Open Letter to Jake Owen, or Why I Still Love Country Music

It's nights like this when I find myself believing in traditional media again. I find myself believing in country music again, mainstream or not. I find myself laughing and crying and loving and hoping and wishing. Why? Because I watched a couple hours of TV.

GAC, actually.

I fell out of my music television habit long ago. I mean, I used to live on CMT or GAC, whichever our cable provider was carrying at the time (and oh, it was Heaven when it finally carried both). I was flipping back and forth between GAC and CMT Pure tonight and happened to catch Sammy Kershaw's "National Working Woman's Holiday," and I was taken right back to, Lord, I don't even know when. I'll bet I hadn't even hit double digits yet, and I was dancing around the living room singing every word to that song, cheesy video and all. It was back in the days when CMT and GAC still played music all the time. It was so wonderful. Those channels were like oxygen to me.

As I grew, both channels still managed to play some role in my life, but over the last two years as my relationship with mainstream country itself has fallen apart and these channels went the route of MTV and started programming ridiculous shows instead of music (although I do have to admit I'm a recent convert to My Big Redneck Wedding. If you ever need to feel normal, just watch an episode of that show. Oh my goodness). I can't honestly tell you the last time I sat down and meant to turn on one of the music channels. I can't even tell you when I ended up watching one on a whim as I surfed through. It doesn't happen anymore.

But PBS was supposed to be showing a Faith Hill Christmas special this year, and I searched and searched our listings, trying to find play times, unable to find anything. The other night, I was spending time with a friend whose roommate had left GAC on the TV in the background, and at some point the Faith Hill special came on. I didn't really watch it then, but I realized that if it was on once, it would likely be on again, so I made a mental note to watch out for it when I got home and set it to record. Tonight, when I finally remembered to do so, it was just starting. So I watched it.

First of all, Faith Hill is the classiest lady in country music, hands down. There are some other classy ladies, for sure, some of whom can even sing, but Faith Hill, folks, is the reigning queen. She treated those Christmas songs with the respect and reverence such classic songs should be treated with, and when the two originals came out, her "Where Are You Christmas," from How the Grinch Stole Christmas, and her new "A Baby Changes Everything," we really got to see the singer in her. And yes, the second brought me to tears. It was that good.

But then, because I watched the concert rather than recording it, I got sucked into what was programmed next. A live talk show kind of show from the CMA Festival. Obviously a rerun, but nothing I'd ever seen before. I got to see interviews with Sara Evans, who looked stunningly beautiful, seemed immensely happy, and was seriously hilarious. Joe Nichols knocked the damn socks off of me with his wit and silliness, and even the Jake Owen-Bucky Covington matchup was entertaining to watch. Something I really realized, or maybe just remembered tonight, is that this is what country music is about. It's why I always loved it. It's not just about the music, and believe me, sometimes I wish country radio had much higher standards, but it's about the people behind the music. It's about the down home, down to earth, genuine people singing the songs. You don't have to be from a ranch, or raised in the rodeo, you don't have to wear a cowboy hat, you didn't have to be a member of 4H or the FFA, you don't even have to be from a small town to get country music, for it to belong to you. That's what I've always loved about it. It's not an exclusive little club. It's for everybody, if they'll just take it.

And, um, anything that'll put Jake Owen in front of me a little more often? I'll take it. He's pretty.

Dear Jake Owen,
Be my boyfriend? I'll be in Tennessee soon!
Love,
Courtney

Grammy Nominees are in...

And does it come as a surprise to anyone that I'm completely thrilled about Jason Mraz's nomination for the song of the year Grammy?

Well, then you just don't know me very well.

I'm a little torn because Sara Bareilles is also nominated in that category, and it's (as far as I know) the only nomination for each of them, and she's definitely my girl, Sara is, but I think I just gotta go with Jason on this one. I've loved "I'm Yours" since the moment I downloaded the mp3 of someone's cheap live recording in 2004, and every version I've heard since has made me fall even deeper in love with Jason and with the song. He finally put it on an album because his fans kept asking him to. That's a great reason for whoever makes the Grammy choices to choose Jason-- this song isn't just song of the year, it's possibly song of his career. It has taken on a life of its own.

Way to go, J.
Will you be mine? 'Cause I'm yours.

Fearless

So I bought the Taylor Swift CD.

I've already read rave reviews and rants about how the girl can't sing and how all the songs are whiny teenage fodder, but I formed my own opinion before I read all that stuff. Want to hear it?

I loved Taylor's first album, which was self-titled. I was never overly impressed with the song "Tim McGraw," or her vocals overall, but after watching a documentary of sorts on this SIXTEEN year old girl and finding that she'd written every song on the album--even a few of them completely on her own--I was intrigued. Seeing her sit on a stool with her guitar and a microphone singing, "I'll be 87 you'll be 89, I'll still look at you like the stars that shine in the sky..." I thought, "Oh my, my, my, my." I knew the girl had some talent. She hooked me. I didn't believe it for a minute when one of her friends said, "I think she's better than most of the singers in Nashville right now. As good as Faith Hill, for sure," but that wasn't why I bought the album. I bought the album because this tiny little high school sophomore was writing songs as good or better than the ones I was writing as a college student working on a music degree. It impressed me.

I fell in love with that record, and so obviously, when Fearless was released last week, I bought it immediately.

My initial reaction wasn't one of sheer joy. I wasn't floored, and I think leading the album with "Fearless" was a poor choice, not because it isn't a strong song (it's not the strongest), but because the cover art and the imagery one imagines when branding the whole album as "fearless" didn't match the song of the same name at all. "Fearless," the song, is just a playful little romp-- I was imagining the fiercer side of Taylor to accompany a song title like that, and in that respect, I was disappointed.

What followed was a bunch of songs that blended into each other at first. This is partly due to songwriting--and she did all of the songwriting again, at least half of it on her own--but to be fair, that's largely the fault of producer Nathan Chapman, although it looks as though Taylor had a hand in production this time around too. Point is, not only does it instrumentally sound the same song in and song out (which is preferable, if you're careful about it) but it sounds like the same arrangement over and over. I understand that Taylor has a "sound" and that "sound" has worked, and straying too far from that might be alienating a large number of fans who are too scared to fall in love with anything that sounds different than the last album--but in this case, there wasn't much growth to speak of at all, and for those of us who aren't generally formula radio listeners, a little growth in the sound is definitely nice to have.

Onto the happiness, though, I have to say that vocally, while I still wouldn't ever put her in Faith Hill's league by any means, she has improved. I said from the beginning that she just had a young little voice and that she'd probably grow into it, and if she had smart people working for her, they'd hire her a voice coach. I think those things are happening, and even though she really does still need to grow into her voice, it's obvious now that she certainly will.

Lyrically, the songs have gotten even better. The way this girl (and on occasion, her go-to cowriters) combines words with melody is really special. "There's something 'bout the way the street looks when it's just rained, there's a glow on the pavement, you walk me to the car. And you know I wanna ask you to dance right there in the middle of the parking lot, yeah." Funny thing, because last spring I was trying to verbalize that very feeling and never succeeded. In swoops Taylor, and not only did she do it so incredibly simply right there, but she combined it with a catchy, unique melody worthy of the sentiment.

"Fifteen" is full of poignant comments on high school life, the most jarring one being "Abigail gave everything she had to a boy who changed his mind and we both cried," but I can't help but feel like this song is a rip-off of Brad Paisley's "Letter to Me." And it would make sense, too, right? She did tour with him earlier this year. Still, I can't blame her for that because I've been known to take inspiration for songs directly from other songs too, and she did a good job with it--but let's just hope they're careful about releasing this one as a single. People aren't stupid.

"Love Story," is the one we all know-- the first single and video from this album. The arrangement on this one is actually quite nice (if we're talking album version-- I heard a remix the other day that make my stomach knot itself up) and the theme is lovely, along with the "baby just say yes," hook, which works so well on a few different levels. Still, I wonder... and I have to ask. Taylor, have you ever read The Scarlet Letter? Romeo and Juliet works. The princes and the princesses work. I'm not putting the Scarlet Letter reference together at all.

