Maggie Rose, Phil Vassar, Bill Anderson, Dailey and Vincent, Terri Clark, The Bellamy Brothers, Keith Anderson, & Connie SmithCountry
Cool and confident, yet warm and approachable with a laugh that’s as melodic as the songs she sings, it’s difficult to look at Maggie Rose and not think that she was born under a very special star. And maybe she was. How else can you explain her journey from Potomac, Maryland—hardly a mecca for country music—to Nashville by way of storied record executive Tommy Mottola (Celine Dion, Mariah Carey)?
Mottola wasn’t a friend, or even a family friend. More like a friend of a friend of a friend. But Maggie’s biggest supporter and business partner, Tom Natelli, who had encouraged and nurtured the young songbird’s talent early on, had the chutzpah to ask around until he found someone who knew someone, who knew someone, who lived next door to Tommy. The music executive was impressed enough to encourage Maggie to pursue her music, but since country wasn’t his forte, he equipped the aspiring star with a handful of contacts and enough information to make her way to Nashville. It didn’t take any persuading though. Singing was her dream. She stepped away from Clemson University, where she performed with a Bruce Springsteen cover band, and into her career with encouragement of her parents and Natelli.
Tommy may have knocked on doors, specifically producer James Stroud’s (Willie Nelson, Chris Young, Tim McGraw), but Maggie kicked them down all by herself. And despite the connection to Mottola and the rock cover band experience, she kicked them down country style. Country by choice.
Maggie explains that in her home, she was exposed to an array of musical offerings: “My mom loved certain artists and I think the people she actually played are clearly influences of mine. She loved Bonnie Raitt, Tracy Chapman. She loved the Beatles, which everyone loves the Beatles, but their sense of melody is so strong. And I loved Dixie Chicks. There was a really good mix of music. The fact that I gravitated toward country when there were so many other options shows that’s where I belong. Because it’s not like that’s all I was exposed to, that’s what I wanted to listen to.”
Why? The singer-songwriter smiles and simply says, “You can hear the story.” It’s that mindset and a healthy dose of diligence that kept Maggie in Nashville since the age of 19. Starry-eyed and a bit naïve, her first run at commercial success positioned her as a voice to be heard and gave her a foothold in Music City, but the songs weren’t quite what she needed. Even she admits, “I just wasn’t ready. I think that was the only difference between then and now is that I’m just ready. In fact, I’m chomping at the bit to get this album out. And before, I wasn’t excited about what I had to share yet. I was excited about being able to sing and do what I love, but I wasn’t totally connected to a body of work. I had singles here and there, but that doesn’t make an artist. I wanted to do something that people could latch on to, and I wanted to start a conversation with my music that people could be a part of.”
With iconic country music producers Blake Chancey and James Stroud at the helm, Maggie starts the conversation on Cut To Impress by writing almost half of the songs on the album. The remaining cuts are tunes that she has been performing for the past five years—songs that not only survived her evolution from the young girl, Margaret, to the young woman, Maggie, but became part of her musical make-up.
And they are KILLER tracks. Killer. Yes, there’s a body count on this album. From the flirtatious “Fall Madly In Love With You,” to the musical mini-movie “Looking Back Now,” Maggie shows she has a bit of a dark side, but she doesn’t dwell on it because she has sass, too. From the opening swampy, gospel-tinted track, “Preacher’s Daughter,” to the debut single, “I Ain’t Your Mama,” she reveals a delightful blend of feminine attitude that will empower her female fans and bring the boys to their knees with desire.
It isn’t all serious though. Humor is a tricky maneuver for any recording artist, but in the tongue-in-cheek “Hollywood,” Maggie is guaranteed to capture a grin, giggle or guffaw with clever lyrics like, “Tiny dogs in little bitty purses, cosmos everybody nurses, they get as trashed as we do…”
But give the girl a chance to wail, like she does in “Put Yourself in My Blues,” or the beseeching second single, “Better,” and that’s when you realize what she’s had all along. That’s when you see what brought her to Nashville. Songwriting can be learned, but to be able to convey a heartbreak, to sing a tear, that is a gift. And Maggie’s voice can soar without overpowering the listener. She’s not singing at you, she’s singing to you. She’s making that connection that she so desperately wants to make.
