Come see me over at roughstock

Hello Friends,  Roughstock has officially gone live.  We’re proud to present it for all of you to see.  The whole team has worked very hard to make the content look good.  Some of the content is from this blog while most if it is new.  I am working on my CMA Music Festival coverage but hope y’all enjoy the Ashton Shepherd interview along with the audio tracks and videos. Come on in and stay hello.

Here’s the link: www.roughstock.com

Lost Highway Status Update

Since I was a young teenager, I have loved (all forms of) country music. I wanted nothing more than a career in the crazy world known as the music business. Along with about 10 years worth of writing for various websites, The Lost Highway blog has helped me realize that goal.  Early this year I was hired to be the content editor of the website www.roughstock.com. I will continue this blog but it will be a part of the new and improved roughstock. Instead of a music website w/o interaction, Roughstock will be all about interaction. Our team has worked tirelessly to make Roughstock, around the web since 1993, a community for country music fans of all types. It’s my hope that any of y’all who have been reading this blog will read the Roughstock site.

Our Thoughts on Some Early Summer Single Releases

The summertime has officially come for country radio and like all summer music cycles, the charts are loaded with light, airy summertime vignettes.  Some artists, like Steve Holy, have chosen to release counter-programming in the form of ballads. As with the spring, the summer music cycle is filled with new artists, like Adam Gregory and 2007 Nashville Star alum Joshua Stevens. Here’s a rundown of some of the new singles out at radio and our thoughts about their hit potential.

Chris Cagle – No Love Songs:

I have always liked Chris Cagle and most of his songs and I originally hated this Craig Wiseman tune but it’s kinda grown on me since I added it to my ‘radio singles’ playlist on iTunes.  I don’t really care for the spoken verses but the chorus is catchy and the song will serve its purpose at radio, to keep passive listeners on the station between between the commercials, which is radio’s goal.  It’s an inoffensive song that will probably hit Top 20 or even the Top 10.  Grade: C-

Joshua Stevens – Rock ‘N’ Roll and Pensacola:

When Joshua was singing on Nashville Star last season I had the feeling that he was another pleasant, radio-ready artist but was otherwise interchangeable with a multitude of other artists.  I still feel that way.  Stevens has a smooth voice that recalls Keith Urban among other artists and has written a song about being in a bar band in Pensacola, Florida.  It’s a decent enough song but I doubt that it’s a hit, especially coming from an upstart label in Nashville that couldn’t get a great single from Rockie Lynne to do much of anything on the charts. Grade: C-

Rissi Palmer – No Air:

With a countrified remix remake of the Jordin Sparks pop hit, Rissi Palmer could have her first big chart hit with “No Air.”  Produced by Taylor Swift‘s producer Nathan Chapman, “No Air” places Rissi firmly in the Underwood/Swift camp of female country singers.  She’s singing a decent song that showcases her powerful vocals and since it’s a remake of a pop hit that has a similar audience, it’s likely to do well at radio, even if it’s nothing more than a recording with banjos, mandolins and fiddles added to the mix.

Adam Gregory – Crazy Days:

Only 22 years old and already an eight year veteran of the music business, Edmonton, Alberta native Adam Gregory has followed fellow Canadian band Emerson Drive stateside with a record deal on Midas Records.  With an expressive vocal that reminds me of a younger Gary Allan, Gregory has himself a monster of a hit with “Crazy Days.”   It’s a song that details a couple still in love and in search of their wilder youth.  Since Gregory is still very much a ‘kid’ himself, the lyrics aren’t as believable as they’d be if someone like the Previously mentioned Allan would’ve sang the song but since Gregory’s voice has matured into a fine instrument, he sells this song.  Grade B+.

Ashton Shepherd – Sounds So Good:

With her debut single “Takin’ Off This Pain'” barely finding a home within the Top 20 at country radio, Ashton and her label MCA have smartly decided to release the summer anthem “Sounds So Good.”  With a banjo driving the melody, Ashton sings about the kind of things that work with the country audience.  Good music, good beverages, dirt roads and country life.  This is a hit in waiting that should bring more fans to the wonderfully charming Shepherd.  Grade B.