All that aside, I LOVE "Hey Stephen," and the arrangement ("mm mm") and the sense of humor that shines through in this particular song. "Those other girls, well they're beautiful, but would they write a song for you?" I can't help myself either, Tay.

I especially love these break-up ballads like, "White Horse," because Taylor is so all over the media with any bit of information about herself that she can muster that it's fun trying to guess which story these songs belong with. After seeing her Crossroads special with Def Leppard a week or so ago and hearing her tell a story about Drew (the one from "Teardrops on My Guitar") I want to believe this one's about him. Also, the one line, "stupid girl," is incredibly powerful the way she sings it.

"She wears short skirts, I wear t-shirts. She's cheer captain and I'm in the bleachers." Do I have to say anything else? "You Belong With Me" is an incredibly fun one to car dance and sing along with. The end.

"Breathe" was cowritten by Colbie Caillat. I knew long ahead of time that there would be a Colbie song on this album, and before I ever looked at the songwriting credits, I figured it was this one. It blends in well with the rest of Taylor's album. It doesn't feel out of place at all. Yet, it's got such a signature Colbie feel to it, not to mention harmony vocals, which I found out later are sung by Coco herself, that to a girl who knows Colbie's debut inside and out, it was obviously this one. And considering that these are two of my favorite female songwriters, this song is definitely one of my favorites, if not because it's just a good song, then by default. But it really is just a good song.

Talk about getting beat up. "I know that you see what you're doing to me, tell me why." Yeah, I've felt that way once or eight times. Way to verbalize it, Tay.

"You're Not Sorry" is turning into one of my favorites on the album. I love the strings and piano--even though I HATE the way the piano sounds, but like I said, that's another issue. The way this entire song is put together is beautiful. It fits like puzzle pieces fit.

All this time I was wasting hoping you would come around
I’ve been giving out chances everytime and all you do is let me down
And its taking me this long but baby I figured you out
And you think it will be fine again but not this time around

You don’t have to call anymore
I won’t pick up the phone
This is the last straw
Don’t want to hurt anymore
And you can tell me that you’re sorry
But I won’t believe you baby like I did before
You’re not sorry no, no, no

Lookin’ so innocent
I might believe you if I didn’t know
Could’a loved you all my life
If you hadn’t left me waiting in the cold
And you got your share of secrets
And I’m tired of being last to know
And now you’re asking me to listen
Cuz its worked each time before

But you don’t have to call anymore
I won’t pick up the phone
This is the last straw
Don’t want to hurt anymore
And you can tell me that you’re sorry
But I don’t believe you baby like I did before
You’re not sorry no no no noo
You’re not sorry no no no noo

You had me calling for you honey
And it never would’ve gone away no
You use to shine so bright
But I watched our love it fade

So you don’t have to call anymore
I won’t pick up the phone
This is the last straw
There’s nothing left to beg for
And you can tell me that you’re sorry
But I won’t believe you baby like I did before
You're not sorry, no no

And while we're guessing who these songs are about, I read somewhere that there was at least one song on this album about the Jonas Brother Breakup Extreme-- I'm gonna take a wild guess and say it's this one. You may know that Taylor leaves secret messages for every song in her liner notes. The secret message in this one was, "She can have you."

So long, Joe.

"The Way I Loved You" was cowritten by John Rich of Big & Rich and formerly of Lonestar (although if you don't know the name John Rich on its own yet, well, shame on you). JR songs for me are hit and miss, but this one is definitely a hit-- it's passionate, it's a "rollercoaster kinda rush," and definitely reminds me of a relationship or two that I've been in.

"Forever and Always?" HELLO HIGH SCHOOL. Don't totally love (or get) the "rains in your bedroom" line but love the rest of the chorus-- the quirky little rhythmic and vocal things she does. Works. Totally works.

"The Best Day," is THE BEST SONG on this album. Listen, music doesn't make me cry very often. Very rarely. The last song I can think of that consistently has me tearing up (and still does) is Sarabeth by Rascal Flatts. Something about it has to be just right, and just because it's a sappy story doesn't mean anything. But the very first time I heard this song, my eyes got all misty and my heart got all gooey and there was no going back. My eyes still blur up a little when I hear it, and I certainly can't listen to it while I'm driving. Oh no. "There is a video I found from back when I was three, you set up a paint set in the kitchen and you're talking to me, it's the age of princesses and pirate ships and the seven dwarves, daddy's smart and you're the prettiest lady in the whole wide world." Where does this girl get off loving her mom so much she writes a song about her? This is one truly original, sweet, heartmelting piece of music that really solidifies who Taylor Swift is and why she is in this business.

Because she belongs here.

The last song, "Change," is one of those FIERCE Taylor songs, but not in a "you broke up with me and I'm angry" way, just in an "I'm strong and you are too and we'll show the world some day" kind of way. If this says anything to you, it was included on the Olympic Soundtrack this summer, and listening to it, I wonder if they specifically asked her to write it. It's one of those very inspiring, obstacle overcoming, championed kind of songs. "These things will change, can you see it now? These walls that they put up to hold us back will fall down."

Who's holding Taylor back?
Um, nobody.


So, to recap, if you're still with me:

The album is worth it. I always expect more, and I'm afraid that's where my small bit of disappointment came in... but here's the way I look at it. There's this thing called the sophomore slump-- it refers to sales, mostly, but also to the way an album is presented artistically. After a successful debut, an artist really has to build upon the successful image he or she created with that first album. Sometimes the pressure is too much. Sometimes there was a lot of extra help the first time around where the second time there won't be any. Sometimes it just has to do with having a lot less time to make the second one than the first, considering the touring schedule and any other factor you can think up. I look at some of my favorite artists and realize I loved the first album, the second was just okay, but OH MAN THE THIRD ALBUM.

And if this is Taylor's sophomore "slump," oh man, I really can't wait to hear what's next.

Jake Jagielski Live

Lately I've become enthralled (again) with One Tree Hill.

SoapNet is stealing my life.

So anyway, imagine my surprise when I saw Jake Jagielski's beautiful face chinning-up at me from The Fine Line Music Cafe's windows on my walk to work this morning.


I thought I was seeing things.

So I made a mental note of that name-- "Bryan Greenberg. Is Jake Jagielski's real name Bryan Greenberg? I guess I never thought to notice..."

It is. And he'll be at the Fine Line on Monday with Graham Colton, Michael Tolcher and Tim Brantley. So here's the quandry:

Stay home and watch One Tree Hill, or go to the Fine Line to see Jake Jagielski in person?

Guess it will depend on whether I can convince any of my friends to see him with me...

Pour Some Sugar on Taylor

If I ever get to do a CMT Crossroads, I want it to be with Jason Mraz. The man is just inspiring.

There are two reasons I bring this up:

1. The countdown to Jason Mraz at the Myth in Minneapolis is TWELVE days. I'm so incredibly excited.

2. I just watched Crossroads with Taylor Swift and Def Leppard.

I am a huge Taylor fan and a sort of passive Def Leppard listener. I won't turn them off if I hear them on the radio (not that I ever listen to the radio, especially classic rock radio) but I'm not a huge believer either. Somehow, though, these two artists worked together. It was incredible.

And I have to say, Taylor has shown some major improvement since the last time I saw her perform live (I mean, never live in person, sad! but live on TV). I fell in love with her because for a sixteen year old, that girl could write a song. The vocals were never, in my opinion, anything to write home about, but the songs themselves along with the production on the first album were pretty damn good. So I became a believer and just accepted the fact that I was a fan of the songwriter, not the singer, if that makes any sense to you. I don't know if that girl has a vocal coach or if she's just finally coming into her own as a singer, or hey-- both, but tonight I became a little bit of a fan of Taylor, the singer. She still sounds like Taylor-- she always sounded like Taylor-- but she sounds more confident, more relaxed, LESS PITCHY, and More Than Just Alright For Me, Dawg.

And this concert was released JUST IN TIME for her brand new album release! What coincidental timing!

Fearless drops on Tuesday, friends. Go buy it.

As for me, I'll be waiting for a little extra money to come in, but it will be mine eventually.
Until then I'll be counting down the days til I can see Jason Mraz live in person, and then possibly til the day I do my very own Crossroads with The Geek in the Pink, The Wizard of Oohs and Aahs and Fa-la-las, The Curbside Prophet himself.

