Country DISClaimer (2/20/09)

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All I have to say is, “wow.” I can’t remember the last time so many records deserved a Disc of the Day award. How to choose between Alan Jackson’s sweet/sad acoustic ballad, The Zac Brown Band’s groove-a-thon, Wynonna’s celestial performance, Love and Theft’s dizzy pop confection, Dierks Bentley’s party platter and Jefferson Ross’s brilliant songwriting?

In the end, I went with the one that moved me most emotionally, “Prayer of a Common Man” by the heart-tugging Phil Vassar. But let me hasten to add that all seven of these records deserve your attention and support.

Carolwood Records is the new Lyric Street imprint. It is also the home of our DisCovery Award winning group, Love and Theft. Who are these guys?

Our runners up for this honor, by the way, were Mr. Ross and the duo of Nathan Chance. You can’t miss Chance when he’s on Music Row. He stands over 6’6” tall.

DANIELLE REED/Kissing In The Rain
Writer: Marc Kuchner; Producer: John Carter Cash; Publisher: none listed; Barcode (track) (www.daniellereed.com)
—This charmer sings with down-to-earth country simplicity. The song is a mid-tempo, plain-spoken rural romance. For an unknown, she sure has lined up a stellar support team. Produced by John Carter Cash, her debut disc features sidemen like Jamie Hartford, Bob Britt, Dave Roe and Hoot Hester.

DIERKS BENTLEY/Sideways
Writer: Jim Beavers/Dierks Bentley; Producer: Brett Beavers & Dierks Bentley; Publisher: Sony-ATV Tree/Beavertime Tunes/Big White Tracks, BMI/ASCAP; Capitol Nashville (track)
—You worked all week, it’s time to play. And here’s your soundtrack, a party-hearty anthem that’s meant to get you out on that dance floor. Everything works here, from the mash-up of banjo and steel to the shouted “Heys,” the crowd noise and the rollicking rhythm. Somewhere in there hollering is label boss Mike Dungan, making his disc debut.

NATHAN CHANCE/I Think She Loves Me
Writer: Dukas/Anderson; Producer: Kevin Lawson; Publisher: none listed; Nathan Chance (www.chancemckinney.com)
—Nathan Arneson and Chance McKinney were solo acts with solid followings in the Pacific Northwest. In 2006, they decided to combine forces and form a duo. This shouted rocker has loads of energy and power. The stunning “Some Bridges Don’t Burn” proves they can handle a ballad as well. These dudes have audio charisma, and their stage show must be pretty good, too. They’ve opened for Chesney, Strait, Rascal Flatts, Martina and loads of other top headliners. This format needs more duos, especially ones that sound as good as this one. Send a full CD ASAP.

LOVE AND THEFT/Runaway
Writer: Stephen Barker Liles/Canaan Smith/Rob Blackledge; Producer: Jeff Coplan & Robert Ellis Orrall; Publisher: Hate and Purchase/Rockapop/House of StyleSonic/Kid in the Korner, ASCAP; Carolwood
—Utterly delicious. It’s a foaming, frothy pop-country outing that’s drenched in melody, harmonies and happy-feet rhythm. This sparkles with sunshine and begs for a drive on an empty two-lane blacktop. Summer is officially here.

MELISSA CLEVELAND/It’s All About Me
Writer: Victoria Colbert/Brandon L. Shane/Nicole Nichols; Producer: Brandon Lynn Shane; Publisher: Shanethang, BMI; Mirror Image (track) (www.melissacleveland.com)
—It’s a feisty-female “attitude” tune. She’s sick of being a housewife drudge and is aiming to go out on the town to kick up her heels while he stays home for a change. The fiddler and guitarists sizzle around her scratching-kitten-claws vocal.

ALAN JACKSON/Sissy’s Song
Writer: Alan Jackson; Producer: Keith Stegall; Publisher: EMI April/Tri Angels, ASCAP; Arista
—The prettiest, saddest ballad on Alan’s Good Time CD has now become the collection’s fourth single. The lyric about a departed loved one is beautifully backed by poetically plucked acoustic guitar lines. Gorgeous in its perfectly ornamented restraint.

JEFFERSON ROSS/The Prophet Elijah
Writer: Jefferson Ross/Alison Mellon; Producer: Jefferson Ross; Publisher: none listed; Deep Fried Discs (track) (www.jeffersonross.com)
—Jefferson is a Curb writer who has been on the road backing Terri Clark for 10 years. She tipped me off to his talent, and his debut CD arrived in the mail a few days later. What a find. He sings with immense heart and believability. This terrific track is about the injustice and violence faced by a peace-loving old black man. You’ll hang on every word of this tender story song. And the rest of his Azalea collection is just as strong.

ZAC BROWN BAND/Whatever It Is
Writer: none listed; Producer: none listed; Publisher: none listed; Big Picture (ERG)
—The Zac Brown Band’s second single is just as winning as “Chicken Fried” was. And it is even more irresistibly tuneful. There’s just so much honesty and integrity in the group’s singing and playing. I’m digging this groovy combo more and more.

PHIL VASSAR/Prayer Of A Common Man
Writer: Phil Vassar/Tom Douglas; Producer: Mark Wright & Phil Vassar; Publisher: Phylvester/Words & Music/Sony-ATV/Tomdouglasmusic, ASCAP/BMI; Universal South (track)
—A passionately sung and written little masterpiece for working stiffs everywhere. Phil sings his face off, and every line pierces your soul. It gave me a big ol’ lump in my throat, and that’s a very good thing.

