On his last album for Curb Records, Tim McGraw displays the same sense of adventure that has branded him somewhat of a Nashville maverick. Opener "Halo," with its ringing guitars and anthemic "whoa oh's," sounds more like Coldplay than anything previously heard by McGraw, yet somehow it works. "Right Back Atcha Babe" is a heavenly slice of '70s yacht rock, while "Only Human" -- which features R&B star Ne-Yo -- is a righteous bit of Quiet Storm. But let's face it: McGraw's strength is country, and there are plenty of highlights in that vein, including "Touchdown Jesus," "Hey Now" and "The One."
Darrell Scott's name may not ring any bells -- unless you're a musician. If so, then you are well-acquainted with his songwriting skills and innate musicianship. Just ask Robert Plant, who tapped Scott to be part of his Band of Joy. Long Ride Home is a more fleshed-out affair than previous offerings, but still retains an honest, earthy sound. The intimate "Candle for a Cowboy" is an absolute stunner that blooms under Scott's deft poetic touch. More highlights including the jaunty "No Use Living for Today," the gentle "You're Everything I Wanted Love to Be" and the stompin' "Pay Lake."
The second edition of Rough Guide: Bluegrass shines a somber spotlight on miners and their families. Although the Appalachian flavor lends a '30s-era Depression feel, the lyrics resonate with a modern sharpness. Ralph Stanley's innovative banjo picking, The Country Gentlemen's fleet fiddling and the late Hazel Dickens' high lonesome vocals set a high bar. Other highlights include Claire Lynch's "A Canary's Song," Larry Sparks' "The Old Coal Mine," The SteelDrivers' gritty "Blue Side of the Mountain" and The Dry Branch Fire Squad's haunting a cappella "Black Lung."
A seemingly endless amount of hits has helped Martina McBride become one of country music's most beloved artists. Her former label releases a hits package that includes chart-toppers "Wild Angels," "A Broken Wing" and "I Love You," among fan favorites and three new songs: "Surrender," "Straight to the Bone" and "Being Myself." Although Hits and More boasts 20 tracks, it's a far from exhaustive list, leaving the door open for a more comprehensive effort in the future.
This clutch of covers -- originally done by icons such as Willie, Loretta and Kristofferson -- has been given a modern, yet old-timey facelift. Track by track, heartache is reflected in ultra-sharp harmonies that resonate across twanging guitars and shuffling beats. The Little Willies transform "Diesel Smoke, Dangerous Curves" -- a somewhat gimmicky blue-collar trucking song, originally sung by Burl Ives -- into a gritty slice of country noir that feels dangerous indeed. Other highlights include the slow-waltzing "I Worship You," the stunning "Lovesick Blues" and the cat-fight throw-down of "Fist City."
When Martina McBride took Gretchen Peters' "Independence Day" to the top of the charts in the mid-'90s, the chilling song turned the country music world upside down. Years later, Peters still conceives potent narratives that are perhaps gentler in their approach, but cut just as deep. The title track sets the no-holds-barred tone, as she grouses, "I haven't done as well as I thought I would/ I'm not dead, but I'm damaged goods"; and in "Woman on the Wheel," Peters likens her relationships to a circus. Hello Cruel World is a hefty mountain to climb, but once scaled, the view is unparalleled.
100 Proof marks Kellie Pickler's ticket to the big leagues. Eschewing country-flavored pop for a more traditional sound, Pickler's Southern twang thrives -- and has never commanded as much attention. The tender "Long As I Never See You Again" highlights her lower register as she gently coos over an acoustic guitar. "Where's Tammy Wynette" is a sassy slice of old-school where she ruminates, "I stay torn between killing him and loving him/ He stays torn between neon lights and home." Other highlights include "Unlock That Honky Tonk," "Stop Cheatin' on Me" and "Little House on the Highway."
Roger Creager has remained one of Texas' best kept secrets. Surrender, produced by Lloyd Maines, takes the singer back to what he does best: edgy country that rocks. "Turn It Up" is a twanging heartland rocker that not only celebrates the joys of playing on the road, but gives a nod to Waylon as well. More highlights include the anthemic "Dead Love," "Bad Friend to a Good Man" and the weird and uplifting cover of Bob Marley's "Redemption Song." Theme-wise, Creager isn't reinventing the wheel here. But after a dozen years in the clubs and on the road, he still sounds like he loves it.
This duo's second album has pins all over the American map. Sisters Johanna and Klara Söderberg harmonize like Appalachian twins. Their sweet yet somber indie-folk -- enhanced by mostly acoustic guitar, autoharp and keyboard -- has hints of Seattle's Fleet Foxes. They name-check Southern greats: "I'll be your Emmylou, and I'll be your June/ If you'll be my Gram and my Johnny too." And it all comes freshly recorded from the heartland, with production from Bright Eyes' Mike Mogis (Conor Oberst guests on "King of the World"). It's all so convincing, you'll never believe they're Swedes.
The Pines' dark, ethereal sound emanates from the sweet spot between the principal members' Midwestern roots and growing up in the digital age: an old-timey vibe that's been given a modern makeover. Dark So Gold begins with the ghostly "Cry, Cry, Crow," an embittered look at the evaporation of rural farmlands and its people as they get sucked up by the big cities. It's every bit as stark and lonely as you'd imagine it to be. "Rise Up and Be Lonely" channels Dylan, as does the shuffling, jangling "Chimes."
On her fourth outing, Kathleen Edwards enlists beau Justin Vernon (of Bon Iver) to help wrap her whispery, modern folk in a bit of atmospheric gossamer. Melancholy songs seem to be the pair's strong suit: "Pink Champagne" is a stark, emotional look back at her wedding day, while "A Soft Place to Land" finds our heroine seeking refuge after the marriage failed (though this ache feels pretty darn good in its veracity). Still, Edwards does get upbeat, sounding pretty dang optimistic on "Change the Sheets" and "Empty Threat."