The Remedy is the experience...

Play

Brad Paisley's new album, Play, drops today. I won't be running out to snatch it off of Walmart's shelves today (or actually, probably ever-- I'm a [legal] downloader now, as part of my small contribution to the environment) because I am going to have to seriously budget for all the new, great music coming out (Taylor Swift's Fearless drops next week on Tuesday!) but we can all rest assured the album will be in my possession sooner or later--and probably my dad's too, if we're being honest. Brad Paisley is one of the many wonderful things my dad and I bond over. It's part of the reason I love Brad Paisley

But there are many reasons I truly love Brad Paisley. His music is clean, modern sounding, and yet still very country, in a traditional way. He's earned the respect of the greats, evidenced by the guest appearances on every one of his albums-- including Little Jimmy Dickens, George Jones, and Vince Gill, among others (although if we're being honest, Vince Gill will sing or play with just about anyone. He's just a nice guy like that). Lyrically, he can write so poignantly, so humorously, and when he's really on top of his game, can roll both of those amazing qualities into one song. He combines those lyrics with simple, well-thought-out, yet incredibly natural melodies, adding even more meaning to every word he sings.

But I just have to tell you, if we left all of those factors out of consideration, there is one factor that would guarantee my purchase of Play. The tune which includes multiple prominent guitarists (because Brad Paisley is an amazing guitarist, too. Did I forget to mention that?) is called... wait for it...

Cluster Pluck.

I mean, is that genious or what?
Am I getting too worked up over a stupid song title? Probably. But that's part of BP's genious. He knows how to get a good laugh out of you with very little effort. Sometimes the joke is classy, sometimes it's not, but eh, whatever.

Go pick up Brad Paisley's Play. Do it.
(And just in case you've been living under a rock, have you heard "Start a Band" with Keith Urban?)

Falling

Today I fell in love with:

"Story Problem" by The Envy Corps.
"Transistor Radio" by Cloud Cult.
"Itch Inside Your Ear" by Ari Herstand.

The indie music scene is a pretty cool one.

I love Minneapolis. I wouldn't know any of this if I weren't here.

Xzibit is an Artist? That's news to me.

"Michael Bublé and I were supposed to work together, believe it or not," Xzibit said Saturday at the Galpin Auto Sports Grand Opening in Van Nuys. "It was supposed to happen in Australia for a little skit on some late-night talk show, but it just didn't happen—thank god! I mean, I'm seriously an artist."

Not that I listened to ANYTHING you've EVER done before, Xzibit, but you can be sure now I never will. I mean, are you really suggesting that Michael Buble is NOT an artist? Boy does do a lot of cover tunes, but there's something to be said for that when the song is "Can't Buy Me Love," and he's doing it with a big band. Just saying. Also, Xzibit, can you sing? Like, at all?

Keri Noble, Fearless

I was slow to find Keri Noble-- it seems all of my friends knew who she was, and they'd bring her up and say, "You know Keri Noble, right?" and because I'd heard her name before in the very same kinds of situations, I'd say, "Oh yeah, I think so," and then they'd continue with some anecdote about her latest song or the show they'd get to see next week that I'd inevitably have to miss for one reason or another. It wasn't until the end of August, when I was sleeping on a mattress on a friend's floor for the weekend that she asked if it was okay if she played a little music, please, I love music, and I said, um, DUH it's okay, and Keri Noble's voice then captivated me. I was afraid to ask who it was, because I suspected it was her, and I was supposed to know ALL ABOUT Keri Noble. So when the friend stepped out of the room, I snuck over to the CD player and popped it open to find this album spinning 'round:

I went home that weekend, logged onto Amazon.com, and bought this baby. And let me tell you, from the first haunting note to the last, this album had me hooked. I listened to it maybe a hundred times before I finally had to rotate it out for a while, and still I've come back to it. It's simple music--the lyrics aren't complicated, the arrangements are nothing to write home about, but when it all comes together-- her voice, the pure production--it leaves you with this haunted, yet peaceful feeling. The songs are about a girl's life, plain and simple--from "Look at Me," a song about a girl reaching out to a friend (or a man) in need, to "Let it Rain," a cathartic, bluesy release of song, perfect for driving through a downpour (and I did it once or twice. There's something so poetic about singing this song, meaning every word, while the rain pours itself on you), and then onto "Bartender," a waltz in minor. A waltz in minor! What more could anyone ask for? Nothing, that's what. The real gem in all of this, though, is the girl's voice. She's just got... it.

She's a less wordy Sara Bareilles, a less beachy Colbie Caillat, a darker Ingrid Michaelson, and a lesser known Duffy. And this album is a 2004 release. I know more has come since, and I'm excited to find out what more she's released for us to hear.

White Light Riot

I'm not just saying this. I'm really not.

White Light Riot is insanely AMAZING live.

I had the privilege of seeing them play last night at the Fine Line Music Cafe in Minneapolis, and it was SO worth the late night/early morning I had to pull off to do it.

I've heard a lot of their music (Out of Sight is a favorite), I've seen bits of their personality through online video blogs and goofy music videos, and I've loved it all. But MAN, those boys, live are just CRAZY.

Especially Mike and Mark. Mike is so charismatic as the front man-- so much more than I expected. And it's certainly a pity there wasn't more light on Mark, drumming in the back. It's so much fun to watch the drummers with the goofy "I can't believe this is my life" grins on their faces. Joe, with his guitar, his hair and his harmony. Mmm. I could have just kissed him. And Dan just exuded the chill factor-- which I guess is what bass players are for. All of the guys had their own thing going for them, but the dynamic was shared-- and they were incredible.

Their sound has been described to me as indie rock/brit-pop (one of the members spent a semester or two in England I think, and was very influenced by the music there), and while I really couldn't speak too intelligently on either of those subjects, I know there is something unique about these guys-- and creative. The lyrics are cool, the arrangements are energetic, and the performance is nearly flawless.

Seriously, these guys aren't well known beyond Minneapolis yet, but they should be, and I think they will be. If you trust my taste in music at all, check them out.

Peace.

Out of Sight

Awesome music, hilarious video.

Serious music with a sense of humor.


White Light Riot.

Enjoy the Show

I'm often slow to new pop music trends, and this is probably no exception, but yesterday, I discovered Lenka.

I love her pure, delicate voice and the melodies and feel you can bop your head along to. With pretty pop like this, it's easy to get annoyed, but I'm not yet... so we'll see.

Watch the video for "The Show" here.

Psh. It Happens.

No, this isn't the post in which I tell you how absolutely incredible Cadillac Sky's Gravity's Our Enemy is. And Oh My, is it. It's also not the post where I thoughtfully lay out every soulful sound of Keri Noble's Fearless. Life's been full and it's been hard to find the moments needed to do these collections of music justice. Also, I was thinking today, have I ever done a good run-down of Blue Moon Rising's One Lonely Shadow? Because that should be added to the list too.

What I really came here to tell you is that I just picked up Sugarland's Love on the Inside. I've only listened to the first three songs so far, but already I think it's my favorite album of theirs so far, and glancing through the songwriting credits, it looks like Jennifer and Kristian wrote all of the tracks on the basic edition and all but two on the deluxe fan edition. It's got a great sound, is full of energy, and will be a pleasure to listen to over and over again.

Hopefully I can get back to you on this one and the others soon.

On a final note-This album is in beautiful, beautiful, cardstock packaging. I'm now avoiding the plastic jewel cases as one of my tiny contributions to the environment, so seeing this packaged like it was made me a happy girl. Hello Earth! I love you!

Chuck Wicks, Starting Now

From the moment Chuck Wicks' Starting Now begins, I want to dance. "All I Ever Wanted" is one of those songs that was going to be successful at country radio no matter what, what with a fresh yet comfortable arrangement and production, Rascal Flatts-ish melodies and vocals, and incredible energy. It's also the kind of song every girl wants sung for her, and he paints the picture of a girl I certainly want to be--singing a favorite song to sleep, walking in the meadow in the early spring, twirling in a sundress. She sounds carefree, beautiful, doesn't she? Like she's got no worries in the world. And why? Well, she's wearing Chuck's ring.

