Category: Country (Page 12 of 33)

Dion: Heroes: Giants of Early Guitar Rock

Dion’s Heroes: Giants of Early Guitar Rock is played and presented with such joy, authenticity and enthusiasm that it is one of the better cover records released since it became trendy some 10 years ago. Much like Brian Setzer’s Rockabilly Riot Volume 1: A Tribute to Sun Records, this is a love letter to those who mapped out the first avenues of rock & roll. The difference between the two, other than the era covered, is that Dion captures the vibe and adds his own touches to each track while Setzer tried to reproduce each song as originally recorded. The material covered by Setzer is also not necessarily automatically recognizable as the material covered on Heroes. “Summertime Blues,” “Come On, Let’s Go,” “Bye Bye Love” and “Jailhouse Rock” are songs that are a part of our collective musical consciousness. Dion’s voice has great character and moxie, which perfectly suits these tracks. His band, which includes Robert “Crow” Richardson on guitar, plays these tracks with an energy and a reverence that they deserve. Dion has the credibility to cover songs like “Runaway” and “Rave On” because he was a contemporary of these folks, jammed with Buddy Holly and toured with many of these artists. The guitar work is really excellent here. No, there is no Van Halen tapping and shredding, but there are great solos with character and zip. Great songs, great guitar, what more can you ask? A bonus DVD of Dion relating stories about these songs, the original artists who recorded them and impromptu versions of a couple of them played in a studio with Richardson is also a treat. One-half star is removed from the total in that the only track that doesn’t measure up to the others is a cover of his own masterpiece, “The Wanderer.” (Saguard Road Records)

Dion’s Website

David Lykins: Blurry White Guy

One listen to the first track on David Lykin’s new disc and you get the dreaded feeling that this dude is going to blast his big message at you for the rest of the time it takes to hear the other tunes. “Houston” is big, with the sort of corny all-American flag waving mentality underneath that you can’t quite shake. And Lykins’ voice is booming, making sure you hear it and the messages it has to deliver. “Greetings from the Riviera” is wordy to the point of being distracting – I get that Lykins is going for the singer-songwriter thing here, but his story on this song just isn’t that compelling. So Lykins has stories to tell in his acoustic/rustic/country sort of way, but unfortunately his tales and tunes all start sounding the same fast. “Good News” could be “I’ve Been in Love Before” and vice-versa. “Here’s Your Love Song” is a pretty good classic country weeper and “Day After Valentine” is classic country corn. Undoubtedly Lykins has a good number of fans already. After all, there’s always an audience for this sort of thing. In that essence, Blurry White Guy should be a rousing success. (self-released)

David Lykin MySpace page

George Strait: Classic Christmas

George Strait has one of the purest, most recognizable voices in a genre not known for that type of clarity, and he’s one of those singers who likely doesn’t need much help (read: pitch correction) in the studio. If you’re a fan of Strait or of country music in general, you’re going to love this guy’s straight-ahead, twangy approach to classic Christmas fare, aptly titled Classic Christmas. For the rest of you, you may be left with the feeling that these takes are a bit vanilla and even a tad mundane. As holiday albums go, though, you sure could do a lot worse. After all, Mr. Strait is a living legend at this point, and his voice alone is reason to pick this one up. Standout tracks are “We Three Kings” and “Hark the Herald Angels Sing.” (MCA Nashville)

George Strait MySpace Page

Laura Roppe: Girl like This

On the cover of her new CD, Laura Roppe is pictured standing in the middle of a dirt road in a little black getup, and heels posing rather defiantly. Yes, it’s another bid on the indie circuit for some soundalike Hollywood Nashville pop. And it’s every bit as mediocre as you might imagine. Roppe’s main problem is that she doesn’t have the voice to carry strong pop country tunes. It sounds like she’s really forcing it on the title track, almost missing her marks in a number of places. It gets a little worse on “Mama Needs a Girls Night Out” where her voice starts sounding a bit more Kermit the Frog and less country diva. She tries to bring the sass to “Ooh La La,” and sounds like she’s painting by numbers than putting anything honest into her performance. And by the time “Crazy about You and Me” arrives, you wish she’d just sing it straight without the affected twang in her throat. This may have been a nice vanity project for Roppe, but for the general listener, there’s far better stuff out there to be heard. (self-released)

Laura Roppe MySpace

Rhett May: Calcutta Boy

Hoo boy. From the silly cover art down to the synth bass lines and programmed drums, everything about this EP by Rhett May just screams embarrassing. Definitely one of those discs that should have just been given out to friends and left at that, but undoubtedly there was someone out there who told Rhett to go for broke and let everyone else hear this stuff. Well, suffice it to say it’s a complete train wreck, with some of the worst canned, DIY production to be heard in a long time. Is this guy country? Is he pop? Who knows? It’s just tough to listen to a song like “There’s a Little White Powder” or “African Queen” and not think you could be listening to something – anything – better than this. On the third track, May asks “Have Your Arms Been Missing Me?” I can’t answer that question, but I can say that my ears won’t be missing the auto-chord settings on Rhett’s old clunky keyboard. (self-released)

Rhett May MySpace page

« Older posts Newer posts »