It’s the fourth track of Blake Shelton’s 2011 album: Red River Blue.
REVIEW:
Until his back-up chorus chimes in, Shelton’s low-key vocals don’t sound particularly appealing. The song progressively gets better, but the ultra-folksy “Get Some” is really more of an acquired taste. It’s an okay inclusion for the album – however, “Get Some” likely isn’t one of Shelton’s better download options.
It’s the sixth track of Blake Shelton’s 2011 album: Red River Blue.
REVIEW:
This upbeat dance hall tune sounds somewhat reminiscent of Kid Rock’s cover of “Sweet Home Alabama” – then again, this song’s own references to Alabama may just be coincidental. Including the rollicking instrumentals, it’s also the type of radio-friendly tune that Tim McGraw might well come up with. Even if this song doesn’t seem original, “Good Ole Boys” is still pretty entertaining for what it is.
From her 1996 The Girl Next Door album, Crystal Bernard from NBC TV’s Wings performs this country-western tune.
REVIEW:
The song sounds fine, but it doesn’t stand out on Bernard’s album. When included with the complete The Girl Next Door, “Call It Love” is still a worthy effort. Otherwise, there are some better songs by Bernard – among them is Track 10: “When You Took Your Love Away.”
From her 1996 The Girl Next Door album, Crystal Bernard from NBC TV’s Wings performs this country-western track.
REVIEW:
The upbeat “Could Have Been Mine” is a classy homage to old school honkytonk sound. Crystal Bernard’s spot-on vocals are well-supported by a nifty melody. For county-western enthusiasts, this track would make a worthwhile addition to various contemporary playlists.
It’s the fourth track off Blake Shelton’s 2011 album: Red River Blue.
REVIEW:
Until his back-up crew chimes in, Shelton’s low-key vocals don’t sound particularly appealing. The song progressively gets better, but the ultra-folksy “Get Some” is really more of an acquired taste. It’s an okay inclusion for the album – however, “Get Some” isn’t one of Shelton’s better download options.
It’s the sixth track from Matraca Berg’s 1997 album, Sunday Morning to Saturday Night. Berg also wrote the song.
REVIEW:
Known more in the country music industry for her articulate songwriting, Matraca Berg’s classy vocals brings to life her own poignant ballad. It’s about a widowed grandmother wistfully expressing to her grandchild/grandchildren some insights re: old age and of memories from her youth. Suffice to say, Berg infuses this song with some thoughtful storytelling magic. “Back When We Were Beautiful,” accordingly, deserves a welcome shot at re-discovery.
It’s the third track from Matraca Berg’s 1997 album, Sunday Morning to Saturday Night. Berg co-wrote the song with Stan Lynch. The rollicking music video depicts Berg hanging out with her pals (Martina McBride, Patty Loveless, Suzy Bogguss, & Faith Hill) before they are later ‘bailed out’ from jail by their real-life significant others.
REVIEW:
Including good-natured bits of ‘drunken’ humor, Matraca Berg’s honky-tonk bar tune is a contagious dose of fun. Berg, with some help from her all-star friends, sounds at the top of her game. The song’s night-out-with-the-girls ambiance makes “Back in the Saddle” an absolute gem.
Released by Rising Tide in 1997 through Universal Records, this album’s eleven tracks were written/co-written by Matraca Berg. Her tracks are:
Title: Time:
1.
Along for the Ride
3:45
2.
That Train Don’t Run
3:15
3.
Back in the Saddle
3:16
4.
Here You Come Raining on Me
3:02
5.
Some People Fall, Some People Fly
3:13
6.
Back When We Were Beautiful
3:40
7.
Sunday Morning to Saturday Night
3:39
8.
Good Ol’ Girl
3:54
9.
Give Me Tonight
3:28
10.
If I Were An Angel
4:06
11.
The Resurrection
4:34
Guest back-up vocalists: Kim Carnes appears on Track 2; and, as a rollicking ‘Ladies’ Night’-style chorus, Martina McBride, Faith Hill, Patty Loveless, and Suzy Bogguss appear on Track 3. Bogguss also appears on Track 9.