I think I'd be okay with that.

The song has got a great feel, a great structure, fantastic lyrics, and is performed impeccably. No album could open more effectively.

What follows, song by song, is a bit of a tossup. Certain songs are a little cliche, the hooks are contrived in some cases, and while the music may be wonderful, the lyrics don't always match up.

However, "Stealing Cinderella," is beautiful, and any daddy or daughter could easily fall in love with it. With "If We Loved," Chuck channels Martina McBride, and a little Jason Sellers, which when you consider that he was a cowriter, makes perfect sense. "When You're Single" has a sexy feel, even if the lyrics don't completely satisfy.

"Starting Now" is another favorite of mine. The lyrics are fine, coherent if not completely original, but the melody and vocal combined with an oh-so-effective arrangement make this track an absolute standout on the album. More than once, this song can stop me in my tracks, or at least cause me to start drumming on my steering wheel. The strings, the genius use of sparse-big-sparse-big texture with simple but HUGE drum fills with just the slightest modification of the previous melody on the chorus immediately following the bridge is enough to make a person jump up and down with the changes. And I do. Ask my family.

The problem is that the song immediately following "Starting Now," "The Easy Part, "is a fantastic song, another of the best on the album, but it's so incredibly similar in style that it's overshadowed. Also, the arrangement is not nearly as cool. Maybe they shouldn't have been on the same album, but I don't think I'd go that far. I think they just should have been RIGHT NEXT TO EACH OTHER. Still, the lyrics on this one actually trump "Starting Now." "The hardest part of leaving is picking up the keys and finding the nerve to start the car..." Wow, right?

Unfortunately, though, this particular problem continues with "What if You Stay," a song just like the first two. It's generally a good song-- the chorus doesn't quite match itself lyrically, but it's a small enough blip on the radar that I could overlook it. ...but I end up overlooking the whole song without realizing it.

"She's Gonna Hurt Somebody" is a welcome stylistic change, and reminds me of something Brooks and Dunn would have picked up on if they'd had the chance, but that's not necessarily a good thing, in my mind. I think B&D need to grow up, and while Chuck's young enough to pull this off, B&D do have the advantage finding the songs in this style that work better than this particular one does. I love the hook, but I feel like the writers could have done more with it. However, the line "he's gonna wake up wondering what train just ran over his heart," is delivered with attitude, and that makes the whole song worth listening to.

"Mine All Mine," is another one of those sexy songs, but the concept, the lyrics? They've been done before. And the hook isn't even that clever. Moving on, please.

"Man of the House" is a good closer-- one of those looks at the life of a military family, and nicely done. Admittedly, though, the best part of this song is knowing that (on repeat, as I always play my CDs), I'm coming back around to "All I Ever Wanted."

I don't listen to a lot of mainstream country anymore, especially when it comes to the new guys, so the fact that I even picked up this album says something. And you know? It was worth it. It would have never lasted me an entire summer the way Jason Mraz's We Sing. We Dance. We Steal Things. did, but it doesn't have to. In general, if you are a fan of the young mainstream country, I really do think you'll like this album. There's a little something for everyone, and Chuck's got the voice (and the songwriting chops) to pull it all off.

So there it is.
I'm a Chuck Wicks fan, Starting Now.

Starting Now

I'm seriously falling in love.

I'm listening to Starting Now by Chuck Wicks for the first time.
I'll be back soon to offer up some thoughts.

But for now?

siiiiiiiiigh.

Know When to Walk Away

Maybe I've been living under a rock or something, but I've never heard of Jay Clifford. Yeah, sorry to any hardcore fans out there. But, I've just discovered him because I am a big Zach Braff fan, and he directed JC's latest video.

The video is a cool little thing in which a bunch of clips which fans filmed and submitted themselves are scattered throughout. My favorite part? The footage of First Ave. in Minneapolis at :59 and again at 1:02. For a minute, I felt a little hometown pride for that place... and it's not even really my hometown.

Anyway, I'm glad Zach Braff keeps directing these videos, because I've decided he has some pretty decent musical taste, and by following him, I find lots of new tunes for myself.
Joshua Radin anyone?

Here's the video.
What do you think?

Know When To Walk Away - Jay Clifford

You Don't Know Me At All

You Dont Know Me (featuring Regina Spektor)



I've always kind of liked Ben Folds (plus or minus Five) but something about this particular song is really pulling me in, and this may have to be the first BF album I spend my hard earned money on.

But where's Regina?

(and is that really Josh Groban? It is, huh?)

Forever and Ever Amen

I've been listening to my "The Very Best of Randy Travis" disk in the car for the past week or two, and after it cycled around for about the fifth time today, I came to a conclusion. It may as well be titled "The Very Best of Country Music."

Sure, he's got that twang that some people can't stand, but if you love the country aesthetic, there is no reason you shouldn't love Randy Travis. He sings with effortless and likely subconscious nuance that just couldn't have been taught. His songs are of consistent quality and style, while still offering a variety of subject matter, tempo, and feel, fit to fall in love to, fall out of love to, or just bop your head along to. The best part, though, is that it's all so timeless. His best known song, "Forever and Ever Amen," became popular in 1987 (I was just a year old) and 21 years later, it is every bit as relevant and enjoyable as it used to be. It's fitting, too, don't you think? "As long as old men sit and talk about the weather, as long as old women sit and talk about old men..." I'm gonna love that song, and I'm gonna love Randy Travis, forever and ever amen.

Here's the track list to "The Very Best of..."
I can honestly say that I love every one of these songs. If you don't know them, check them out.

1. Diggin' Up Bones--I'm digging up bones, exhuming things that's better left alone, resurrecting memories of a love that's dead and gone, tonight I'm sitting alone digging up bones...



2. On the Other Hand--but on the other hand there's a golden band, to remind me of someone who would not understand, on one hand I could stay and be your loving man, but the reason I must go is on the other hand...



3. Forever and Ever Amen--I'm gonna love you forever, forever and ever amen, as long as old men sit and talk about the weather, as long as old women sit and talk about old men, if you wonder how long I'll be faithful, I'll be happy to tell you again, I'm gonna love you forever and ever, forever and ever amen...



4. Too Gone, Too Long--you've been too gone for too long, it's too late to come back now, it's been so long since you walked out my door, now you're just an old song nobody sings anymore...



5. I Told You So--...would you tell me that you love me too, and would we cry together, or would you simply laugh at me and say, I told you so, I told you so, I told you someday you'd come crawling back and asking me to take you in, I told you so but you had to go, and now I found somebody new and you will never break my heart in two again...



6. I Won't Need You Anymore--when you see me walk on water, when the sea don't reach the shore, when the fires of hell freeze over, I won't need you anymore...

7. Honky Tonk Moon--outside the dark is falling, stars are twinkling bright, that old hoot-owl is calling everything's alright, honky tonk moon keeps shining on my baby and me...

8. Deeper Than the Holler--I had to sing a song about all the things I knew, my love is deeper than the holler, longer than the river, higher than the pine trees growing tall upon the hill, my love is purer than the snowflakes, that fall in late december and honest as a robin on a spring time windowsill, and longer than the song of a whippoorwill...



9. Is It Still Over?--is it still over, are we still through? since my phone still ain't ringin', I assume it still ain't you, and I've half a mind to take the time to find somebody new, but I'm not too sure that I'm still over you...

10. Just a Matter of Time--I know, I know, one day you'll wake up and find that my love is a true love, it's just a matter of time...



11. Hard Rock Bottom of Your Heart--I keep waiting for you to forgive me, and you keep saying you can't even start, and I feel like a stone you have picked up and thrown to the hard rock bottom of your heart...



12. I Thought He Walked on Water--He said he was a cowboy when he was young, he could handle a rope and he was good with a gun, and my momma's daddy was his oldest son, and I thought he walked on water, if the story was told, only heaven knows, but his hat seemed to me like an old halo, and though his wings they never were seen, I thought he walked on water...



13. Heroes and Friends--your heroes will help you find good in yourself, your friends won't forsake you for somebody else, they'll both stand beside you through think and through thin, that's how it goes with heroes and friends...