WYNONNA/Sing
Writer: Rodney Crowell; Producer: Brent Maher & Don Potter; Publisher: Sony-ATV Milene/J Only, ASCAP; Curb (track)
—Wy’s Sing Chapter 1 album is a collection of mostly covers of classics such as “Ain’t No Sunshine,” “Til I Get it Right,” “Anyone Who Had a Heart,” “I’m So Lonesome I Could Cry” and “When I Fall in Love.” Not everything is a standard, however. The title tune and first single is a thrilling, inspirational melody from a Nashville Songwriters Hall of Fame member. She soars into the stratosphere on this fabulous performance. For a sassier side of her prowess, check out the swinging revival of The Boswell Sisters’ 1932 gem “That’s How Rhythm Was Born.” This is Wy’s strongest album in years. Buy it.

Americana DISClaimer (2/18/09)

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This week, I’m tidying up a few loose ends in my Americana listening stack.

This truly is a genre of great singer-songwriters, and three of them have current albums that you absolutely must own. They are John Hiatt’s Same Old Man, James McMurtry’s Just Us Kids and Bruce Robison’s His Greatest, which earns our Disc of the Day prize today.

Listen and believe.

CHRIS VALLILLO/Battle Cry Of Freedom
Writer: George F. Root; Producer: Chris Vallillo; Publisher: public domain; Gin Ridge (Track) (www.chrisvallillo.com)
—I am writing this on President’s Day, and this year we are celebrating the 200th anniversary of the birth of Abraham Lincoln. What better day to remind everyone that this slide guitarist and folk singer has an album called Abraham Lincoln in Song? Vallillo performs the melodies that were popular during Abe’s lifetime, beginning with this call to arms. Ordinarily played as an uptempo tune, he slows it down to bring out the beauty of its ebbing and cresting melody. He’s such a good player that it’s a shame that this is the CD’s only instrumental. Other tunes include “Aura Lee,” “Darling Nelly Gray,” “Dixie’s Land,” “Lorena,” “Hard Times Come Again No More” and “We Are Coming Father Abraham.”

JOHN HIATT/Same Old Man
Writer: none listed; Producer: John Hiatt; Publisher: none listed; New West (track) (www.johnhiatt.com)
—The title tune to this Nashville treasure’s current CD is a gently rolling love lyric. “A few less brain cells, a lot less hair/Honey, tell me, do you still care?” Those of us of a certain age can certainly relate. I was the one yelling loudest when he won his Americana lifetime-achievement honor and was inducted into the Nashville Songwriters Hall of Fame last fall. I own every one of John Hiatt’s albums, and so should you.

THE MIGHTY HANDFUL/Reconsider Baby
Writer: Lowell Fulson; Producer: Scotty Moore; Publisher: Arc, ASCAP; BMCD (track) (www.scottymoore.net)
—This is the tune that led to this extraordinary collaboration. The Mighty Handful was Bob Moore, Boots Randolph, Bucky Barrett, Steve Shepherd, Fred Satterfield and Buddy Spicher with Billy Swan on vocals and Scotty Moore at the board. The self-titled CD is loose-limbed blues all the way through, recorded live. This is one of those discs I never got around to last year. Better late than never.

BRUCE ROBISON/Travelin’ Soldier
Writer: Bruce Robison; Producer: Bruce Robison; Publisher: Tiltawhirl/Carnival/Bruce Robison, BMI; Premium (track)
—The album is called His Greatest. You need it. Badly. It’s Bruce singing his own versions of “Wrapped,” “Angry All the Time,” “Desperately” and the other hits he’s written for others. My favorite leads off the collection, an awesome war song that the Dixie Chicks took up the charts in 2002. Wife Kelly Willis sings harmony on the choruses, and the band is rootsy and terrific. I am such a total fan of this guy.

JAMES McMURTRY/Cheney’s Toy
Writer: none listed; Producer: James McMurtry; Publisher: none listed; Lightning Rod (track) (www.jamesmcmurtry.com)
—McMurtry’s latest is called Just Us Kids. As always, every performance is compelling. On this one, he intones, “You’re no longer daddy’s boy / You’re the one they’re all afraid of / But you’re only Cheney’s toy.” Sung to a military march tempo, this will make the hairs on the back of your neck tingle. Last fall, it was a nominee for Americana Song of the Year. No wonder.

DISClaimer 2/13/09

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This week, the major labels are stepping up to the plate with quality.

Mercury has two excellent singles, by the Randy Rogers Band and Holly Williams. Warner Bros. Records is offering us a dandy uptempo by Jessica Harp. Columbia has the DisCovery Award winners, Caitlin & Will.

But at the end of the listening session, an indie walked off with the Disc of the Day prize. That would be Broken Bow with its Megan Mullins & Randy Owen duet of a dynamite Dolly Parton tune.

Duets rule.

MAIDEN TEXAS/Don’t You
Writer: Johnny Edward Pierce/Otha Young; Producer: none listed; Publisher: Oh the Music/Sony-ATV Tree; Maiden Texas (817-283-7984)
—This Dallas-Ft. Worth trio is composed of Stephanie Mulder, Krista Hughes and DeAnna Edwards. Their revival of this 1989 Forester Sisters single has sprightly energy and flawless three-part harmony throughout. A winner.

RANDY ROGERS BAND/Buy Myself A Chance
Writer: Randy Rogers/Sean McConnell; Producer: Radney Foster; Publisher: Warner-Tamerlane/Lonely Motel/WBM, BMI/SESAC; Mercury Nashville (CDX)
—The gently loping rhythm and spare instrumental work throw the spotlight on the country-soulful, slightly raspy lead vocal. The hillbilly boy trying to hit on someone else’s dance partner is completely sweet and believable. Whether for this outfit or somebody else, this is a hit song.