Maggie is committed to this career. Much like her very successful contemporaries, there was never a Plan B. “It even scares me to think about it,” she shudders. “I was lucky and crazy enough to make the move at a pretty young age, so before any serious decision making had to be done—is it this or this?” Even with the disappointments that face any new artist—promises broken, faith rattled, hopes shattered, dreams dashed—Maggie persevered. And she sees now where her experiences hold the promise of longevity. “If I’ve learned this much in five years, 20 years down the road, I’m going to be dangerous. So, I think that music will always be part of my life.”
It’s Maggie’s turn now. Meticulously choosing her album title from a song she co-penned, “Mostly Bad," is the best representation of where the ingénue is at both musically and emotionally. “That one is a really playful, fun song. ’Cut to impress’ is a line from the second verse and it jumped out to me because it represents so much about this album. It’s a really confident statement about all the album cuts—play on words. But it’s also that I’ve finally cut out a place for myself as an artist that is unique and real.”
A little good, a little bad, a lot confident and very much intentional. That’s her word. Maggie says, “That has been my keyword for this whole process, ’intentional.’ I think that everything I do as an artist now should be with a purpose. I think that the way I write should be with intent behind it. It can serve different purposes, but make sure that every word written is intentional.”
Phil Vassar’s unbounded energy and limitless talent have proven him, again and again, as one of Nashville’s most prolific and versatile stars. Those who best understand Phil Vassar – good-time, piano playing, boundless energy on stage, hardest-working-man-in-the business– also understand the ongoing evolution of his original music. This Virginia-born songwriter and musician has undoubtedly made his mark in Nashville as an acclaimed artist. Phil’s known not only for his gift for hit songwriting, but also for his compelling and highly entertaining skills on the piano. His uniquely piano-based, rhythm and blues-infused, infectiously buoyant brand of music has carried Phil throughout his career and remains his specialty in the genre. His resume boasts numerous hits for artists including Alan Jackson, Tim McGraw, Jo Dee Messina, and Collin Raye, and many more hits as an artist in his own right. He’s been named the ASCAP Songwriter of the Year twice and has taken top honors from the Academy of Country Music, Billboard MusicRow, and also honored by the the CMA’s. Some of Phil’s accolades include two time ASCAP Songwriter of the Year, Billboard Magazine Top New Country Artist, Billboard Country Songwriter of the Year, Music Row Magazine Breakthrough Artist of the Year, and ACM Top New Male Vocalist of the Year and Song of The Year- just to name a few.
Bill Anderson has been using that philosophy for almost fifty years to capture the attention of millions of country music fans around the world, en route to becoming a member of the Country Music Hall of Fame and one of the most popular, most enduring entertainers of our time.
He’s known, in fact as “Whispering Bill,” a nickname hung on him years ago as a result of his breathy voice and his warm, soft approach to singing a country song. His credentials, however, shout his prominence: One of the most awarded songwriters in the history of country music, a million-selling recording artist many times over, television game show host, network soap opera star, spokesman for a nationwide restaurant chain, and a consummate onstage performer. His back-up group, The Po’ Folks Band, has long been considered one of the finest instrumental and vocal groups in the business.
Dailey and Vincent
Ashville NC | Country
The most eagerly-anticipated bluegrass debut in recent memory, Dailey & Vincent area a powerful ensemble steeped in bluegrass and country music traditions, but blessed with the drive, talent, and charisma to assert those timeless values proudly onto today's stage. Even before one note of their stunning debut record had been heard, Jamie Dailey and Darrin Vincent earned a standing ovation at the 2007 International Bluegrass Music Association convention and were booked for more than 100 shows. Now that the album is here, the advance accolades are completely understandable. This is music that can stand side by side with any of the most revered bluegrass discs ever made.
Co-leaders Jamie Dailey and Darrin Vincent have already had a profound impact on much of the best modern bluegrass via their contributions to such estimable performers as Doyle Lawson & Quicksilver, Ricky Skaggs & Kentucky Thunder, and Rhonda Vincent & The Rage. The decision to join forces was not taken lightly, as they both held comfortable positions within premier bluegrass bands – Dailey as lead and tenor singer for nine years with Lawson, Vincent as harmony vocalist and multi-instrumentalist with Skaggs. “But when I first heard Jamie sing,” Darrin Vincent recalls, “it absolutely brought me out of my seat. I said, ’That is somebody I need to know.’”