Steve Holy – Might Have Been:

Steve Holy first came on the country scene around 1999 but didn’t have a major hit until the year 2001 with “Good Morning Beautiful.”  Five years later Steve had another hit with “Brand New Girlfriend” and now he returns with “Might Have Been.”  While I loved “Good Morning Beautiful” for it’s simple message, I thought “Brand New Girlfriend” was a bit to much in the ‘ditty’ mold and was gonna be hard to follow-up.  It was.  Until now.  “Might Have Been” has a strong lyric, an engaging melody and vocal from Holy that’s the best of his career thus far. Grade A-

One Flew South – My Kind Of Beautiful:

With three-part harmonies that recall Crosby, Stills & Nash,  One Flew South arrives on the country music scene with “My Kind of Beautiful,” a song that was originally recorded by one of its writers, Andy Griggs on his “This I Gotta See” record.  Another of the song’s writers is One Flew South’s producer Marcus Hummon.  The melody is perfect for the summertime and those three-part harmonies are really good.  They make Rascal Flatts sound like amateurs as well.  Will radio spin the hell out of it? I don’t know. Still, I like the song.  Grade: A.

Little Big Town to Capital, The End for Equity?

Recently Craig Morgan left Broken Bow Records for the greener pastures of major label SonyBMG and now platinum recording artists Little Big Town are doing the same thing with their move to Capital.  What’s kind of surprising about their move is that they aren’t giving up on their current record “A Place To Land” but are in fact bringing it with them to Capital.  From Capital’s standpoint this is a win-win for them.  Since Little Big Town owned their master recordings for both “A Place To Land” and “The Road To Here,”  Capital basically is a bigger distributor for their albums at this point.    I do wonder if Little Big Town will retain the rights to both albums or if they recieved a ton of cash from Capital to sell the rights.  Also, did Capital pay some money to Equity (a.k.a. Clint Black and Mike Kraski) to get the label rights. 

Whatever the case, this probably spells the impending end of Equity as a full-service label.  They’ll still probably serve as Clint Black’s label but Kevin Fowler, Laura Bryna, Carolyn Dawn Johnson, Mark Wills, and Carolina Rain might be right to worry a bit.   Equity and Broken Bow both looked like new models for independent labels but both labels have taken big hits when their biggest artsts have left for traditional major label promotional muscle. 

Lady Antebellum is Primed for Stardom

Lady Antebellum – “Lady Antebellum” (2008 Capital Nashville)

It’d be very easy to dismiss Lady Antebellum as Capitol Nashville’s attempt at capturing the same audience that Sugarland has managed to capture for Mercury.  In a sense they are similar.  Both groups are songwriting collectives, both groups got their start in Georgia, and both groups scored big debut singles.  But that’s where the similarities end.  Aside from Lady A (as they call themselves) being two dudes and one girl instead of the other way around, the trio alternates vocals between Charles Kelley and Hillary Scott.  The group also has a deep pedigree in the music business.  Kelley is the brother of successful pop singer Charles Kelley while Hillary is the daughter of Grammy winning vocalist Linda Davis.  The third member of the group is lead guitarist Dave Haywood, Charles Kelley’s long-time friend.

After forming in 2006, the trio quickly attracted a following and signed with Capital Nashville in 2007.  By the end of 2007, they had released their debut single “Love Don’t Live Here.” Currently just outside of the Top 10 at country radio, the single has succeeded at planting the seed of anticipation for the trio’s self-titled debut album.  The production has a ‘just-enough’ glossy sound backing up Kelley’s soulful lead vocal while the remaining members of Lady Antebellum showcase that this trio has been listening to the singer-songwriting super group records of the 1970s.  “Lookin’ For A Good Time”  finds Kelley singing lead vocals for the verses while Hillary Scott takes the leads on the chorus.  It’s a catchy, feel-good, story about ‘not promising anything more than one night.’

