springsteen.” These songs are both smashes, folks.

The DisCovery Award goes to Thomas Rhett. This kid comes out rocking.

THE DIRT DRIFTERS/There She Goes
Writer: none listed; Producer: Justin Niebank; Publisher: none listed; Warner Bros. (track)
—I like these guys, and this is their best yet. This time around, the ultra-cool lead vocal is answered by a ghostly “Greek chorus” commenting on his heartbreak while the country-rock track canters along with chiming guitars and dusty percussion. Delicious sounding.

RECKLESS KELLY/I Never Liked St. Valentine
Writer: Willy Braun/Todd Snider; Producer: David Abeyta, Cody Braun & Willy Braun; Publisher: C&P Fah-Q/Nobody’s Collecting on These Songs, BMI; No Big Deal (track)
—He praises St. Cecelia for music, St. Francis for companionship, St. Patrick for booze, plus St. Christopher and St. Nick and but forget that heartbreaker Valentine. This mid-tempo, acoustic-based groover has a drawling wit that’s hard to resist. Timely, too, considering the season.

DAVID NAIL/The Sound of a Million Dreams
Writer: Scooter Carusoe/Phil Vassar; Producer: Chuck Ainlay & Frank Liddell; Publisher: Scrambler/Abbott’s Creek/Carnival/Phylvester, ASCAP; MCA Nashville (track)
—Magical. He’s not only a world-class vocalist, but this song about the power of music on your memory is downright breath taking. Chuck Leavell’s rippling piano accompaniment is simply gorgeous.

ADAM GREGORY/High on You
Writer: Adam Gregory/James Dean Hicks/Jamie Houston; Producer: Mark Moffatt; Publisher: On the Mantel/BPJ/Seven Peaks/John and Nancye’s Sons/Adam Gregory/Marc Isle/Walkerbout, BMI/ASCAP; Calusa/GMV Nashville (track) (www.adamgregory.com)
—Sung with confidence, produced with panache and written with craftsmanship. This rolling groove is more than ready for airplay. Well worth your spins.

ERIC CHURCH/Springsteen
Writer: Eric Church/Ryan Tyndell/Jeff Hyde; Producer: Jay Joyce; Publisher: Sony-ATV Tree/Sinnerlina/Purple Cape/Bug, BMI; EMI (track)
—The deep rumbling thump and the wistful vocal both pushed my buttons immediately. And any lyric about the nostalgia conjured by hearing “Born to Run” and “I’m on Fire” hits me directly in the heart. Amen, brother.

SONIA LEIGH/Bar
Writer: Sonia Leigh; Producer: Zac Brown, Matt Mangano & The Southern Ground Recording Group; Publisher: Southern Ground, BMI; Southern Ground (www.southerngroundartists.com)
—She sings with Southern-accented moxie and the rollicking song is tailor-made for Saturday night. Unapologetic drinking songs sung by women are as scarce as hen’s teeth, and this one’s as raucous as they come.

DARRYL WORLEY/You Still Got It
Writer: Darryl Worley/Brett Jones; Producer: Jim “Moose” Brown; Publisher: none listed; Tenacity (www.darrylworley.com)
—This jaunty bopper is a sunny ode to enduring romance. It’s not the deepest thing you’ll ever hear, but it goes down easily. I particularly liked the silky organ playing in the production.

BILL ANDERSON & THE OAK RIDGE BOYS/Gone Away
Writer: S. Ripley/T. DuBois/J. Wooley/B. Anderson; Producer: none listed; Publisher: Time Standing Still/NuBois/Laugh-Thot-I’d-Die/Mr. Bubba/Sony-ATV, BMI/ASCAP; TWI (www.billanderson.com)
—These veterans sound strikingly contemporary here. The echoey, evocative production is wonderfully moody. The lyric about people and things that are no more is as haunting as the trembling melody. Ear opening, to say the least. If you’re a country fan, definitely give this a listen.

THOMAS RHETT/Something to Do with My Hands
Writer: Thomas Rhett Akins/Lee Thomas Miller/Chris Stapleton; Producer: Jay Joyce; Publisher: EMI Blackwood/Cricket on the Line/Writers of Sea Gayle/Itchy Baby/House of Sea Gayle/New Son of a Miner, BMI/ASCAP; Valory
—What a debut. This kid comes out swinging with a frenzied, insistent country rocker that grabs you by the lapels from the opening note and never lets go. The song is a sexy come-on with winks to spare.