14. Forever Together-- forever together, 'til death do we part, forsaking all others I'll give you my heart, through good times and bad times wherever we are, forever together in each others arms...

15. Better Class of Losers--I'm going back to a better class of loser, this city life has really got me down, I need friends who don't pay their bills on home computers (an aside--good luck with that anymore) and buy their coffee beans already ground, you think it's disgraceful that they drink three-dollar wine but a better class of loser suits me fine...



16. I'm Gonna Have a Little Talk--Gonna have a little talk with Jesus when I get home tonight, tell him all about my troubles and I know He'll make them right, then I'll ask him to forgive me for the things that I've done wrong, gonna have a little talk with Jesus tonight when I get home...

17. If I Didn't Have You--If I didn't have you I'd have long ago been left in the dark out in the cold, blowing around from town to town like a feather in the wind, if I didn't have you you know I'd be floundering around like a ship sea, lost in the rain of a hurricane, that's where I'd have been... you know I wouldn't have nothing if I didn't have you



18. Look Heart, No Hands-- no chains, no strings, no fences, no walls, no net, just you to catch me when I fall, look heart, no hands...



19. Whisper My Name-- I heard music bring a heart of stone to tears, I heard peace ring like an anthem through the years, I heard hatred fall from grace, when I heard you whisper my name, I heard angels rise and praise when I heard you whisper my name...



20. Three Wooden Crosses-- there are three wooden crosses on the right side of the highway, why there's not four of them, Heaven only knows, I guess it's not what you take when you leave this world behind you, it's what you leave behind you when you go...



And as more proof that Randy Travis is indeed a timeless classic, listen to Carrie Underwood's version of "I Told You So." (yeah... that's Vince Gill on back-up--another timeless legend.)



I had so much fun finding these videos-- especially the old "Nashville Now" footage. Incredible. I hope you enjoy the music.

And if you can find videos for anything I couldn't, let me know and I'll post them.

What's your favorite Randy Travis song? Country song?

Some Things Never Change

I've had my iTunes library on shuffle the past few days. That's something I don't normally do, because I have the tendency to hit the "next" button more often than not, as I have a wide variety of music and have to be in a certain mood to listen to most of it. I've loved the shuffle lately, though, as it's reminding me how much I love certain artists.

Earlier today I was reminded of my love for Gentry Morris, who, since I checked up on his myspace today, seems to have moved from Tennessee to Ireland. This bums me out, as I am hopefully headed for Tennessee soon, and would have loved to see him live. If you like well-written, soulfully sung folk/indie rock, you'll like Gentry. Plus, the boy is hot.

Just now, Bethany Dick's song "Some Things Never Change" started playing. That is the song that truly made me fall in love with her as an artist, and she's only gotten better. She's bluegrass/traditional country, with a voice like Alison Krauss, songwriting chops, and incredible musicians to back her up.

"I'm Not Alright," by Sanctus Real is currently playing-- I saw them for free about a year ago, though I'd never heard of them, and even though I generally think that the entire genre of Contemporary Christian basically just rips off current music trends without ever adding anything to them, the vocals are great and the lyrics are well thought out and very honest, not contrived like a lot of CC can be.

"Hold Whatcha Got," originally a Jimmy Martin tune, was crooned at me earlier as a tribute by JD Crowe and a whole host of other bluegrass greats. It's one of my favorites off the Jimmy Martin tribute album, and Jimmy Martin's version is even better (of course).

And then I heard a voice that was more than familiar. My friend Jim Vilandre's voice came pouring out of my speakers singing, "The Heart of God." It felt like being back with some of my best friends, just for a moment.

My own (new!) song even popped into the mix tonight. It's a rough demo, but I love listening to it, because it served the purpose I wrote it for more than successfully, and it's great to revel in success, isn't it? Check out "23" at my myspace page if you're interested.

Plus, pieces of the Rent original broadway recording keep sneaking their way in. That's just pure bliss.

Music. I love it.
Some things never change.

Tequila on Ice

I have never been a Darryl Worley fan. Can't think of a single song of his I've ever fallen in love with, and really most of them flat out irritated me.

And then there was "Tequila on Ice."

He finally uses his sultry baritone to his advantage and comes out on top with a lyrically clever, melodically and stylistically sexy song.

Darryl, you've got my attention.

Musical Realization

For the self-proclaimed music enthusiast that I am, and for the self-proclaimed musician I am, it sure did take me a long time to really find my own musical taste.

I always thought I knew, and when I was kid I proclaimed that I hated anything that wasn't country. I only listened to country (and in one weird twist of musical indecency, Ace of Base). I was stubborn. But time when on, and something in the back of my mind started nagging at me, telling me that this Top 40 Country Radio stuff wasn't all there was to life. Growing up in rural Montana, though, where driving four hours to play basketball and driving home again was a normal occurrence, there wasn't much else to listen to, unless you were a big fan of the 1960s. I was content, though. Music speaks to certain demographics, or as my pop/rock teacher last year put it, "tribes." I led a perfectly charmed childhood, and so had no need to seek out angsty indie punk, and even found it hard to feign interest in Avril Lavigne when the rest of the world either loved or hated her. Popular country fit my small town life perfectly.

Something unknown tugged at me, though, in certain new artists something inexplicable would whisper to me, and I began feeling a distinct lack of satisfaction with my musical choices, the older I got. When I first went to college, the friends I made, though not purposefully, were based directly on our similarities in musical taste, and so even then, I didn't branch out too much. Finally though, about half way through my sophomore year, I met an incredible fiddle player who introduced me to bluegrass. I didn't know bluegrass existed beyond the stuff grandfathers were rumored to listen to, and that fiddle player, who has since become a best friend, really opened my eyes to this entire world. In it I found the aesthetic that I'd been so subtly drawn to in the more contemporary traditional country music I'd since been listening to. I also found a real purity in much of it--of course it was commercialized to some extent, but not nearly to the extent of the stuff I'd been listening to my entire life. I was immediately hooked.

From there, my taste only expanded. While truly a fan of the bluegrass aesthetic, I began realizing that the non-commercial purity existed everywhere, if I only opened my eyes and ears to it. Not only that, but I began connecting with artists who had significant commercial success, but I had never given half a thought to in the past, because of declared influences and "sounds like" recommendations.

The old adage, "You can take the girl out of Montana, but you can't take Montana out of the girl," has proven somewhat true-- I'm not a big fan of radio, but when I do listen, I still tune into the local country station. Most of what I hear is a contrived commercial product (sorry Nashville, but it's true), but now and then something real rings through, and I fall in love all over again.

I find the rest of my music largely online-- and I'll admit to being completely susceptible to TV and ad placement as well (Landon Pigg- I think that possibly maybe I'm falling for you. Oh, swoon.) And what all of that has taught me is that my musical taste is ever evolving.

Sadly, I missed out on much of my generation's life soundtrack because of my slow musical realization.

What should I know?
Do you have any suggestions for me?

All I Ever Wanted

I've become ENAMORED with Chuck Wicks.

Yes, part of it is the fan-girl in me just swooning over his boyish good looks.
Part of it is the fan-girl in me imagining dancing to "Stealing Cinderella" with my dad at my and Chuck's wedding (don't judge).

Mostly it's THIS SONG.

I did a little research last night after deciding that my love for this song was much more than passing interest, and it turns out that not only can this boy sing, not only is he mind-numbingly gorgeous, he also WRITES. I have no idea if he actually wrote this song, or co-wrote it perhaps, but I know that a guy that sings and writes and looks like that?

Oh, I have to have that album.

I may be a lot less Country Music than I used to be
but that Montana in me
it'll never go away.

"All I Ever Wanted" is a fantastic song, with a very Rascal Flatts kind of melodic vibe, but with an enthusiasm and a vocal that just seems fresh and genuine. I mean, as far as mainstream country goes, it does seem pretty typical when intelligent review is attemtped-- but it caught my attention and that's hard to do in country music anymore.

So I definitely recommend it.
Especially if you're a girl who loves a pretty boy.
And an amazing song, executed perfectly, of course.

