Elton John's 1973 masterpiece has been called "a concept album without a concept." The eclectic mix of tunes proves he's a master of many styles: he bashes out prog-rock ("Funeral for a Friend/Love Lies Bleeding"), pop anthems ("Bennie and the Jets"), melancholy balladry ("Candle in the Wind") and more with equal aplomb.
Ryan Adams has finally mellowed. After a decade of absurd prolificacy and uncouth behavior, alt-country's most volatile son sits pleasantly behind the whisper-quiet shuffle of Ashes & Fire, a soothing blanket of gentle guitars, bright organ, delicate piano. His lyrics are philosophical and apologetic: "Do I want to say the things I say/ When I know they're wrong?" "What am I doing here?" "Am I really who I was?" Perhaps it dips too often into David Gray soft rock, but oh well. Norah Jones guests throughout, tip-toeing and deferential; "Save Me" marks Adams as worthy of redemption.
Lauren Alaina won the hearts of American Idol audiences with her soaring voice and lilting Georgia twang. Alaina shines on Wildflower with her enthusiasm for growing up and falling in love. "Eighteen Inches" is a waltzing coming-of-age song that takes up where Sara Evans' "Suds in the Bucket" left off: "When you're young and in love/ You might do some things that don't seem all that smart/ There ain't no greater distance/ Than the 18 inches from your head and your heart." More highlights include the sassy "Georgia Peaches," the somber-but-hopeful "Dirt Road Prayer" and the jaunty "Tupelo."
Fans of the new acoustic genre -- that realm of virtuosity and chops, where pop classical, smooth jazz and progressive bluegrass intersect -- are totally licking their chops over The Goat Rodeo Sessions. Bringing together cello master Yo-Yo Ma, Punch Brother Chris Thile, bassist Edgar Meyer and fiddler Stuart Duncan, this quartet is a real-deal supergroup, one that excels at expertly plucked string work and subtle dynamics. Though predominantly instrumental, this 11-track collection does feature low-key vocals on a few compositions. These include "Here and Heaven" and "No One but You."
Loved for her sassy, rabble-rousing songs, Miranda Lambert tones things down a tad on album four. The standout here is slow song "Oklahoma Sky," where Lambert calls to a kindred spirit, her sweet voice cooing over a sparse acoustic guitar and gentle, shuffling beat. In contrast, "Fine Tune" processes her vocals through fuzzy effects that make the double-entendre-laced song sound even dirtier. Other highlights include "Safe," the insane finger-wagging "Mama's Broken Heart," the feisty kiss-off "Baggage Claim" and the heartbreaking "Better in the Long Run" -- sung with hubby Blake Shelton.
Nashville's reigning hot mom works both sides of that fence on her 11th pop-country opus, lamenting the perils of parenthood on "Teenage Daughters" and moaning white-soul PG come-ons like "You Can Get Your Lovin' Right Here." She sells an impressive range of emotions here, from the jaunty, horn-jolted lovey-dovey elation of "Broken Umbrella" to the tear-jerking pathos of the expertly crafted living-with-cancer ballad "I'm Gonna Love You Through It." Pat Monahan (aka the dude from Train) duets on "Marry Me" to sweet effect, but it's Martina's show, and she's clearly got it goin' on.
After the 43-song These Days box set, fans knew it would be a while before we heard from Country Music Hall of Famer Vince Gill. At long last, Guitar Slinger is here and Gill sounds like he's in an introspective mood. He shares the spotlight (and writing credits) with his wife Amy ("True Love," "Threaten Me With Heaven") and his three girls. This might account for the reflective mood on the majority of the songs. But it's not all heavy sentiment; "Tell Me Fool" has a shuffling, soulful and bluesy vibe and "Guitar Slinger" is an up-tempo slice of honky-tonk that is pure, lighthearted fun.