“All We’d Ever Need” finds Scott and Kelley trading verses of a lyrically strong contemporary country song tailor-made for a show-stopping moment in concert.  This is a song Tim and Faith or Garth and Trisha would’ve loved to have cut.  It was the very first song that Scott/Kelley and guitarist Dave Haywood wrote together and after hearing it, I can see why they had reason to form a group.   Scott takes the lead on “Long Gone” and it makes sense since it’s a song she wrote prior to creating Lady Antebellum with Haywood and Kelley.  While Kelley has a rich baritone ‘soulful’ voice, Scott’s own voice reminds me at times of Natalie Maines and of course her own mother. 

Teaming up with superstar songwriter Tom Douglas, Lady Antebellum wrote “I Run To You” and despite the recycled song title, the song may just be the best track on the record.  Hitting some nice falsetto notes Kelley and Scott take turns about singing all the ways one can run away from something and then by the chorus, they run away from pressures of life back to the security of love.  A little optimistic? Maybe.  But the driving pop/rock melody backing up the words is what really sells the song.  It’s a hit.  “Love’s Lookin’ Good On You” and “Slow Down Sister” both have fun, drive with the windows down melodies that fit summer radio playlists like a glove.  They’re not deep but they’re entertaining.  In what seems to be a time-tested country music tradition, Lady A ends their record with a philosophical, uplifting story song in “One Day You Will.”  It’s another ‘event’ song for the trio and one that could do very well on radio if chosen as a single. 

With big hooks, glossy pop-ish production from veteran Paul Worley and songwriter Victoria Shaw (“The River” by Garth Brooks), and strong songwriting, Lady Antebellum’s self-titled debut gives a label a lot to work with. Add in their comely looks and what we’ve got here is a package that is fully developed and ripe for country stardom. So while the trio is similar to Sugarland, they have more than enough artistic merit, and vocal power, to stand on their own as a real threat to knock Rascal Flatts off of its perch as the best contemporary country group.

 

Double Dose of Free Tunes on iTunes This Week

Apple typically has two English language songs for free each week on their iTunes store website. Sometimes they even have offered up country freebies.  In the last few months James Otto, Ashton Shepherd, and Eric Durrance have had songs offered for free.   Now, they’re offering up the Top 20 hit “Love Don’t Live Here” by Lady Antebellum and a track from Alt-country artist Hays Carll, the humorous “She Left Me For Jesus.”  Actually, iTunes may have given away “Love Don’t Live Here” once before as a Discovery Download  (It’s this week’s “single of the week” while Carll’s song is the “discovery” song). 

So, if you love iTunes and want some free songs, check ’em out. 

Johnny Reid – “Kicking Stones”

 

Johnny Reid (Open Road Recordings/Universal Canada) 

Canada has released some of the most interesting country music in the last few years.  However, unless you live there or near the border, you’ve most likely not heard much of it.  One of the most dynamic and versatile artists to appear recently is Johnny Reid.  Originally from Scotland, Reid began stoking the fires of a country music career a decade ago.  After being in Nashville a few years, Reid signed to Canada’s Open Road Recordings.  His first album, “Born To Roll” brought him big star success and even found one hit “You Still Owe Me” get recorded by Canadian band Emerson Drive (it is a recent hit in the States for them as well) and Ty Herndon.   Reid’s sophomore release, “Kicking Stones” has been in rotation in my ipod and stereo for many weeks now and is as good as any album from the states. 

Fans of T. Graham Brown and Joe Cocker should really enjoy the soul/country/rock style employed by Reid.  Even with mandolins and fiddles propelling “Out Of The Blue,”  There’s a distinctly worldly flare to a song that chronicles unexpected happiness.  From the na-na-na-na’s to the pan flutes, there’s a distinct ‘international’ flare to a song that has lyrics that discuss unexpected happiness.  “Love Sweet Love” features a horn section that at times recalls Memphis and other times Motown.  It’s not ‘traditional country’ in any sense but Reid sings the hell out of the song. 