CAITLIN & WILL/Even Now
Writer: Casey Beathard/Karen Rochelle; Producer: Chris Lindsey; Publisher: none listed; Columbia (CDX)
—They both sing splendidly, and the pristine production is marvelously supportive on this lovelorn little slice of heartache. Well worth your attention.

MEGAN MULLINS & RANDY OWEN/Holding Everything
Writer: Dolly Parton; Producer: John Rich & Sean Pennington; Publisher: Velvet Apple, BMI; BBR (CDX)
—From production to songwriting, this has pedigree credentials. The prodigiously gifted Miss Mullins more than holds her own with her Country Music Hall of Fame duet partner. The heartbeat thump in the track is goose-bump inducing. And the song is a thing of perfect wonder.

HOLLY WILLIAMS/Keep The Change
Writer: Hillary Lindsey/Luke Laird; Producer: Justin Niebank; Publisher: Raylene/BPJ/Universal-Careers/High Powered Machine, ASCAP/BMI; Mercury Nashville
—By far her finest vocal performance on disc to date. There’s passion and personality in this that she hasn’t displayed before. Her sister has co-written a dandy kiss-off tune, and Niebank’s production has just enough raggedy rock edge to keep your ears perked up. I’m in.

SHELLEY LYNCH/You Can’t Look Back
Writer: Shelley Lynch; Producer: Shelley Lynch & Les Bolen; Publisher: Lynch, ASCAP/SOCAN; Lynch (CDX) (www.shelleylynch.net)
—The echo is laid on just a little too thick. The verse lyrics are a mite wordy. And the high-end in her vocal is a kinda weak.

JESSICA HARP/Boy Like Me
Writer: Jerry Flowers; Producer: Jerry Flowers; Publisher: EMI Blackwood/JFLO, BMI; Warner Bros.
—Former Wreckers member Harp has a snappy solo outing. The rocking rhythm and cool repeated guitar riff back a sassy lyric about finding a guy who’s just like her, right down to the drinkin’ and makin’ love parts. She wails it. Solid work.

NATASHA JAMES/Tequila Time
Writer: Natasha James; Producer: Natasha James & Ronnie Rivera; Publisher: 40 Miles of Road, ASCAP; Highway One (www.natashajames.com)
—This comes to us from California, where apparently they record in cardboard shipping crates.

BYRON HILL/Stay A While
Writer: Byron Hill/Jennifer Schott; Producer: Byron Hill; Publisher: Byron Hill/Sony-ATV Tree, ASCAP/BMI; BHP (track) (www.byronhillmusic.com)
—I love Nashville songwriter albums. Byron’s is a 12-tune dandy showcasing his burnished baritone in wonderfully produced tracks. The title tune is a gentle, winning, mid-tempo invitation to romance that’s as warm as a hearth. Over the years, he’s won 10 ASCAP Awards and had more than 575 cuts. “Fool Hearted Memory,” “Nothing On But The Radio,” “Pickin’ Up Strangers,” “Lifestyles Of The Not So Rich And Famous,” “Born Country” and “Size Matters” are all in his vast catalog. So the man knows what he’s doing. Highly recommended.

BEN KWELLER/Homeward Bound
Writer: Jemima James/Michael Mason; Producer: Ben Kweller; Publisher: none listed, BMI; ATO (track)
—Austin resident Kweller wrote all the tunes on his Changing Horses CD except this set-closing ballad. It’s about a lost soul heading for the other side. His cracked delivery and the funeral-march rhythm are both deeply affecting. Check him out.

Grammy “Sounding” Board

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Carrie Underwood

Carrie Underwood

Is it live or is it Memorex?

Remember that old commercial for magnetic tape? Remember magnetic tape? Anyhow, the gist of it was guessing whether what you heard was pre-recorded or not. And that was the game I played all night long during the Grammy telecast.

Not surprisingly, Music City’s finest fared best. Those were unquestionably live vocals by Taylor Swift and Miley Cyrus during their performance of Taylor’s song “Fifteen.” That’s especially cool because Taylor can sometimes be a little “pitchy.” Carrie Underwood’s powerhouse delivery of “Last Name” was also emphatically live. You could question whether it was “country” or not, but there was no denying her performance.

Miley Cyrus and Taylor Swift

Miley Cyrus and Taylor Swift

The evening’s winningest champs Alison Krauss and Robert Plant were predictably jaw-dropping. I love the way their disparate voices create that harmonic overtone.

Jennifer Nettles of Sugarland’s “Stay” was also a terrific live vocal. Keith Urban’s guitar work during the Bo Diddley tribute and the great Justin Timberlake and Al Green collaboration on “Let’s Stay Together” was also on the money. Kenny Chesney’s performance of “Better as a Memory” was swathed in smoke, so it was a little difficult to tell whether or not it was live. But it was unquestionably lovely.

Kenny Chesney

Kenny Chesney

The deal is, they record the rehearsals. So when show time arrives, the audio guys have the choice to give us either the pre-recorded or the live performance. So Katy Perry can run all over the stage in her fruits-and-veggies outfit and not sound at all out of breath. Piped in? You bet. The Jamie Foxx, Ne-Yo and Smokey Robinson medley of tunes by The Four Tops also sounded totally pre-taped, as did T.I. with Justin Timberlake.