Joe Nichols' voice reverberates low and warm on It's All Good, grounding the singer on that finicky path that lies between traditional and modern country. Nichols' swoon-inducing voice sounds effortless, whether singing songs of love ("I Can't Take My Eyes Off You"), engaging in some light-hearted leering ("The More I Look") or commiserating about missed opportunities in romance ("Somebody's Mama") and in life ("No Truck, No Boat, No Girl"). When it comes right down to it, his voice is what elevates It's All Good from a good collection of songs to a great one.
Whittling down a manageable best-of set list must be one of life's few grinds for the members of Rascal Flatts. The Best of Rascal Flatts Live more or less bookends the band's career -- the first half can be found in the group's live CD/DVD from 2003, which contains their earliest hits. This set captures the band in front of an enthusiastic crowd, who really go berserk on "Here's to You," the band's homage to their fans. Other highlights include "Bless the Broken Road," "These Days" and the classic rock encore "Foreplay/Long Time/Free Ride."
Proponents of Red Dirt country music, an anti-Nashville movement that combines modern recording practices with the sentiments and attitudes of classic outlaw country, Jason Boland and the Stragglers deliver an album of understated music that echoes Waylon Jennings with a reverence and rare level of authenticity. Red Dirt country (also known as "Texas country" regardless of the players' origins or location) is so named for the dirt in the town of Stillwater, Okla., from whence the band hails. For the good songs on here (and there are a lot), start with "Down Here in the Hole."
Beyond The Sun is Chris Isaak's loving tribute to Sun Records. The majority of the selections can be traced back to the label's icons: Elvis, Jerry Lee, The Man in Black, Carl Perkins and Roy Orbison. This is a bit of a bummer; it would've been cool had he dug deeper into the catalog, maybe cover a track or two from Charlie Feathers or the great Sonny Burgess. Nevertheless, Isaak proves to be a skilled rockabilly singer. His boyish, quivering tenor cracks and weeps in all the right places. Plus, the production is sufficiently vintage as to not to make the tunes sound like karaoke novelty.
On his 15th studio album, Toby Keith presents homespun tales of regular Joes trying to find things such as love ("I Won't Let You Down," "Trying to Fall in Love"), peace of mind ("South of You") and a little quality, both in craftsmanship ("Made in America") and in music ("I Need to Hear a Country Song"). The blustery patriotism with which Keith is so closely associated is in scant supply here, and thankfully so. Perhaps that's why the honest, from-the-heart songs such as "South of You," and the Celtic-kissed "Clancy's Tavern," ring with such authenticity.
Georgia native Brantley Gilbert largely flew under the radar until Jason Aldean began taking his songs to the top of the country charts. As a songwriter, Gilbert's greatest strength is the way he gets to the heart of the matter -- or rather, brings your heart into the subject matter. On A Modern Day Prodigal Son, he does this by keeping his songs relatable, imbuing them with a healthy dose of humor ("G.R.I.T.S."), nostalgia ("What's Left of a Small Town"), heartbreak ("Picture on the Dashboard") and good ol' fashioned romance ("Freshman Year"). And, oh yeah, the guy also rocks!
The Georgian singer-songwriter's debut for Zac Brown's Southern Ground label, 1978 December offers the same seamless combination of classic rock and country that Lucinda Williams perfected with Car Wheels On A Gravel Road. Lead single "My Name Is Money" is a low-key but effective rocker, and throughout the album, Leigh comes off as a slightly less damaged Lucinda but with every bit as strong a personality. Before 1978 December, Leigh self-released four albums and made a name for herself opening for Jason Mraz and The Zac Brown Band. "Ribbon of Red" is another winner.
Recording this live set for an arts education fundraiser at Boston's Beacon Theatre, the Speaking Clock Revue consists of a who's who of artists and session musicians with whom T Bone has worked in the past few years (some of the most productive of his career). The lineup -- from Elton John and Jeff Bridges to Ralph Stanley and Gregg Allman -- is diverse and talented. Burnett also roped in some indie talent, including Neko Case and My Morning Jacket's Jim James. There are several highlights here, but the mandolin-tinged version of the Allman Brothers classic "Midnight Rider" is the peak.