There is often a misconception about a man with deep, whiskey-scarred vocals not being able to sing with range.  Like Joe Cocker, Johnny shows on the beautiful and simple ballad “Thank You.”  Primed to be a wedding anthem, the song has a vibe that’s not unlike “You Raised Me Up.”  It soars and only a real singer with good range can sing a track like this.  Only two songs on the record weren’t co-written by Reid and one of them is his cover of the early 80’s Tom Jones hit “Darlin’.”  Johnny Reid simply knocks the song out of the park.  In fact, it’s a re-defining remake. 

Collin Raye previously recored “What I Did For Love” and where his version came off as ‘busy,’ Reid’s version is rough-around-the edges but with smooth flourishes courtesy of producer/co-writer Brent Maher.  The instrumental breakdown, missing from the Raye version, is simply beautiful with soaring fiddles and accordion and mandolin.   It’s a nicely, done ballad sung with conviction.  Speaking of singing with conviction, Johnny Reid simply knocks the album ending title track out of the park.  “Kicking Stones” is an autobiographical song that chronicles Reid’s life.  The melody features acoustic guitars, b-3, an orchestra and the topper being beautiful bag pipes.  Johnny Reid is a distinctive vocalist who, unlike Cocker and T. Graham Brown, writes most of his material.  “Kicking Stones” is a record from a distinctive artist that deserves to be a star in the USA. 

Early 2008 Country Album Round-up

 Since it’s nearly impossible to give every album released an in-depth report, I have decided to present my thoughts on a few of the recently released records with a grade.  At the very least, these mini-reviews aren’t Maxim-like ‘educated-guesses.’  I’ve actually listened to them. 

Allison Moorer – Mockingbird

(New Line Records)

I have been a fan of Allison Moorer’s since her first appearance in “The Horse Whisperer” years ago.  The idea of her doing a cover record was a good one.  However, I don’t think she should’ve left it with just female songwriter/artists.  While a unique take, the whole album leaves me wanting more.  Take her spin on Joni Mitchell‘s classic “Both Sides Now.”  That song was brilliantly re-worked by Mitchell herself so Allison had a lot to live up to and she simply didn’t do it.  “Ring of Fire” is reworked here but it sounds too weird to my ears.   A couple songs are given brilliant arrangements and one of them is “Dancing Barefoot.” 

Dolly Parton – Backwoods Barbie

(Dolly Records)

Dolly Parton hasn’t released a mainstream country record in almost two decades.  She’s dabbled in bluegrass and gospel and even tossed out a patriotic record for fans to devour.  While critically acclaimed, the bluegrass records didn’t set the charts on fire so Dolly decided to return to what she knows.  Perhaps one of country music’s greatest songwriters, Dolly also sings quite well for someone who’s 62 years old. She could actually teach some of the new female artists a thing or to.  The record starts off with the criminally ignored “Better Get To Livin’.”   I would’t have expected Fine Young Cannibals‘ “Drive Me Crazy” to be a good choice for a country song but Dolly makes the song work with her charming persona.  It’s still not very ‘country’ as some other tracks are on “Barbie” though.  Dolly shows her roots on the stone country title track and current radio single “Jesus & Gravity” is the most mainstream song on the record and if it cannot get Dolly back on the airwaves as a solo artist, nothing can.

Doug Stone “My Turn”

(Progression Music Group)

It might seem like it’s been a cat’s lifetime since Doug Stone has been in the public eye but his “My Turn” record proves that he’s still hard at work.  Released in late 2007 (but given a digital release in ’08), the album shows that Doug still has the goods as a vocalist.  The biggest problem for Doug is his love for anonymous ballads that derailed his career in the late 1990s.  Aside from “Don’t Tell Mama,” a cautionary drinking and driving song, there are no “I’d be Better off (In A Pine Box)” tracks to be found here.  Only more of the “More Love” types of songs.  This is a record only the loyalist of his fans will enjoy. 