Wishlist

For quite awhile--months even--I was fairly content with my music collection. It's large, and while not exactly eclectic, I have a little something for any mood I could possibly be in (Sugar Hill Gang, anyone?). But this trying to save money thing has really taken a toll on me lately, and my list of MUST HAVE NOOOOW PLEASE albums is getting longer by the day. It hurts, really.

• Rebecca Lynn Howard, No Rules
• Sugarland, Love on the Inside
• Lady Antebellum (more out of curiosity than anything)
• Duffy, Rockferry
• Keri Noble, Fearless
• Joshua Radin, Simple Times
• Ben Folds, Way to Be Normal
• Chuck Wicks, Starting Now
• Melonie Cannon, And the Wheels Turn
• Sarah Borges and the Broken Singles, Diamonds in the Dark

Now, I do have a way of acquiring most of this music without breaking the bank--it's called shopping in the new & used section of Amazon.com. But still... I can't afford to do even that just yet. So they sit there, looking at me with their bright beautiful puppy dog eyes from my wishlist.

Hi little guys. I'll give you a home soon! Promise.


And yes, I'm fully aware that some of this music was released years ago. I'm slow sometimes. Forgive me.

Perfect Songs

There are some songs that just make me feel better no matter what. Songs that pop up when I've forgotten they were songs at all, and just when I need them. That happened to me today.

Yesterday, making a three hour drive with an iPod that had pooped out on me, I started searching my car for stray CDs, and I found an old WOW compilation from 2000. I popped one of the discs in the player, and though I honestly didn't even recognize any of the titles when I looked at the case, I found that I knew most of the melodies and words. It's funny how music comes back to you like that.

I popped in the second disc, but made it home before I'd listened to the whole thing. I left it in the player, as I usually do, figuring I'd either listen to the rest the next time I drove, or switch it out, depending on my mood.

I had to drive to the store really quickly today, which didn't warrant a CD change, but it did mean that I was bored with the last couple songs on the CD so I started shuffling my way through the tracks until I came to number 16. At first I had completely confused myself. I had forgotten there were 17 tracks on the disc, considering only 15 were listed. I stopped at 16 out of curiosity, and in the first beat, a feeling of relief washed over me.

The song was "I Am," by Jill Phillips. I don't know any of Jill Phillips music but this song, but sometimes I am convinced that Jill Phillips was put on this earth to make music and write that song for ME.

Oh gently lay your head upon my chest
and I will comfort you like a mother while you rest
The tide can change so fast, but I will stay
the same through past, the same in the future, the same today

I am constant
I am near
I am peace
that shatters all your secret fear
I am holy
I am wise
I'm the only one
who knows your hearts desires
your hearts desires

Oh weary, tired, and worn, let out your sighs
And drop that heavy load you hold, 'cause mine is light
I know you through and through, there's no need to hide
I want to show you love that is deep and high and wide

I am constant
I am near
I am peace
that shatters all your secret fear
I am holy
I am wise
I'm the only one
who knows your hearts desires
your hearts desires

Oh gently lay your head upon my chest
and I will comfort you like a mother while you rest...




The funny thing is, I was listening to much of that WOW compilation, and realizing why, even as a Christian, I really never got into the Contemporary Christian music thing. The point of that music isn't to push any kind of boundaries, and I have to have real musical creativity in my music--not just carbon copies of popular music laced with Jesus-loving lyrics. While at times the lyrics can be clever, too often they're just Bible stories that aren't retold very well or another variation of a praise song. There's nothing wrong with it, but for me, it takes a really special spiritual song for me to fall in love. I can't have the contrivance. It has to feel SO GENUINE, it's like God wrote the thing himself, just through somebody else's pen.

I felt that way about this song from the moment I heard it. The aesthetic is so perfect--light and acoustic with a lovely fragile female voice on top. And I remember some time ago reading a bit about Jill Phillips and the way she'd written this song, and she said it was like it just came to her. Like maybe God had written it and blessed her with the gift of sharing it. And that holds true to me--it's what it feels like to me. And I needed to hear it today.

There are other songs that can make me feel better just like THAT, and of course I can't name them all, because they often come out of nowhere. However, I will list a few, and if you don't know them, check them out.

• Every Season by Nichole Nordeman

• Anyway by Bethany Dick

• Stand by Rascal Flatts (but by all means, DO NOT listen to the rest of the CD when you're depressed. MAN.)

Tell me what songs can always make you feel better.
I was strong today, but I may need them tomorrow.

We Sing. We Dance. We Steal Things. Part II

Jason Mraz.

Forgive me, for I must:
Siiiiiiiiiiiiiiiiiiiiiiigh.

Okay.

I already gave a bit of a preliminary impression of the album here but really didn't say too much about it. Now, after at least a hundred times listening through the entire album, I have to come back because I need to say

I LOVE THIS ALBUM.

I fell in love with Jason what was years ago now, but still long after most of his hardcore fans had already discovered him. No matter, because I obsessed with the best of them. I read his blog on his website (all the way back to the beginning), I took full advantage of the free downloads of his older EPs while they were still available, I memorized EVERY word on Waiting for My Rocket to Come. When I got the Life At the Eagles Ballroom cd/dvd, I fell even further in love. It was Rocket, but live, with more energy, less industry, and so much beautiful eye candy.

Mr. A-Z came along and I pre-ordered the special edition and everything else I could have possibly done short of buying myself a Jason Mraz Wardrobe (I believe a person should not wear artist gear unless said person has seen said artist live. Silly, maybe, but I just don't do it). And when I got it, I was honestly a bit disappointed. Sure, Mr. A-Z has it's high points- the more than fitting guitar "ticking" in "Clockwatching," "Geek in the Pink" in it's entirety, the last minute:30 of "Song for a Friend," the the ever intriguing tagline, "crazy is the forecast all week." But as an album, it didn't live up to what I expected to hear. That's not always a bad thing, but he really wasn't kidding when he said, "The Sophomore Slump is an uphill battle," in "Wordplay."

So I didn't run out to get WSWDWST. In fact, the one song on the album I knew, "I'm Yours," I already had in a few different forms- free downloads from this promotion or that, and as one of the bonus tracks for the pre-order of Mr. A-Z. So... I'm not really sure what inspired me to buy the CD actually. I just saw it on the shelves one day and thought maybe I'd take one more chance. After all, one slumpy sophomore album does not a bad musician make.

I listened through it once and wasn't sure what I thought. Better? Worse? Different? I kept listening, because I believe one cannot make a fair judgment on a set of music until one has listened over a number of times, acclimated to the style, comprehended lyrics and musical choices. The more I listened, the more I craved more.

And so, I have to say that this album is more like Rocket that I originally thought it was, and less like Mr. A-Z than I thought. Rather than go into comparisons of lyrics arrangements and attitudes and overall flow, though, I'm just going to tell you what I really think of We Sing. We Dance. We Steal Things.

This album reflects a JM who is much more grown up. More aware of his surroundings. Less concerned with himself. It's spiritual in a way that feels completely universal. It has a completely "Seize the Day" attitude. It's reflective, it's therapeutic, and still manages to be fun and sexy-- and the sexy has a little less (though is not completely void) of that raunchiness we've come to expect from songs like "I'll Do Anything," "Dream Life of Rand McNally," and "O. Lover."

There was a time when that little bit of teenager who still lived in me (at 19) wanted more than anything to meet Mraz and fall in love. Somewhere along the line- after Mr. A-Z happened and his journals got preachy and space-case-ish- I not only got over the crush, but became repulsed by the idea I'd ever wanted that for myself. Now, a few years later, a little more perspective, and some real Mrazish music again, I'm thinking that while it's not what I want more than anything in the world, he has again tied himself with the likes of Milo Ventimiglia and Adam Brody (yes, I have a thing for actors as well...).

So that's something.

I highly recommend We Sing. We Dance. We Steal Things. It's lovely.
And it's packaged in an environmentally friendly way.
Yes, I think about stuff like that now.
:)

Inside Joke

Sometimes you fall in love with a band, listen to the album over and over and over again, and therefore end up memorizing every note. The things that surprised your ears and fed the lyric geek in you don't perk you up anymore--you know they're coming. You know that those weird notes and that great tag line are waiting patiently for their turn. You never really forget that you love the music, but the element of surprise, the need to sit and listen and analyze this new, funky stuff we're still calling Bluegrass, it goes away. You put the album away, save it for a rainy day, and move on with your musical life.