LUKE BRYAN/Drunk on You
Writer: Rodney Clawson/Chris Tompkins/Josh Kear; Producer: Jeff Stevens; Publisher: Big Red Toe/Amarillo Sky/Big Loud Songs/Angel River/Global Dog/Lunalight, BMI/ASCAP; Capitol (track)
—It might be winter outside, but this tune is all about the heat of summer and romance. It simmers and shimmers and sizzles like a July heat wave.

DERYL DODD/Anybody Out There
Writer: Deryl Dodd; Producer: Deryl Dodd; Publisher: none listed; Smith Entertainment (track) (www.deryldodd.com)
—This Texan’s current CD is Random As I Am, and this track from it shows us a side of him we haven’t seen before. It’s a contemplative power ballad about feeling like an outsider, wondering who you are and seeking understanding. Different, and different is good. He has evidently undergone a strong songwriting spurt, because 10 of the album’s 13 tracks are Deryl solo compositions.

Beats Audio Distinguishes Verizon Rezound Handset

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The premise sounds strong. Get a Verizon 4G LTE Android Gingerbread phone with front and rear facing cameras, an ultra sharp HD 720p display, a 1.5 Ghz dual-core processor and a pair of Beats Headphones by Dr. Dre. The HTC Rezound also promises, “Beats Audio technology for studio sound.” When the package arrived I wasted no time ripping it open to get my eyes and ears all over this baby.

My initial reaction unfortunately, was akin to the disappointment one might feel getting home from a blind date that didn’t match expectations. However, as the Rezound and I got better acquainted, I grew to respect its personality even if I wasn’t awed by its flash and sparkle. I couldn’t help thinking that if this phone had come into my life a year ago I would have fallen in love with its abilities. But ahhh, what a difference a year can make.

The Rezound’s physical characteristics made the first impression. The ultra high resolution 4.3 inch screen simply seemed small to me. I’ve been using a 4.5 inch screen and recently reviewed Verizon’s Samsung Galaxy Nexus with its 4.65 high-def window. In fairness, the Rezound’s screen is clear and sharp, but it didn’t impact my eyes the way the Samsung super amoled displays do. I never felt the WOW! factor.

I began setting up the phone to work with my Google accounts and social networks. The HTC Sense software which rides on top of the Android Gingerbread system operates easily, but to me it represents an unnecessary layer of complication. It does work smoothly, however, and I notice a few expert reviewers really seem to love it. My only setup problem was pushing the volume rocker and power/lock buttons. Clearly the designers were going for a smooth minimalist effect, but the switches are recessed deeply into the top edge and right-hand side of the phone making it difficult for my fingers to operate them. This 6.1 ounce phone sits nicely in your hand, but feels heavy. The Galaxy Nexus, even with its much bigger screen only weighs 5.1 ounces by comparison.

OK, so I wasn’t falling in love, yet…but it was the music that really attracted me to this device in the first place, so I was still filled with anticipation as I carefully unwrapped the red Dr. Dre Beats earbuds. Engadget’s Sharif Sakr enlisted the help of North London’s AMS Acoustics to scientifically measure the Beats performance. Sakr’s article sums, “The Beats Audio software isn’t complete marketing vapor, but it’s still inherently gimmicky… you could achieve a better result… simply by downloading a third-party music player that lets you play with the EQ settings yourself.”

Clearly they weren’t over the moon, but I listen to music for a living, believe I have great ears, and determined, “I’ll decide this for myself, thank you very much.” Lot’s of bravado, but ultimately, I had to agree with Mr. Sakr.

I listened to a wide variety of music with the Beats earbuds and compared the sound against my Subjekt TNT low profile headphopnes ($49.99) that fit over the ear. I listened to music recorded in analog like Steve Miller’s classic “Children Of The Future” and various Beatles tracks; then tried edgy country music like Brad Paisley’s “American Saturday Night,” and Colt Ford’s “Chicken & Biscuits.” Next I played alternative rock from The Black Keys new album El Camino. Throughout I did A/B tests comparing the Beats with the TNTs. As long as I was careful to keep the Beats tightly inserted in my ears they slightly edged out the headphones. I was using the Google music player which with Android/Gingerbread does not allow EQ adjustments. The Beats have a preset U-shape sonic curve boosting the bass and the treble. Had I been able to adjust the EQ, I feel certain that the TNTs would have equalled or surpassed Dr. Dre. And, in real world situations like running or walking, lightweight headphones remain in place over your ears while earbuds tend to slide.