 

Trent Willmon – Broken In

(Compadre Records/Music World Records)

He released two albums on the Columbia label before parent Sony merged with BMG.  Since Willmon barely sold anything, the Texan rancher was part of the corporate artist purge (along with Rodney Crowell and Jon Randall).   Compadre Records signed him up and released a fine ballad “There Is A God” that got lost at country radio.  The title track is the new single and its finding more of an audience.  The problem with the record seems to be that Willmon doesn’t know rather to ditch Nashville for Texas or Texas for Nashville.  It’s a quandary that was present on his first two records as well.  Still, Trent does have a strong voice, writes well and has a few tracks worth seeking out.  “Cold Beer and A Fishing Pole” is as country as they come while the Brett James/Ashley Monroe penned “The Truth” has potential to be a big hit at country radio. 

 

Eric Durrance – I Lost It All (EP)

(Wind-up Records)

There’s no denying the fact that Eric Durrance has vocal and writing talent.  What I don’t understand is why Wind-up, a label new to the Nashville ‘game,’ would release this digital EP now.  It seems to be under-produced. While this is usually good for a demo, it doesn’t work as the first major release for the artist and label in the genre.  The title track follows the same path as Emerson Drive‘s “Moments” does and it packs as strong of an emotional impact to boot. While I actually love the acoustic nature of the song, I expected a full band to back up Durrance after the first verse.  It’s a problem that plagues the whole effort.  “Wait ‘Til I Get There” was a recent free iTunes “Discovery Download” and with the right production touches, it’s a smash hit.    The closing track, “And Then Some,” which I first heard on songwriter Dan Demay’s own record, closes out the EP with a similarly themed song as the title track. My basic problem with the EP is that country music isn’t exclusively ‘acoustic.’

 

Tift Merritt – Another Country

(Fantasy Records)

I fell in love with Tift Merritt the first time I heard her major label debut “Bramble Rose.”  After the acoustic soul “Tambourine,” Tift was unceremoniously dropped by Lost Highway Records and in between that time Tift moved to France and, despite not knowing the language, began to thrive again artistically.  The results are present on “Another Country.”  The title track absolutely sparkles while “My Heart Is Free” rocks and recalls her last record.  There’s something about that crystal clear voice that just hits me hard.  There really isn’t a bad track on “Another Country,” including the album closing French track “Mille Tendressess.”

Jim Lauderdale – Honey Songs

(Yep Roc Records)

Jim Lauderdale is probably known to most country music fans as the writer of many country songs (for example, George Strait‘s “We Really Shouldn’t Be Doing This“)  but there are more fans out there who know of Jim’s Grammy winning stint as a bluegrass performer (with and without Ralph Stanley).  On “Honey Songs” the prolific artist returns to his roots-rock/country hybrid that he’s been playing since his mid-1990’s days as a Warner Brothers artist.  Featuring a short 10 tracks, “Honey Songs” is the work of a man who’s making music for the sake of making music.  “Honey Suckle Honey Pie” kicks off the record with a rollicking’ melody that recalls Dwight Yoakam while “It’s Finally Sinking In” sits right next to the stone country tracks “Hittin’ It Hard” and “Borrow Some Summertime.” The latter of which wouldn’t be outta place on a Strait or Alan Jackson record. 

Those of you keeping record at home may notice that I haven’t covered the two most recent releases.  That’s because both Alan Jackson‘s “Good Time“ Ashton Shepherd‘s “Sounds So Good” will both be features here in seperate, longer reviews.  

Under The Covers: Pop/rock songs that would make good country songs.

With “Home,” one of my favorite pop songs, recently getting recorded and released by Blake Shelton, I started brainstorming about what other pop songs would make for good material for country artists to cover.  Some songs will be obvious while others are either out of left field or unknown to many.  Wherever I can I’ll suggest an artist who’d make sense for the cover.   If you have any suggestions to add to what I’ve put forth, or to add your own suggestions, feel free to leave a comment. 