But then, new music arrives.

It's more beautiful, more surprising, more witty than you remember. It makes you THIRST for the day you can hear the whole album, maybe get to see the band live, hear the musicians themselves talk about these songs and the reasons they play the way they do. You realize, again, exactly why you fell in love with this band in the first place.



And friends, Cadillac Sky is releasing a new album in August, and I've just heard a track from the album. The album is called Gravity's Our Enemy, the song is called "Inside Joke," and the music is Skaggs meets Thile. Bluegrass with attitude, with MAJOR musicianship, and so many outside influences, it's incredible. Check this song out.

Also, the lyrics are written about a dream mandolinist Bryan Simpson had-- Chris Thile sang a song written about a dream as well, though written by North Dakota native Tom Brousseau, called "How to Grow a Woman From the Ground." One time, I wrote a song about a dream too. They're the best, because they're basically already written for you, you just have to put them into permanent form. And apparently, Bluegrassers love them too. I'll have to remember that.

Discography Compilation-Rebecca Lynn Howard

Other than songs she's written for herself, Rebecca Lynn Howard has written songs that have been recorded by many others. The list of songs includes:

Cowboy Guaruntee- Jessica Andrews
Hit by Love- Lila McCann
I Don't Paint Myself into Corners- Trisha Yearwood (also on RLH's debut)

Other names she's apparently written for, but which songs I can't find:

Reba McEntire
John Michael Montgomery

and... probably more, as she's signed to an exclusive publishing deal with Murrah Music.

If you know which songs either of those artists recorded, or if you know of any other songs Rebecca's written for another artist, chime in and let me know. I love her songwriting and would love to check any and all of it out.

Prayer of a Common Man, again

So really, guys? Honestly? It pains me to say this, A LOT, not only because I ran out and bought the CD on the release date, and not only because after the first track I thought, "Hmm, a little weird, but MAJOR potential," and not only because the poor guy just (relatively speaking) got a divorce and one of the best songs on the whole album was co-written by his ex-wife in what seems to have been some unfortunate foreshadowing, but because I. LOVE. PHIL. VASSAR. I love him quite a bit. I've seen him live TWICE, and I can't recall seeing any other major label performer more than once. I own each of his CDs, even the Greatest Hits, because HI! New recordings of songs I love by the man who wrote them! Who could resist?! Not me.

But this new album? This Prayer of a Common Man? It is a disappointment.

Believe me, I tried. I left this CD in my car stereo for weeks. I listened to it over and over, while I was packing, while I was studying

I'm not saying there aren't a few good tunes. The first track, "This is My Life," is one of those great working man tracks complete with Vassar-style word play and melodies, and his token "heeeeey-ee-eh-yeahs," and "whoa-oh, whoa-ohs." It also features some production techniques, and even moreso, arrangements atypical of country music, and therein was where I heard the potential. I didn't immediately jump for joy, but I thought to myself, "This could grow on me..."

The next track was so TYPICAL Phil that I could have sworn I'd heard it somewhere before... perhaps, oh, I don't know, American Child? And, folks, AC was arguably his weakest album. Sophomore slump and all. Of course, the song hasn't been anywhere before, but it's just got that sound, that melody, those lyrics... Did he perhaps dig into his archives? Not out of the question, but couldn't they have done something new with the arrangement, at very least?

"My Chevrolet" one of those nostalgia songs. Not bad, but I liked "Amazing Grace" better.

"Love is a Beautiful Thing" is a song I'm actually quite in love with. I defended his cover of the tune (Paul Brandt did it some time ago in the '90s) assuming he'd penned it, considering the style and all, and knowing Phil is a songwriter... it seemed a safe assumption. But no, it's a Craig Wiseman/Jeffrey Steele tune. At any rate, it's a great song, and sung well by Phil. My only complaint with this tune, a complaint I've had from the beginning, was the backseat the piano took to everything else (is that an electric pedal steel? what is that?) in the arrangement. Dude plays piano! Come on!

"Prayer of a Common Man" is a decent tune, and I think maybe my lack of appreciation for this one is just the subject matter. I don't relate. I think a lot of people will though. It's a well written song, I can hear the piano, and the vocal performance is stellar.

"I Would" is presumably the next single. It's one of Phil's upbeat songs, and it's decent, but it's another of those songs that sounds like every other Phil song. With each of his other albums, there were the songs I loved, and there were the songs I would have labeled "filler." Not bad, never gonna make it to radio, just there to take that track space that needs to be taken. The tracks I loved were usually nine or ten, and the filler tracks only two or three. Unfortunately, I've only taken you through six tracks so far, and this is the third filler track I've heard so far.

And now begins the "I Don't Know What He Was Thinking" half of the disk. Retro Rock? From the '50s? Seriously Phil? REALLY?

Okay, I'm not sure that's completely fair because I don't know my old music well enough to go putting labels or decades on all of it. Let's just say, this sounds OLD.

"Why Don't Ya?" is the first of these songs. Brainless lyrics, doo-wop backup vocals and all.

"It's Only Love" starts with a very early Beatles vocal, and then inexplicably morphs into Phil-filler material. Something Phil isn't really great with is sarcasm or snark. I spoil myself with Brad Paisley, I suppose, who is master of humor and wordplay in country music. Phil tries here, though. He's being ironic, and the words work, but the music doesn't fit. Brad's funny with the words AND the music--he makes them work together. Phil doesn't quite have that. It's a little disappointing.

Thank God, back to another great song: "Let Me Love You Tonight," The Ballad I Always Fall In Love With on this album. He's always got at least one great ballad on every album, and I'm SO glad that I didn't have to be disappointed with at least that part this time around. The most heartbreaking part of this whole thing is that he wrote it with Julie, his ex-wife, and it's completely and totally about breaking up. I can't believe they wrote it together. It makes me wonder when and under what circumstances it was written. It's truly heartbreaking.

"Baby Rocks" is just awful. It's just not even... good. "Hoo-hoos" reminiscent of Kenny Chesney's "Young" (and someone knows how much I hate those), no real melody, kind of old sounding but not really, stupid screaming in the beginning, and a very, very cheesy hook: "my baby rocks like a rolling stone." Hmm. Have I heard that before? The one thing I do find interesting about this track, and I'm not sure if it was purposeful or not, is one of the riffs in the instrumental. It sounds like a foreshadow of the melody of the next song. If that's true, whoever produced this did so with the ALBUM in mind, and I love thinkers like that...

"The World is a Mess" is another "old" sounding tune, and I'm not a huge fan of it, but it does have its moments. When you hear it, if you do, tell me if the line "I need the money honey" doesn't make you just wanna sing/scream at the top of your lungs. Just tell me, really. I do like the feel of this one in the verses, it's the chorus that just leaves me scratching my head and going, "huh?"

"Crazy Life" is a good closer, a good Phil tune, not so typical that I feel that I've heard it before, but it's got enough of him in it that it really reminds me why I love him. It's also really simple--great piano, and only piano for more than a minute. Even when the rest of the arrangement comes in, it's really simple, lovely, acoustic, mandolin, a little guitar, and subtle drums. This tune is truly lovely, and I wish the album was full of more tunes like this one.


So to finish, I'd say I guess I don't regret picking this album up, but after Shaken Not Stirred, I was just expecting... better. Shaken Not Stirred changed a lot from the first two albums, so it's not that I'm bitter about the change from that one to this one. I loved the change. It was brilliant, really, and I was excited to see where else Phil could go. Unfortunately, he didn't take a path that really excited me, but hey, maybe that retro mumbo-jumbo will work for someone else...

Also, after I listen to something again so I can rip on it, I usually find I didn't hate it quite as much as I remembered. So there's that.

We Sing. We Dance. We Steal Things.

Yes, when you read this you might hear some "Space Case!" whispers, but in his own way, he put into words exactly how I feel about my own songs sometimes.