Coldplay, Radiohead and U2 were all toss-ups. Who can tell? Especially with the USC marching band tossed into the mix. The Rap Pack? Who cares? Although the extremely pregnant M.I.A.’s polka-dotted onesy was certainly eye-catching.

The live pop performances included Paul McCartney’s. It might have been garage-y, but maybe that’s the way “I Saw Her Standing There” should sound. Stevie Wonder and The Jonas Brothers were remarkably well mixed and very exciting.

Jennifer Nettles returned to the stage to sing with Best New Artist winner Adele. The result was soulful and heartfelt. Neil Diamond was low-key but effective. Of all people, Kid Rock sounded good. His energy level was winning as well. Naturally Jennifer Hudson killed. But she should have left her lobster bib at the restaurant.

Kanye West and an evidently Reynolds-Wrapped Estelle sounded like live vocals to tracks. The multi-artist New Orleans tribute was kind of a train wreck and was definitely blah. Whitney Houston sounded rather incoherent, but was gowned beautifully. I don’t think she’ll ever live down that reality series Being Bobby Brown. Dwayne “The Rock” Johnson and Gwyneth Paltrow were both nice diversions. Don’t even bother trying to hear anything from Lifetime Achievement honoree Brenda Lee. She didn’t even get to stand and wave, never mind sing or speak.

Overall, however, I have to give the telecast a sonic “A.” It is a gargantuan task to make a wide variety of genres sound good and an even bigger one to do it on an international live telecast. I hope all the engineers involved celebrated afterward.

Photos courtesy Grammy.com, by John Shearer/WireImage

Disclaimer—Today, I’m waving the flag.

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Billy Dean

Billy Dean

It’s awfully hard to argue with the power of the Nashville Symphony Orchestra and the voices of the Fisk Jubilee Singers. Especially when they’re backing Billy Dean on a patriotic anthem. Maybe there’s inspiration and hope in the air or something. Whatever the cause, I fell for “Wave On, Old Glory.” It’s the Disc of the Day.

Wouldn’t you have loved to have been a fly on the wall when Mel Tillis Jr., Tammy Rogers of The SteelDrivers and Dierks Bentley sat down to write together? Especially when they came up with something as cool as “Behind These Walls.” It earns Kentucky native Clay Underwood a DisCovery Award.

Clay Underwood

Clay Underwood

DEREK SHOLL/But It Was
Writer: Joe Doyle/Tim Johnson; Producer: Tim Johnson; Publisher: Big Hits of Amylase/Songs of Spud/Warner Tamerlane/Warner Chappell/$1 Songs America/The Bigger They Are, SESAC; CO5 Nashville (615-469-1756)
—Pleasant and engaging, thanks largely to the well-crafted lyric. His voice is somewhat colorless.

RASCAL FLATTS/Here Comes Goodbye
Writer: Clint Lagerberg/Chris Sligh; Producer: Dann Huff & Rascal Flatts; Publisher: Big Loud Songs/Big Songs of Extreme/Big Loud Bucks/Bridge Building, ASCAP/BMI; Lyric Street
—Dramatic and highly melodic. Gary’s ultra-high tenor vocal performance is stunning.

RIVER COUNTY/We’re All Here
Writer: Curt Ryle/Jon Stone; Producer: Terry Wendt; Publisher: none listed; SYC (www.rivercountymusic.com)
—Raucous and redneck, this good time sounds like it was recorded “live.” In any case, there’s not a heckuva lot of separation—everything’s bleeding into everything else.

JOHN RICH/Shuttin’ Detroit Down
Writer: none listed; Producer: none listed; Publisher: none listed; Warner Bros. (www.johnrich.com)
—John decries wealthy executives being bailed out by Washington while the “little man” continues to suffer. “While they’re living it up on Wall Street…in the real world they’re shuttin’ Detroit down.” It’s got a good beat, and you can dance to it.

CLAY UNDERWOOD/Behind These Walls
Writer: Dierks Bentley/Tammy Rogers/Lonnie Melvin Tillis Jr.; Producer: Jimmy & Jennifer Layne & Clay Underwood; Publisher: Songs of Universal/Tunes of the Village, BMI; PCL (CDX) (www.clayunderwoodmusic.com)
—On a beautiful day, he’s shut himself in, aching and miserable. Loneliness has seldom sounded better. The production churns and burns around a passionate vocal performance of a powerful melody. Get a load of those songwriter credits.

BILLY DEAN, THE NASHVILLE SYMPHONY & THE FISK JUBILEE SINGERS/Wave On, Old Glory, Wave On
Writer: Wood Newton/Jim Weatherly; Producer: Larry Beaird, Brian White; Publisher: Rope a Note/Bright Leaf, BMI/ASCAP; Hutton (CDX)
—Billy starts with simple piano accompaniment. As the sturdy song proceeds, strings begin to shimmer and soar. The finale has the whole shebang, brass, woodwinds, percussion and glorious chorus voices. Stirring, patriotic and completely thrilling. An anthem for a new era.

ALEX WOODARD & SARA WATKINS/Reno
Writer: Alex Woodard; Producer: Alex Woodard; Publisher: Woodshack, ASCAP; Woodshack (CDX) (www.alexwoodard.com)
—Watkins is the talented fiddler-singer of Nickel Creek fame. Woodard sings with a nasal rasp, so I was skeptical about whether their voices would blend well. Surprisingly, they do. And the song’s kinda cool, too.