“Falling Slowly”

Original Artist: Glen Hansard & Marketa Irglova

Cover Artist: Jon Randall & Jessi Alexander

Falling slowly, eyes that know me
And I can’t go back
Moods that take me and erase me
And I’m painted black
You have suffered enough
And warred with yourself
It’s time that you wonTake this sinking boat and point it home
We’ve still got time
Raise your hopeful voice you had a choice
You’ve made it now

I absolutely love this song (and the movie it comes from) and think that it’d make for a great country duet.  I almost think that the duo singing the song would have to be in love with each other or at least been there, the way the original artists and film stars are.  In that sense I think that Jon Randall and Jessi Alexander would do wonderful with the song and I actually think this could be a great Tim and Faith song too.  The bottom line is the artists singing need to be in love.   

“Secret Smile”

Original artist: Semisonic

Cover artist choice: Keith Urban or Josh Turner

Nobody knows it but you’ve got a secret smile
And you use it only for me
Nobody knows it but you’ve got a secret smile
And you use it only for me
So use it and prove it
Remove this whirling sadness
I’m losing, I’m bluesing
But you can save me from madness

Written by Grammy winning songwriter Dan Wilson, “Secret Smile” has always ‘screamed’ out to me as a song that would make for a killer country record.  Lyrically, the song is about longing for a secret, forbidden love or is it about a deeply private and personal relationship with God?  I don’t know which I’d interpret the lyric to be but I really think the song would hit home for both men and women of any age.  Melodically, I can see where the right producer would add flourishes of banjo, steel guitar and fiddle to make the song work.  As for an artist that could deliver the song, I feel that the vocalist would have to be someone like Keith Urban or one could go completely in the other direction and have a great vocalist like Josh Turner wrap his baritone around it.  This song is over 10 years old and still hits home whenever I hear it. 

Song:  “The Distance”

Original Artist: Evan & Jaron

Cover Artist: Trisha Yearwood

“The sky has lost it’s color, the sun has turned to grey, at least that’s how it feels to me whenever you’re away, I crawl up in a corner, as I watch the minutes pass, each one brings me closer to, the time when you’ll be back, you’re coming back,

I cant take the distance, I cant take the miles, I can’t take the time until the next time I see you smile, I cant take the distance, and I’m not ashamed, that I can’t take a breath without saying your name, I can brave a hurricane, and still be standing tall when all the dust has settled down, but I can’t take the distance”

That’s the first verse and chorus of this haunting ballad.  Sung of a simple acoustic guitar and simply elegant cello, this song really could make for a brilliant country song, be it a ‘simple remake’ like Blake Shelton did with “Home” or a more inventive reading that mixes in steel guitar and fiddles and dobro.  It’s the kind of song that needs an emotive vocalist to give it the justice that Evan & Jaron created with their original (pre-radio remix).  I believe that Trisha Yearwood would knock it out of the park but at the same time I can also see Tim McGraw taking a chance this moving ballad.

“All Will Be Well”

Original Artist: Gabe Dixon Band

Cover Artist: Keith Urban

“The new day dawns
And I am practicing my purpose once again
It is fresh and it is fruitful if I win
but if I lose, ooh, I don’t know
I’ll be tired but I will turn and I will go
Only guessing ’til I get there then I’ll know
Ohh, I will know And all the children walking home past the factories
Can see the light that’s shining in my window
As I write this song to you
And all the cars running fast along the interstate
Can feel the love that radiates
Illuminating what I know is trueAnd all will be well
Even after all the promises you’ve broken to yourself
All will be well
You can ask me how but only time will tell”

A brilliant song that’s been used for some TV shows, surprisingly not American Idol, written with Semisonic’s Dan Wilson, “All Will Be Well” might not make for a great radio single, but it’d make for a great album cut or a song featured on a record of ‘covers.’  Again I hear Keith Urban doing this one simply because he has a similar voice to Gabe Dixon but I really think he could arrange the song to suit his guitar playing much like how he made Elton John’s “Country Comfort” his own.  Dixon, after all, is from the Elton John/Paul McCartney school of songwriting. 