Now for some of that personality which I “grew to respect.” This phone operates on Verizon’s incredible 4G LTE network which means you enjoy lightning fast data transfers and rock solid phone connections and the dual core processor in this unit drives it relentlessly fast. You’ll find it impossible to make it shudder or bog down. A year ago these specs would have placed Rezound at the top of the pile. But today, with the Galaxy Nexus offering 4G LTE and Android version 4.0 (Ice Cream Sandwich), one has to wonder if the Rezound is still a compelling alternative. Amazon currently offers the Galaxy Nexus for $99.99 or the Rezound for $79.99 with 2-year contracts. HTC says the Rezound will get a 4.0 update, perhaps as early as March… that should make Rezound owners very happy.

DISClaimer Single Reviews (2/08/12)

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They don’t call it Country Music City, just Music City, and this week we’re celebrating that with everything from rock to rap, classical to jazz.

The Black Keys’ rocking “Lonely Boy” is the Disc of the Day. Jessie Baylin and Madi Diaz are in a dead heat for the DisCovery Award. But there’s plenty more to explore in this stack of Nashville’s musically diverse platters. Plus, our own Jack White is issuing his debut solo single this week.

Read on.

MADI DIAZ/Let’s Go
Writer: Madi Diaz/Kyle Ryan; Producer: John Alagia; Publisher: BMG Sapphire/Madi Diaz/BMG Ruby/Happy the Kid/BMG Chrysalis, BMI/ASCAP; Small Horse/Thirty Tigers (track) (www.madidiaz.com)
—The debut single from Diaz’s debut full-length CD is a colorful, child-like spinning-top ditty with multi-layered vocals and spare percussion. Her sound here is an enchanting swirl of sweetness. One taste and you’re hooked. The national music press is beginning to take notice of this Nashvillian, thanks to tracks like this from her Plastic Moon album.

SAFETYSUIT/Let Go
Writer: Douglas Brown/Ryan Tedder; Producer: Ryan Tedder & Noel Zancanella; Publisher: Hamilton and Lynn/Universal/Z Tunes/Write2Live/Kobalt, ASCAP; Universal Republic (track) (www.safetysuitmusic.com)
—This foursome conjures up a wooshing windstorm in this single from its These Times CD. Already big on the college circuit, Safetysuit manages to fuse rock and dance music here in a way that could really make a dent on the Hot 100. The album was created at studio sessions in New York, L.A., Virginia Beach and home in Franklin, TN.

JESSIE BAYLIN/Hurry Hurry
Writer: Jessie Baylin/Thad Cockrell; Producer: Kevin Augunas; Publisher: Lady Blush/Little Hoss/Razor & Tie, ASCAP/SESAC; Blonde Rat/Thirty Tigers (track) (www.jessiebaylin.com)
—A bossa-nova beat, an echo-chamber soprano vocal, real strings, whispery backup singers and an angelic harp (!) are all in the mix of this amazing pop confection. This Music City gal is really, really cool, and not just because she’s married to Nathan Followill of Kings of Leon. Her album is titled Little Spark. Buy it now.

THE NASHVILLE SYMPHONY & CHRISTOPHER LAMB/Concerto for Percussion and Orchestra
Writer: Joseph Schwantner; Producer: none listed; Publisher: Schott Helicon, no performance rights listed; Naxos (track) (www.naxos.com)
—Composer Schwantner is a Pulitzer Prize winner who created this challenging yet highly listenable piece specifically for percussion soloist Lamb. Recorded live in the Schermerhorn, its three movements incorporate bongos, timpani, xylophone, marimba, triangles, cymbals, bass drum, a water gong, vibraphone and other exotic instruments against a sighing orchestral backdrop. This dazzling recording is nominated for a classical Grammy Award this year.