RANDY HOUSER/Boots On
Writer: Randy Houser/Brandon Kinney; Producer: Mark Wright & Cliff Audretch III; Publisher: Songs of Windswept Pacific/How Bout That Skyline/Kinney Empire/ICG, BMI; Universal South (track)
—The “Anything Goes” man is back, this time with a slab of rockin’ country. I can almost hear them stompin’ on that dance floor now.

BLAKE SHELTON/I’ll Just Hold On
Writer: Ben Hayslip/Troy Olsen/Bryan Simpson; Producer: Scott Hendricks; Publisher: WB/Melissa’s Money/Get a Load of This/Encore Entertainment/Mr. Noise/Hillbilly Poetry/Rio Nuevo, ASCAP/BMI; Warner Bros. (track)
—He’s head over heels infatuated in this swirly, mid-tempo, groove-saturated production. As usual, Blake totally nails the vocal.

TONY “HOBO” PARKS/Take It All
Writer: Edward D. Sanford; Producer: Steve Iceberg; Publisher: Tony Hobo Parks, BMI; Plantation (CDX)
—The echo chamber only amplifies his pitch problems.

DISClaimer

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All of a sudden, there is a banquet of Nashville-oriented jazz releases on hand.

This is a growing, strong and highly gifted segment of our music community, so this week we’re throwing the spotlight on it.

There is something to recommend in every disc here. But the clear winner of the Disc of the Day award is the always amazing Take 6. Good luck at the Grammy Awards on Sunday, guys. I’m rooting for ya.

Our DisCovery Award goes to a young lady named Heather Rigdon.

ROD MAGAHA/A Gentle Man
Writer: Jeff Steinberg; Producer: Rod Magaha; Publisher: none listed; RM (track) (www.rodmagaha.net)
—The title tune to trumpeter Magaha’s new CD is a dreamy, piano-flecked ballad. The purity of his tone is outstanding, and the phrasing couldn’t be more precise. Elsewhere on the set, he works his magic on standards like “The Look of Love,” “When I Fall in Love” and “How Long Has This Been Going On.” Rod also has a new, six-tune EP called Stand Up for Love. Both discs are enthusiastically recommended.

HEATHER RIGDON/Young & Naive
Writer: none listed; Producer: Cliff Goldmacher; Publisher: none listed; HR (track) (615-320-7233)
—The debut album by chanteuse Rigdon is called Young & Naive. From the opening notes of this title track she stakes her claim as a distinctive, off-the-beat phraser, a languid stylist and a charming, minor-key melody manipulator. Promising in the extreme.

TAKE 6/Sweet Georgia Brown
Writer: Maceo Pinkard/Kenneth Casey Sr./Ben Bernie; Producer: Mark Kibble; Publisher: Warner Bros./WB, ASCAP; Heads Up (track)
—The Nashville press corps has been practically mum about the fact that the current Take 6 CD The Standard is up for three Grammys. Just so you know, four of the six are Middle Tennesseans, the disc was recorded here and best-arranger nominee Cedric Dent teaches at MTSU. The excitement over the CD is understandable, since it is what the jazz community has been begging for from these guys for years, an album of standards. This opening track is Take 6 at its best, jiving a cappella harmonized vocals and whistling by Mark Kibble. Elsewhere, guests include guitarist George Benson (”Straighten Up and Fly Right”), Aaron Neville (”Do You Know What it Means to Miss New Orleans”) and member Claude McKnight’s star brother Brian (”What’s Going On”). I LOVE this record.

KAREN JOHNS & COMPANY/Southland Summer
Writer: Karen L. Johns/Kevin Sanders; Producer: James Johns & Karen Johns; Publisher: Vital Force, ASCAP; PtarmiganMusic/Jazz (track) (www.karenjohns.com)
—Star and Season, the new CD by Nashville club fave Johns and her band, is a mixture of standards (”Stars Fell on Alabama,” “Desafinado,” “If,” “Autumn Leaves,” “Night and Day”) and splendid original tunes like this one. I love the way she alternates spitting short notes with drawled passages, growling effects and high soprano leaps. This is a vocalist of uncommon ability, and the band cooks with gas.

VICTOR WOOTEN/2 Timers
Writer: Victor L. Wooten; Producer: none listed; Publisher: VixLix/Bug, ASCAP; Heads Up (track) (www,victorwooten.com)
—This bass-playing virtuoso is nominated for two Grammy Awards as a member of The Flecktones. His current, almost entirely self composed Palmystery solo disc is a brain buzzing, sonically dazzling pastiche of shifting time signatures, burbling bass passages, evolving melodies and alternating emotional moods that completely captures your attention from this opening track onward. The various collaborators are a who’s-who of the Music City jazz scene. Heads Up International, the label of both this and the Take 6 CD, is a Cleveland, Ohio label that obviously has great taste.

DIANE MARINO & FELIX CAVALIERE/Groovin’
Writer: Felix Cavaliere/Edward Brigati Jr.; Producer: Frank Marino, Gary Dales & Diane Marino; Publisher: EMI April/Jemaxal, ASCAP; M&M (track)
—Alto vocalist Marino’s CD is titled Just Groovin.’ On its title tune, she duets with one of Nashville’s nicest Rock ‘n’ Roll Hall of Famers. Her liquid voice fits nicely with Felix Cavaliere’s brighter, spunkier tone. The lady is evidently well connected. Also contributing to her CD are Kirk Whalum, Mark Douthit, Rod Magaha and other high-profile instrumentalists. I don’t think the strings were needed, however.