“This Kind of Love” 

Original Artist: Sister Hazel

Cover Choice: Brad Mates (Emerson Drive)/James Otto

Sister Hazel had one really big hit/album in the late 1990s and seemingly ‘disappeared’ from the mainstream music.  What really happened is that the adult rock-oriented band just toured relentlessly and released strong album after strong album.  Their 2006 release “Absolutely” featured a few songs that could cross-over but “This Kind Of Love” is one of those no-brainer power ballads that suit weddings and anniversaries.  The lyric is straight forward “This kind of love is what I dream about/well baby it leaves no doubt./this kind of love is why I’m standing here/it’s something that we can share/I can’t get enough of this kind of love.  Because the song is such a huge power ballad, it demands a singer that can actually sing it and not ‘over-sing it.’  The verses start low and the chorus is an absolute belter.  I think it’d be in worthy hands of Brad Mates from Emerson Drive or James Otto.  I especially would love to hear Otto take this song and wrap his soulful vocal around it. 

“Advertising Space”

Original Artist: Robbie Williams

Cover Artist: George Strait

For most of America, Robbie Williams is probably known as the dude behind that “Angels” song that Jessica Simpson destroyed or perhaps as the member of that “one hit wonder” boy band Take That.  To the rest of the world, he’s the most successful solo artist of the last 20 years.  The lyrics don’t follow the typical country music trends but that’s exactly what makes this song so appealing to me.  Yes, it’s another ballad and would be an ‘album track’ only, but y’know, it’s a damn good record.  Too bad Cash isn’t around to sing this one.   It would take a brilliant artist to record this one so that’s why I’m choosing George Strait. 

“Jealous Man” 

Original artist: Tyrone Wells

Cover Artist: Gary Allan

Tyrone Wells’s “Hold On” was probably my favorite pop/rock record from 2007 and that’s saying a lot.  This singer/songwriter with an insanely strong voice is from the same neck of the woods that James Otto came from and I’ll be damned if they don’t actually have similar voices.  That aside, It’d take a gifted vocalist to interpret “Jealous Man” since the song is already a damn great tune.  With a theme that was playfully covered by Garth Brooks with “Papa Loved Mama” and Blake Shelton with “Ol’ Red,” “Jealous” is the kind of song that builds and builds to the tidal wave of an ending.  I think Otto could do this justice but I’d really love to hear Gary Allan’s gritty voice take this one on.  If you only listen to one Tyrone Wells song, it’s gotta be this one.

“Just Like That”

Original Artist: Marc Broussard

Cover artist: Sugarland

Many people would think that Broussard’s universally praised “Home” would be on a list like this but I think his similarlly gritty, southern rock/soul track “Just Like That” (from his EP “Momentary Setback”) would actually make for a better cover, especially since not as many people have heard the tune.  Again, a strong vocalist is required to record a song like this.  Honestly, a female could sing this as much as a guy could. So for that, I’d say that Sugarland could do it (Jennifer Nettles can sing anything).  The lyrics are interesting and the funky melody is just too groovy to not make for a killer album cut.

“Everything To Me” 

Original Artist: Mark Schultz

Cover Artist: Jimmy Wayne

I’ve often thought that many of Mark Schultz’ songs would segue well into the country music world.  They’re structurally sound, have great hooks and are heartfelt.  They really fit the genre to a T. right now.  Mark Schultz was adopted and wrote this chestnut about his experience.  Another strong vocalist is needed to do this song justice and I can think of no body better than Jimmy Wayne.  He hits the right notes and would really be able to dig into the lyric, especially given his own backstory. Another good choice, belive it or not, would be Rascal Flatts, if only because of all the ‘money notes’ in the song.  No matter what people think of the band, Gary LeVox does sing well, when he doesn’t over-sing.

“Do You Even Know Me Anymore”

Original Artist: Mark Schultz

Cover Artist: Montgomery Gentry

Yep, another Schultz song.  You know, this song talks about a man’s relationship with his family and, ultimately, himself.  He thinks he’s doing the right thing but in the end he realizes that he has to change some things if he’s gonna be the man he hoped he’d be.  Since Montgomery Gentry’s mature enough to sing the song and seems to be singing songs like this, they’re an obvious choice. 