Vincent’s initial instincts were confirmed the instant that he and Dailey sang together. “When I first heard our voices blend, I said, ’There’s something special about that,’” Vincent continues. “It was like, ’OK, we’ve got to pursue this.’ Then I looked around, and Sonny stopped playing in The Osborne Brothers. Jim [McReynolds] from Jim & Jesse passed away. All of a sudden, there weren’t any duos in bluegrass anymore. I thought, ’This is going to be a lost thing if we don’t form a duo.’ It just made sense.”
Dailey agrees, adding that when he met Darrin six years ago, he knew immediately that he wanted to take his next professional steps with him. In 2003, the two began talking seriously about becoming a team.
“I was happy – I had no complaints,” says Jamie of his nine years in Quicksilver. “But I knew probably after being with Doyle three years that eventually I would want to step away, in order for me to fulfill what was in my heart and to get to do everything I wanted to do musically.”
“We’ve been praying about this for about four years,” Darrin comments, “because we were making sure that it’s the right choice. He (Jamie) was making really good money and doing great with Doyle. I’ve been having a ball with Ricky. With all the awards that we’ve won and all the wonderful opportunities that have come along with Ricky, it really didn’t make sense to quit.” But in 2004, Darrin and Jamie recorded “Beautiful Star of Bethlehem” as a duet for a bluegrass Christmas compilation album. The response was explosive.
“When we got the response we did off of ’Beautiful Star,’ it was overwhelming,” recalls Jamie. “It just blew my mind. That’s what brought forward the idea that we needed to do our own thing.”
“Their own thing” positively bursts from the speakers from the first notes of their self-titled Rounder debut, Dailey & Vincent, released in January of 2008. The working-man’s laments “Sweet Carrie” and “Poor Boy Workin’ Blues” are vintage-sounding, rapid-fire bluegrass romps. Jamie’s tenor lead vocals on “I Believe” and “Take Me Back and Leave Me There” are high, lonesome bluegrass singing at its purest. Darrin’s upbeat lead vocals on “Don’t You Call My Name,” “Cumberland River,” and “Music of the Mountains” sound steeped in tradition.
The harmonies in “River of Time” and “Place on Calvary” will send shivers up the spine of anyone who loves the classic overtones that only great bluegrass voices can produce. “More than a Name on a Wall” sounds vintage because it is – the song was a 1989 country hit for The Statler Brothers. And as if to remind us that we are in the presence of classic talents, “My Savior Walks with Me Today” and the extraordinary performance of Gillian Welch and David Rawling’s “By the Mark” are performed in traditional, mandolin-guitar, brother-duet fashion.
Indeed, their voices blend with an uncanny, almost familial consonance, reflecting the dedication and mutual respect behind their partnership. “I get along with Darrin like family,” Jamie explains. “For six years, we’ve been working on different projects. But we’ve talked to each other on the phone just about every day all during those six years.”
“I threw songs at him, he threw songs at me,” Darrin remembers, looking back at the formative stages of their collaboration. “We went for timeless things, things we wouldn’t mind singing from now on.”
Darrin’s sister, bluegrass star Rhonda Vincent, has her own studio. Darrin asked her if he and Jamie could use it. The exceptional blend of their voices on songs like “By the Mark” captivated Rhonda and everyone else who heard the sound. Soon they were the most talked about new bluegrass band on the circuit – well before most fans heard any music at all. Pop pianist and songwriter (and bluegrass fan) Bruce Hornsby observed that “Their name is on the lips of everyone in the know, as far as I'm concerned.”
Like most overnight sensations, however, Dailey and Vincent are two men who have paid their dues many times over. Born December 27, 1969, Darrin Vincent first gained notice as a six-year-old tyke in his family’s band, The Sally Mountain Show, in Missouri. In the 1980s, he was in The Rage, the band led by his celebrated sister Rhonda Vincent. He continues to co-produce her acclaimed albums with her to this day. From 1990 through 1997 he backed John Hartford. In April 1997 he joined Ricky Skaggs’ award-winning band, Kentucky Thunder. He is proficient on guitar, bass, and mandolin and is highly regarded for his harmony-singing talent.
“I’m kind of a fish out of water,” says Darrin. “I’ve been behind people my whole life – my sister, John Hartford, Ricky. I’ve never taken front and center stage. Not even one time. I tell you, when I sang ’Cumberland River’ at the IBMA convention, I was scared out of my mind. It was extremely, excruciatingly scary.”