These songs; take them. Share them. Own them. Make love to them. Cook to them. Eat with them. Buckle them up in the car and blast them during your busy city commute. Sleep with them on in the background. Send them to your dreams' ideal setting. Maybe steal a little of me for those moments. I love traveling. With the songs new life I'll imagine myself being spread around like a good flu.

I've said it in a million interviews already. The songs don't belong to me. They are bigger than I'll ever be and they'll certainly live a lot longer than I will. That's why this album is less about me and more life in general. It's an album about awesome times, celebrated by real people, sexy people, and waking up to smell their sweet sweat still lingering in the air.

Someone once passed me a stack of books and said enjoy. And when you are done, pass them on, for they do not belong to you. They belong to the world. And that is what I'm doing with these songs. They are of the world and for the world.

Even the personal songs about my family and factual love stories, I will not take credit for writing them. It is my duty to simply sit and listen to a frequency that anyone can hear; a station perhaps from space, commercial free, broadcast in the clouds. I don't ask. I sing-a-long to that station nonetheless, and happen to record the phrases and melodies from time to time, and still they are not my own. Maybe I am a receiver, but just an instrument in that sense. My body is just hardware. Some other wonderful force is playing the song.

Whatever "being" is to the human, whatever air is to the bird, or what water is to the fish. Whatever force decides to make our hearts beat and food digest. That mad divine scientist is who is responsible for these songs. They are a gift for all of us.

I am so grateful and so I project and we share the sweetness.

I am glad you're listening too. Enjoy the new album.

--Jason Mraz

I am enjoying the new album. It's lovely. It's definitely more Mr. A-Z than it is Rocket, but not quite as out there as A-Z was. A little less self-indulgent. Features Colbie Caillat and James Morrison, and a Jason who seems to have come back down to Earth--maybe not all the way, but who needs to plant their feet in the ground? Not me.

And on a slightly related note, his journal is actually fun to read again. Did he change or did I? Both, perhaps?

Like Johnny and June

New music to discuss at some point in the near future:

Michael Buble's Call Me Irresponsible

Jason Mraz's We Sing, We Dance, We Steal Things
Phil Vassar's Prayer of a Common Man, revisited...

But for now, I just turned on country radio, something, as you know, I only do on occasion, and heard a song I'd been told to keep my ears open for: a song called Johnny and June.

The song is the latest from Heidi Newfield, former front girl of Trick Pony. I spent the entire song trying to figure out who that voice belonged to, and never really put my finger on it, because the style is definitely different than the Trick Pony style. However, it's a great song, and the lyrics are just... well... perfect.


Heidi Newfield: Johnny & June EPK

Phil Vassar, Prayer of a Common Man

I have this insane urge to call up Phil Vassar, like we're friends or something, and tell him that his new CD is INCREDIBLE and I'm just so damn proud of him.

The songwriting is solid as always, but he's taken some major leaps and bounds in his sound. I've always said that Phil isn't just mainstream country. He doesn't make the same album over and over again. His self titled debut and American Child did sound fairly similar, but with Shaken Not Stirred, he went a little more Billy Joel and even Ray Charles, with his Greatest Hits (for which he recorded six or seven new tracks of songs he wrote but that were made popular by other artists) he went for a simple, more acoustic approach, and with the new album, Prayer of a Common Man, he took yet another direction. Some of the tunes are a little more radio friendly, but some of them, especially the first track, I almost want to use the term avant garde. The ones that are a little more typical are still produced differently... in a way that you feel as if you're listening to the music in an arena (with a good sound technician...) rather than from a machine reading a disc. It feels energetic and LIVE.

Of course, he's also on a new label this time around, which is something I didn't realize was happening until I read the liner notes and noticed he thanked his "new family" at Universal South. Another thing I noticed... no mention of Julie, and no wedding ring in the photos. Somebody got a divorce...

The music though. Man, the music. I'm a fan.

The disc dropped YESTERDAY. Go out and grab it. Let's give this man some great first week sales. He deserves them.

Rediscovery

Do you ever buy a CD, so excited to fall in love once again with a favorite artist, and find that what's inside just isn't speaking to you? You can pop that old album into your CD player and everything feels the same, but these new songs, which you assumed would bring you just as much emotion in one way or another, really say nothing to you at all?

But then, months, maybe even years later, you pull it off the shelf and decide to give it another try. All of a sudden, everything clicks. You get it. The music gets to you. You are completely satisfied in the fifteen dollars you spent, even if it was four years ago.

Vanessa Carlton's Harmonium.

Now, truthfully, when I bought this CD, I listened to it quite a bit. I liked the aesthetic of the pianos and the strings and the rock guitar, and even though the girl can't sing, something about her voice just works with the music. I was so incredibly innocent when I bought this album, though. 2004, man, that was a long time ago. It took me listen after listen after listen to put together the meaning of "White Houses," and hello, it's pretty obvious what "White Houses" is about.

Still, though, Be Not Nobody meant so much to me in terms of my entire high school self. I understood every note and every word on that album, even the cover of the Rolling Stones' "Paint It Black." It all made sense. Harmonium never really did.

'Til tonight.

Granted, some things on this album will never, ever speak to me, because they include some very spiritual views that are so far from my own that I just can't even imagine. However, my mind has opened up enough since my days as a high school senior and college freshman to be able to hold an appreciation for the lyricism and musicality of them all.

The things that do speak to me, though, just all of a sudden made sense. Part of that is because very recently, the poetic side of me has been awakened. I've always known poetry would be a major part of me at some point in my life, but damned if I could understand it until now. Something in my head has just clicked, and words that have never made sense make sense now, and that's part of what's going on with this music. Part of it, though, is that I'm not quite so young and innocent anymore. I've been through a lot more than I had by the time I moved out of Mommy and Daddy's house, and that's not to say that these experiences have been bad, or that I have any regrets. They haven't and I don't. But I've grown up, I have a greater understanding of myself, of the world, of the human condition... Certain things I continue to be naive about, and I hope I can stay naive about some of those things. But in this case, right here, I'm awake, and I get it, and Vanessa and I are on the same page.

I'm not going to sing her praises, though. After the semester of pop/rock lit that I've been through, and the last month of my life with a boy who spins silver with his words, it's hard to impress me with poetic prowess anymore. She's not incredible, but the fact remains that tonight, I finally got it, and that makes me extremely happy.

Boy you swallow truth like honey
as you spew your lies upon me
sweet and smooth as it goes down...



On another note, I bought Radiohead's In Rainbows, I think in November. I listened through it once or twice, and completely forgot about it. Radiohead and any other band with that similar aesthetic... they've never really been my thing. But I figured it was worth a few bucks, since I wouldn't have to pay full price, and maybe I'd expand my musical palette. Yeah, I wasn't such a big fan.

But yesterday, I decided I was in the mood for something different, for some real... SOUND. And I pulled it up, and it's been playing nearly nonstop since then. I hadn't even bothered looking at or paying attention to lyrics, because I just wanted the sound at that point. I needed to assimilate myself to the band, to the instruments they were using, to the chord progressions and melodies... the reason I didn't like it at first was because it all sounded the same to me; I didn't know what I was listening for. Tonight, I finally started recognizing this piece and that piece from different songs, and decided it was time to pull up the lyrics, and OH MY GOD, do I love Radiohead! I don't absolutely connect with everything these lyrics say, but situations and emotions are portrayed so well that I almost feel as if I'm there, feeling them too. Not to mention, they're just intelligent. I've been all over Wikipedia looking up this reference and that, and it's funny, because I'm now learning about other cultures through my music. German culture specifically. Weird, right? So weird. But I'm in love.

So. That's that.

Thoughts on either of these albums, or another you have felt the same about? Discuss.

Rain or Shine

I'm gonna love you like nobody's loved you come rain or come shine
High as the mountain, deep as the river, come rain or come shine
I guess when you met me it was just one of those things
But don't ever bet me, 'cause I'm gonna be true if you let me

You're gonna love me like nobody's loved me come rain or come shine
Happy together, unhappy together, won't it be fine
Days maybe cloudy or sunny, we're in or we're out of the money
But I'm with you always, I'm with you rain or shine



I'm singing this a little less than a month from now. Samba with a four bar swing in the middle. It's gonna be incredible.

If you could sing any song with a live band in front of hundreds of people, what would it be?