THE BLACK KEYS/Lonely Boy
Writer: D. Auerbach/P. Carney/B. Burton; Producer: Danger Mouse & The Black Keys; Publisher: McMoore McLesst/Wixen/Sweet Science/Copyright Control, BMI/ASCAP; Nonesuch (track) (www.theblackkeys.com)
—Nashville’s Black Keys are currently at No. 1 on the national rock chart with this kick-off single from their new CD El Camino. Like most of the rest of the album, it is a slab of straight-ahead, modern rock ‘n’ roll. Guitars riff hypnotically, drums thump relentlessly and backup gals join in on wildly catchy choruses. If you miss real rock music, “Lonely Boy” is your ticket to paradise. Highly recommended.

THE TSU COMMERCIAL MUSIC ENSEMBLE/Life Is Good
Writer: LaTisha Spence; Producer: Mark Crawford & Pat Holt; Publisher: none listed; TSU (track) (www.tnstate.edu)
—Tennessee State University is celebrating its 100th anniversary with a CD that features a representative song from each of its 11 decades, all recorded by past and present music students and faculty members. Representing 2012 is a dreamy, jazzy outing by current Commercial Music student Spence backed by a band and chorus of her peers. You can hear everyone’s gospel roots, but this performance holds its own with any jazz combo you’ll hear in this city today. Representing the ‘60s, by the way, is a lively arrangement of The Temptations’ “I Can’t Get Next to You.”

HOT CHELLE RAE & NEW BOYZ/I Like it Like That
Writer: R. Follese/N. Overstreet/A. Goldstein/D. Book/A.Misoul/E. Kiriakou/E. Kidd Bogart/L. Robbins/E. Benjamin/D. Thomas; Producer: Emmanuel Kiriakou & Andrew Goldstein; Publisher: Midas/Sleep When I’m Rich/Scarlet Moon/Nash O/Fueled By Music/ChrisSamSongs/Warner Chappell/Dan Book/Alexei Misoul/Roditis/Here’s Lookin’ at You Kidd/Beluga Hieghts/Sony-ATV/Hey Kiddo/Kobalt/New Boyz/Primary Wave, BMI/ASCAP; RCA (track) (www.hotchellerae.cm)
—These Nashville popsters seemed poised to duplicate the success of “Tonight Tonight” with this slamming party anthem blasting into the top-30 this week. Besides cluttering up the songwriting credits, New Boyz main contribution is some mid-song rapping. Make no mistake: this is HCR’s show.

THE WANNABEATLES/Fan Fab Memories
Writer: none listed; Producer: Dennis Scott, Bryan Cumming/David Toledo & Nathan Burbank; Publisher: none listed; WannaBeats (track) (www.thewannabeatles.com)
—Nominated for a Grammy in the spoken-word category, this is a collection of reminiscences with musical interludes provided by Nashville’s note-perfect Beatles re-enactors. If you are of a certain age, it’s a bubble bath of nostalgia. Among the “witnesses” are Janis Ian, Billy Swan, Wesley Orbison, Melissa Manchester and Phil Keaggy.

CHANCELLOR WARHOL/Bleeding Hearts
Writer: none listed; Producer: Levi Harris & Chancellor Warhol; Publisher: none listed; CS (track) (www.warholtheworld.com)
—This Nashville rapper’s CD is titled Japanese Lunchbox: A Love Story. This focus track has a burbling, poppy, electronic sound bed overlaid with a tender, broken-hearted rap. In a genre generally noted for aggressive, macho verbal posing, it’s an ear opener. The soft, sweetly sung interjections come courtesy of Mikky Ekko.

TOMMY WOMACK/Play That Cheap Trick Cheap Trick Play
Writer: Tommy Womack/Rick Nielsen; Producer: Tommy Womack & John Deaderick; Publisher: Screen Gems-EMI/Adult/Tommy Womack Tunes/Bug, BMI; Cedar Creek (track) (www.tommywomack.com)
—This beloved Music City rock institution drops his Now What! collection with a release party at Grimey’s on Feb. 21. It is his fifth solo CD, and it captures his wry, tragi-comic personna perfectly, particularly on tunes like this opening bopper. From his days in Government Cheese through his work in Daddy (not to mention his Clash tribute band Tommy Gun), Womack has a catalog to envy. Here’s one more reason to be a fan. For a real guffaw, spin his white-boy, black-humor rap “Ninety Miles an Hour Down a Dead End Street.” “Pot Head Blues” is self explanatory.