WILLIE NELSON & WYNTON MARSALIS/Night Life
Writer: Nelson/Breeland/Buskirk; Producer: none listed; Publisher: Glad/Pappy Daily/Sony ATV Tree, BMI; Blue Note (track)
—Two Men with the Blues was recorded live at Lincoln Center last year. Wynton sings in spots as well as playing his distinctive trumpet. Willie is just Willie. I have always thought that his “Night Life” was essentially a jazz song, and now it is. I guess jazz agrees with The Red-Headed Stranger. His next project is with western swingers Asleep at the Wheel.

DISClaimer (1/30)

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Newcomers, baby acts and veterans are all in the mix this week.

Both Aaron Tippin and Collin Raye arrived with excellent sounding comeback discs. Chris Young, Bomshel, Jamey Johnson continue to shine with blindingly bright promise.

Newcomer Mike Adkins totally nails the DisCovery Award.

And I continue to be in awe of the talent of Eric Church (as well as his producer, Jay Joyce). Give that man yet another Disc of the Day prize.

BOB HARVEY/Completely Harmless
Writer: none listed; Producer: none listed; Publisher: none listed; Echo
—I’m not sure what this is all about. It has a copyright notice on it that clearly says “1969.” So what’s it doing in this week’s reviewing stack? Beats me. In any case, it is an audio waste of time.

JAMEY JOHNSON/High Cost Of Living
Writer: Jamey Johnson/James Slater; Producer: The Kent Hardly Playboys; Publisher: EMI Blackwood/Big Gassed Hitties/Hope-N-Cal/Pick Them Maters/Diversion/Cal IV, BMI; Mercury Nashville (track)
—Jamey’s extraordinary Grammy-nominated That Lonesome Song CD kicks off with this harrowing—and completely gripping—tale of substance abuse. It ends in prison. When was the last time country music was this gritty and real? I applaud the courage and authenticity of this.

JOSH DAVIS BAND/House In The Hills
Writer: Josh Davis; Producer: Mike Musgove & Josh Davis; Publisher: none listed, BMI; Joshua655 (817-944-8785)
—Muddy and cluttered sounding.

CHRIS YOUNG/Gettin’ You Home
Writer: Chris Young/Cory Batten/Kent Blazy; Producer: James Stroud; Publisher: Runnin’ Behind/EMI April/I Want to Hold Your Songs/Words & Music, ASCAP/BMI; RCA
—I still think this guy is a star waiting to happen. This sexy little seduction number is just the thing to raise him up. It has a cool, rolling groove, and his burnished baritone vocal dips and slides on all the right notes.

MIKE ADKINS/Easy The Hard Way
Writer: Jamie Richards/Biff Watson; Producer: Greg White & Jamie Richards; Publisher: Mike Curb, BMI; MAB (www.mikeadkinsband.com)
—It has a nice “outlaw” sound, some dandy guitar work, a punchy rhythm track, a solid ccountry-boy vocal and a nicely penned, dues-paying lyric. I’m in.

AARON TIPPIN/Drivin’ Fool
Writer: Aaron Tippin/Terry Brown; Producer: Aaron Tippin & Tim Grogan; Publisher: Sony ATV Acuff-Rose/TCT Rose/Terry Brown, BMI; Nippit (track) (www.aarontippin.com)
—Aaron is going all retro with a collection of classic trucker songs like “Six Days on the Road,” “East Bound and Down,” “Truck Drivin’ Man,” “Prisoner of the Highway” and “Drivin’ My Life Away.” He provides one new original to the genre, and it’s a dandy, a rhythm-happy prayer for truckers everywhere. The CD is called In Overdrive, and it’s a keeper.

KATIE ARMIGER/Trail Of Lies
Writer: Katie Armiger/Lisa McCallum/Quinn Loggins; Producer: Paul Compton; Publisher: Lily Road/Castle Street/Large Opportunity/Jaden Lane, BMI/ASCAP; Cold River (www.katiearmiger.com)
—This boasts a lickety-split tempo and a very well-written cheatin’ lyric. As usual, her delivery is spunky and confident.

ERIC  CHURCH/Love Your Love The Most
Writer: Eric Church/Michael P. Heeney; Producer: Jay Joyce; Publisher: Sony ATV Tree/Sony ATV Acuff-Rose, BMI; Capitol Nashville
—I can’t wait for the rest of you to hear Eric’s Carolina CD when it appears in March. It is simply the coolest sounding country record of the year to date. This glowing, warm, brilliantly-produced and refreshing single is a fine introduction to this man’s distinctive style. Spin it a zillion times.

COLIN RAYE/Mid-Life Chrysler
Writer: Neal Thrasher/Wendell Mobley/Tony Martin; Producer: Collin Raye; Publisher: Major Bob/Crosstown/Warner/Sony, ASCAP; Saguaro (CDX) (www.collinraye.com)
—His tenor vocal cuts like a hot knife through butter. The startling, original and different lyric is supported by a bopping, pop-inflected production awash in electric guitar work and stacked, soft, wafting harmony vocals.

BOMSHEL/Fight Like A Girl
Writer: Kelley Shepard/Kristy Osmunson/Bob Regan; Producer: Chuck Howard; Publisher: Getting Grown/KupKake/Osmunson/Green Hills/Big Loud Bucks/Travelers Ridge/Regan, BMI/ASCAP; Curb
—It’s a stately-sounding, empowering-female ballad with plenty of audio oomph and a terrific lead vocal performance. Recommended without reservation.

DISClaimer

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Christien Sawyer

Christien Sawyer

Doff your caps to the ladies, gentlemen.

This week, the fairer sex rules the listening session. Carrie Underwood has a splendid outing with the Randy Travis goldie “I Told You So.” Newcomer Christen Sawyer is our DisCovery Award winner.