REVIEW:
More well-known as a songwriter for other country music singers, Matraca Berg makes the most of her classy Sunday Morning to Saturday Night. Her endearing, down-to-earth charm permeates this album, as she blends elements of contemporary country music, folk, bluegrass, and gospel. While she composed Track # 6 herself, Berg co-wrote the other ten tracks with Randy Scruggs, Alice Randall, and Gary Harrison, among others.
Though a few tracks are average, Tracks 1 (a good-natured Along for the Ride); 3 (the sassy Back in the Saddle); 7 (a rollicking Sunday Morning to SaturdayNight); and 8 (the gentle Good Ol’ Girl) are top-tier entertainment. Tracks 5 (Some People Fall, Some People Fly) and 6 (the wistful Back When We Were Beautiful) provide poignant contrast at just the right moments. Throughout the album, Berg’s recurring church inferences (i.e. Tracks 7, 8, 10, and 11) are well-conveyed
To Berg’s credit, this unpretentious album sounds heartfelt. It makes a strong case for her dual talents as both a vocalist and an insightful songwriter. As such, Sunday Morning to Saturday Night is an underrated gem well worth re-discovery.
PACKAGING:
The tracks and running times appear in triplicate: on the back cover, in the booklet insert, and on the CD itself. The CD is safely secured in a standard casing. The booklet includes song lyrics & musician credits; production credits; thank-you notes; and some low-key promotional photos of Berg.
Released by River North Nashville Records in 1996, this album’s thirteen tracks are:
Title: Time:
1.
Intro
0:35
2.
Could Have Been Mine
3:58
3.
You’re Gonna Miss A Whole Lotta Love
4:03
4.
Eleven Roses
4:00
5.
Have We Forgotten What Love Is
3:53
6.
This Purple Heart
3:05
7.
State of Mind
3:45
8.
Too Far This Time
4:48
9.
Miracle
3:34
10.
When You Took Your Love Away
3:20
11.
Till I Get Over You
3:09
12.
Call It Love
3:23
13.
If You Have Love
3:43
REVIEW:
Best known as feisty ‘Helen Chapel’ from NBC’s Wings TV sitcom, Crystal Bernard goes solo for this traditional country album. The endearing intro offers a snippet of Bernard singing as a four-year old. From there, her down-to-earth style carries Bernard through ordinary tunes that would likely have merited some radio play in the 1970’s or early 1980’s. In that sense, her thoughtful voice and subject matter seems reminiscent of Crystal Gayle.
Later in the album, Bernard adds a few faster-tempo tracks that demonstrate her artistic versatility, along with some co-songwriting credits. Otherwise, The Girl Next Door prefers calmly treading treads on slower or moderate-paced songs. Among these slower tunes, “Eleven Roses” and the poignant “This Purple Heart” stand out. “State of Mind” might be Bernard’s best upbeat track.
Even if this album isn’t memorable (i.e. notice how often “love” appears in the song titles), Bernard’s wholesome charm permeates The Girl Next Door. For her fans, this record makes a welcome treat. It’s also a solid choice for country music buffs who prefer a classy, old-school approach.
PACKAGING:
The tracks and/or running times appear in triplicate: on the back cover, in the booklet insert, and on the CD itself. Included in the booklet are song lyrics & musician credits; production credits; Bernard’s thank-you notes; and some low-key promotional photos of Bernard (including as a child).
Released by Capitol Records in 1989, this album’s eleven tracks consists of:
Title: Time:
Puttin’ the Dark Back Into the Night 3:08
Rosie Knows 3:47
I Did It for Love 4:34
The Race is On 2:53
Hey, Hey 2:47
Good While It Lasted 2:56
Locomotive 3:34
The Heartland 4:05
I’m Gonna Miss You After All 3:19
Getting’ Tough (Good Ol’ Boy) 4:01
Passin’ Train 3:19
REVIEW:
This standard-issue album reliably serves up Sawyer Brown’s rollicking brand of county music. The first track is indicative of what listeners are getting. Matching catchy melodies with Mark Miller’s endearing vocals, these well-constructed songs are fun – yet, none of them leave a lasting impression. The easygoing Boys Are Back isn’t remarkable, but it’s still a good catch for any country music fan’s stockpile.
PACKAGING:
The tracks and/or running times appear in triplicate: on the back cover, in the booklet insert, and on the CD itself. Included in the booklet are musician credits; production credits; the group’s thank-you notes; and a Sawyer Brown black-and-white promo image.