“Two Beds and a Coffee Machine”

Original Artist: Savage Garden/Darren Hayes

Cover Artist: Trace Adkins

Another bruise to try and hide

another alibi to write

another ditch in the road, you keep moving

another stop sign, you keep moving on

and the years go by so fast,

wonder how I ever made it through

I’ve always thought that this ‘unknown’ Savage Garden track would make for one hell of a country music song.  It’s a simple, piano and cello/orchestra backed lyrical gem that discusses how domestic violence impacts a family and the harsh reality of how often people have to go back to the abuse just to survive.  The song is sung in the third person but reveals itself as the story of the child in the song (it’s about the original singer Darren Hayes’ family).   This is another case where Jimmy Wayne might be a logical choice to sing the song but I also think a deeper voiced artist like Trace Adkins would absolutely bring the song to life. 

“I Don’t Know You Anymore”

Original Artist: Savage Garden

Cover Artist: Gary Allan

I know, I know, putting the names Savage Garden and Gary Allan in the same sentence is blastphemy to some but y’know, Gary would knock this brilliantly written, singer/songwriter-like song out of the proverbial park.  It’s from the same damn album that “Two Beds and a Coffee Machine” was from and both were my favorite tracks from it (I’m not afraid to admit owning the record).  Darren Hayes sings the song over a simple piano track but I think there’s alot to be done with the melody to make it fit Gary Allan.  He just seems like the perfect guy to sing this song. 

“Crazy”

Original Artist: Seal

Cover Artist: Keith Urban

I would’ve never thought of this one as a potential song until I heard Seal’s acoustic version.  It’s a ‘deep’ song that suits Keith’s nature to ‘rock out’ while also having great lyrics and a killer melody.  It’s a song that’s 17 years old and still hits me every time.  That’s all we can ask for a song.  This one’s a favorite of mine and I think Keith might be the only country artist who could even work this one up. 

Well, friends, that’s all I can think of at the moment, and I know I forgot many songs, but here it is.  What do you think?

Jimmy Wayne – “Do You Believe Me Now”

It seems that The Valory Music Group (Big Machine Records’ new sister label) has decided to go a different route towards release for two of their artists.  Instead of releasing the single to radio, Valory has released Justin Moore‘s “I Could Kick Your Ass” and now Jimmy Wayne‘s “Do You Believe Me Now” on iTunes, where I picked up Jimmy’s song.  Previously an artist on the shuttered DreamWorks Nashville label, Jimmy Wayne is an artist who had a completely horrific life that he turned into some strong songs. He had four Top 20 singles (two of which were Top 10s) but it seems that his distinctive country-pop style hasn’t caught on to well as of late.  Originally signed to Big Machine, Jimmy slid over to Valory when the label opened up.  Big Machine had released one strong single in the Summer of 2007 but radio didn’t do anything with “That’s All I’ll Ever Need” so when Valory offered up a chance to be a bigger priority and a chance to release actual product quicker, Jimmy changed labels. 

When I first listened to “Do You Believe Me Now” I thought I was listening to a hit from the 1980’s.  The production, with distorted guitars and steel guitar buried deeply into the mix, certainly lends itself to that.  But then I remembered how Jimmy was fond of Hall and Oats and that explains the production. Hey, if it works for Rascal Flatts, why not Jimmy Wayne?  The thing that Jimmy’s got going for him is that he sounds a hell of a lot more genuine on the song than Rascal Flatts has recently.  The lyric deals with a guy who is playing the “I told you so” game with an ex-flame.  It’s an interesting song that covers a well-worn theme but Wayne manages to make the song stand out more with an engaging vocal.  “Do You Believe Me Now” should be the song that re-introduces Jimmy Wayne to country radio.  It’s a song worthy of being a hit by an artist who’s worthy of any and all success he achieves.

Grade: B