And the Disc of the Day is by a group that actually has “Lady” in its name. Hillary Scott swaps vocals with Charles Kelley on “I Run to You,” and the result is an undeniable single by Lady Antebellum.

The other news of this column is the quality of the songwriting talent we encounter. From Archie Jordan and Hal David’s lovely classic “Santa Barbara” to the fine craftsmanship in “Red Light” (not to mention “I Run to You,” “I Told You So” and “Walkaway Joe”) and including a new collection by the masterful Thom Schuyler, today is a showcase of Music Row composing excellence.

MEGAN MUNROE/Moonshine
Writer: Megan Munroe/Brian Oaks; Producer: Doug Deforest; Publisher: Triple-Sixty/Forever Lush, ASCAP; Diamond (track) (www.meganmunroe.com)
—The production is big and thumping. Her voice isn’t.

LADY ANTEBELLUM/I Run To You
Writer: Dave Haywood/Charles Kelley/Hillary Scott/Tom Douglas; Producer: Victoria Shaw/Paul Worley; Publisher: Warner-Tamerlane/DWHaywood/RADIOBULLETPUBLISHING/Shaw Enuff/MLultiSongs/Sony-ATV/Tomdouglasmusic, BMI/SESAC; Capitol Nashville
—Very nicely done. The vocal harmony work is flawless. The production is delicious. The song has more hooks than a tuna boat. If this isn’t a Number-One hit, there is something seriously wrong with our format.

VINCE HATFIELD/Santa Barbara
Writer: Archie Jordan/Hal David; Producer: Vince Hatfield; Publisher: Universal Polygram International/Casa David, ASCAP; Blue Moon (www.vincehatfield.com)
—This lovely 1978 Ronnie Milsap tune gets dusted off for a reprise. But this guy is no Milsap vocally, and the sluggish pace does him no favors.

DAVID NAIL/Red Light
Writer: Jonathan Singleton/Melissa Peirace/Dennis Matkosky; Producer: Frank Liddell/Mike Wrucke; Publisher: Crosstown Uptown/Kobalt/Crosstown Downtown/Karles, ASCAP/BMI; MCA Nashville
—It’s an ordinary day. They’re stopped at a red light, and she tells him it’s over. I like the structure of the song, and his singing is wonderfully piercing. Sign me up for the fan club. Co-writer Singleton, by the way, now has a Universal South recording contract of his own.

CHRISTEN SAWYER/Crazy
Writer: none listed; Producer: Mark Oliverius; Publisher: none listed; Rapid Rise (track) (www.christensawyer.com)
—This is not the Willie Nelson/Patsy Cline “Crazy.” It is a feisty little bopper with some sting in its sound. She sings with plenty of oomph, and a sizzling, searing electric guitar echoes her at every turn. This is one hot disc.

MONTGOMERY GENTRY/One In Every Crowd
Writer: Eddie Montgomery/Ira Dean/Kim Tribble; Producer: Blake Chancey; Publisher: Plowin Ground/Copyright Controlled/Music of rpm/Category 5, BMI/ASCAP; Columbia (track)
—This is a stomping ode to the big ol’ “party boy” inside ya. Rousing and fun. Complete with crowd noise.

JUSTIN MOORE/Small Town USA
Writer: Brian Dean Maher/Jeremy Stover/Justin Moore; Producer: Jeremy Stover; Publisher: West Moraine/Welk/Lichelle/WB/Universal-Z Songs/West Bay St/2820/Watwedoiz, ASCAP/BMI; Valory Music
—We’ve essentially heard this song a zillion times before. It’s the one about how great it is to be on a dirt road with your baby on Saturday night with a brew and some sounds, and then go to church on Sunday morning, and how great it is to live a simple country life. Yaddadda, yaddadda, yaddadda.

CARRIE UNDERWOOD/I Told You So
Writer: Randy Travis; Producer: Mark Bright; Publisher: Sometimes You Win, ASCAP; Arista/19 (track)
—I have always loved this song. Randy had a massive hit with it in 1988. Carrie’s remake is a silver arrow of emotional truth. Soft, subtle harmony work from Vince Gill is the icing on this yummy track.

VINCE MELAMED/Walkaway Joe
Writer: Vince Melamed/Greg Barnhill; Producer: Jim Tract; Publisher: Songs of Universal/Warner-Tamerlane/WB, BMI/ASCAP; Adroit (track) (www.adroitrecords.com)
—This comes from a compilation called Words & Music Nashville. Melamed’s own rendition of this Trisha Yearwood hit he cowrote is loaded with sincerity and purpose. The other writers on the disc include Ray Sisk, Brendan McKinney, Lucas Hoge, Craig Monday, Mason Douglas, Cheley Tackett, Lisa Carver, Joshua Rush and Karleen Watt. Recommended.

THOM SCHUYLER/Prayer Of A Desperate Man
Writer: Thom Schuyler; Producer: none listed; Publisher: Rondor/September Second,; TJS (track)
—It has been far too long since we’ve had a new record from this former Capitol and MTM recording artist. The title tune to Thom’s self-penned collection is a tender, heart-tugging ballad that showcases one of Music City’s true songwriter treasures. For romance, listen to “When She Danced with Me.” For humor, turn on “Who Needs a Hummer?” or “Too Drunk.” For a meditation on mortality, check out “Starting to Go.” This man is such a gem.

DISClaimer—Happy New Year

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We’re starting things off just right here at DisClaimer. I am happy to report that The Bellamy Brothers, Tim McGraw, Darren Kozelsky and Trent Tomlinson are all ringing in the new year with excellent 2009 singles.

Let’s face it, 2008 was no banner year for country sales. I’m suggesting that we start looking off the beaten path for success stories. Thus, Rounder’s Grammy-nominated The SteelDrivers have the first Disc of the Day award for the new year.

And it’s always healthy when we have a DisCovery Award winner as potent as Bluefield. This duo is very promising indeed.

Here’s to a happy and prosperous new beginning for us all.

BLUEFIELD/Ready To Love You Now
Writer: Rick Ferrell; Producer: Rick Ferrell & Herbert Graham; Publisher: Warner-Tamerlane/Rick Ferrell/Rockin’ Rodeo, BMI; Country Thunder (615-327-2788)
 —Bluefield is a duo consisting of songwriter Rick Ferrell (Martina’s ”Where Would You Be,” Tim’s “Something Like That”) and former Nashville Star competitor Jennifer Hicks. The debut single is enchanting, featuring her plaintive lead and his hearty harmony on a mid-tempo production with plenty of wooshing atmosphere and heartbeat rhythm. I think I’m in love.

STEVE HOLY/Might Have Been
Writer: Doug Johnson/Pat Bunch; Producer: Phil Gernhard & Lee Miller; Publisher: Mike Curb/Sweet Radical/Pat Price/Songs of Mighty Isis/Kobalt, BMI; Curb
—Co-produced by the late Phil Gernhard, Steve Holy returns to the fray with a tender ballad about the saving grace of love. Touching.

TODD FRITSCH/Texas Talkin’
Writer: John Ramey/Tony Colton; Producer: Butch Baker; Publisher: Sixteen Stars/Dixie Stars/Horipro, BMI/ASCAP; Diamond Music Group (www.toddfritsch.com)
 —Well written. He’s a polite, gentleman cowboy because that’s the way he was raised. Todd’s performance is on the money, but the pace feels like it’s plodding a bit. Goose the tempo.

TIM McGRAW/Nothin’ To Die For
Writer: Craig Wiseman/Lee Thomas Miller; Producer: Byron Gallimore, Tim McGraw & Darran Smith; Publisher: Big Loud Shirt/Big Loud Bucks/EMI Blackwood/New Songs of Sea Gayle/Noah’s Little Boat, ASCAP/BMI; Curb
—The mighty Tim knocks another one out of the ballpark. In the midst of a chiming production, he delivers a morality tale of a man who heedlessly risks his life. I got completely swept up in its audio excellence.

JONALEE WHITE/Wake Me
Writer: Pauken/Harris/White; Producer: Jeff Tweel; Publisher: none listed; Lick (www.jonaleewhite.com)
 —It’s a snappy bopper that she delivers with panache. But the overall sound is thin and malnourished.

CHUCK WICKS/Man Of The House
Writer: Chuck Wicks/Michael Mobley; Producer: Dann Huff & Monty Powell; Publisher: Universal-MGB/CEW/Castle Street, ASCAP; RCA
—The little 10-year-old shoulders household responsibilities because his dad’s away at war, and he’s now the “Man of the House.” Great storytelling has always been what country music does best.

THE STEELDRIVERS/Blue Side Of The Mountain
Writer: Mike Henderson/Chris Stapleton; Producer: Luke Wooten & The SteelDrivers; Publisher: EMI April/Sea Gayle/Iriving/Chicken Shack, ASCAP/BMI; Rounder (track) (www.steeldrivers.com)
 —Hey country radio, why don’t you try playing something that people will actually want to run out and buy? This slab of raw soul singing meeting for-real country acoustic instrumental work is like discovering a banquet when you’ve been eating Jello for years. Thrilling is the only word that will do. This track is also well-deservedly nominated for a mainstream country Grammy Award. Play it now!

TRENT TOMLINSON/That’s How It Still Oughta Be
Writer: Trent Tomlinson/Jim Collins/Tom Shapiro; Producer: Leigh Reynolds & Trent Tomlinson; Publisher: Hope-N-Cal/Trent Tomlinson/Sexy Tractor/Big Loud Bucks/EMI Blackwood/Little Dooey/Cal IV, BMI; Carolwood
—Back in the day, when kids got into fights, there weren’t any guns or knives involved. Dinner was eaten as a family without TV. Jobs weren’t sent overseas. Preachers and teachers were trusted role models. This song yearns for all kinds of perceived bygone values. I know, I know. On paper, it sounds ridiculously corny. But the writing is so sturdy, and Trent’s delivery is so sincere, that it all works.

DARREN KOZELSKY/Good Day To Get Gone
Writer: Jason Blaine/Willie Mack/Noah A. Gordon; Producer: none listed; Publisher: Anchor Down/Red Cape/Ole/New Millennium/NMM Tunes, SOCAN/BMI/ASCAP; 9 North/Spinville (www.darrenkozelsky.com)
 —This Texas roadhouse regular has a “driving” tune that makes you want to hit the open road and throw caution to the wind. It may be winter outside, but this sounds just like summer sunshine. Turn it up and sing along. Somebody get the name of that producer, ‘cause he’s got a little Springsteen in his blood. An absolute winner.

THE BELLAMY BROTHERS/Lord Help Me Be The Kind Of Person (My Dog Thinks I Am)
Writer: David Bellamy; Producer: none listed; Publisher: none listed; Curb/Spinville/Bellamy Brothers (www.bellamybrothers.com)
 —This lopes rhythmically along with the steel guitar answering the vocal lines brilliantly. As is usual with the Bellamys, the whole thing is wildly catchy.