Jamie Dailey, on the other hand, is noted as a lead singer. But forming this duo was a big step for him as well. Born June 9, 1975, he was plucked from obscurity by Doyle Lawson to become the tenor lead vocalist in the much-awarded Quicksilver.
“People would ask me when I was a teenager if I would ever want to do this for a living,” Jamie recalls. “I said, ’Absolutely not. I would hate that. I never want to be on the road.’ I didn’t think I wanted to travel. Around that time, when I was 16, I heard Doyle Lawson & Quicksilver. When I heard Doyle for the first time, it changed. I was like, ’That’s what I want to do.’ And then, in August of 1998, he called.”
Having heard of Jamie’s talent, Doyle called to inquire whether the high-singing youngster would like to audition. Jamie graduated instantly from singing in local Tennessee bluegrass groups to playing bass and guitar and singing lead and harmony vocals in one of the most famous bluegrass bands in America.
Taking with them the lessons they’ve learned from their former employers, their friends, and their families, Jamie and Darrin produced Dailey & Vincent themselves. With pride, they included on the sessions their band members Jeff Parker (mandolin, harmony vocals) and Joe Dean (banjo, bass vocals). Adam Haynes has since been added on fiddle. The result is twelve brilliant performances from two men who sound born to sing together, delivered with a thrilling blend of clarity, precision, and soul. Jamie Dailey and Darrin Vincent have given their lives to bluegrass, to both the traditions and the possibilities that it offers, and now they’ve made the album of their lives. Is it possible to be both classic and brand new? Meet Dailey & Vincent.
Where to start with Terri Clark’s Classic?
You might begin in 2004, the year Terri joined the cast of the Grand Ole Opry, tapping into the rich traditions of country music’s most famous stage.
There’s always 1995, the year Terri launched her career with “Better Things to Do,” a contemporary twist on the no-nonsense approach of Kitty Wells’ “It Wasn’t God Who Made Honky Tonk Angels” and pretty much the entire Loretta Lynn catalog.
Or maybe you go all the way back to 1987, when Terri’s mother and her best friend packed the aspiring singer and her belongings into a Honda Civic and drove from Canada to Nashville, leaving her to play for tips at Tootsie’s Orchid Lounge, a legendary Lower Broad honky-tonk.
The deeper you delve into Classic, the deeper you find its roots go.
The story really starts two generations back, with Clark’s maternal grandparents, who raised five kids while playing country music in Montreal nightclubs with names like The Kit Kat and The Western Stop.
“My grandmother was nicknamed The Canadian Kitty Wells; that’s what they called her around Montreal,” Terri says. “They couldn’t go to Nashville and take a bigger stab at it – with five kids that just wasn’t going to happen. So I made the pioneer trip to Tennessee.
The songs of Classic span four decades of timeless country music, starting with the tunes young Terri learned via impromptu living-room parties her grandparents often hosted – standards like “It Wasn’t God Who Made Honky Tonk Angels” or “I’m Movin’ On” by ’The Singing Ranger’ Hank Snow, the first Canadian member of the Grand Ole Opry. Terri’s grandfather would break out his fiddle, her grandmother would start singing; soon it seemed like the entire neighbourhood would join in.
And the music didn’t stop when the party was over.
“My mom would tell me stories about how she would hear my grandmother walking around the house, vacuuming and cleaning, singing Loretta Lynn and Kitty Wells,” Terri says.
Years ago, a family friend gave Terri an LP that had her grandmother singing “This White Circle on My Finger,” one of the nearly three dozen Top 10 hits Wells released after “Honky Tonk Angels” blew the barroom doors wide open for women who yearned to sing country music.
That recording begins Classic. Then pedal-steel player Paul Franklin works some modulation magic, and Terri kicks her own version of “Honky Tonk Angels” into high gear.
From there, Classic conveys a history of country music viewed from a personal perspective. “I tried really hard to pick at least a song or two from every decade from the ’50s to the ’80s,” Terri says.
In doing so, she reveals the starting point for every part of the Terri Clark sound: the hardcore honky-tonk of Merle Haggard; the California country-rock of Linda Ronstadt and Emmylou Harris; tough-minded women like Loretta Lynn and Patsy Cline; Canadian stars from Hank Snow to Neil Young.
Classic bears the stamp of influences Tanya Tucker and Reba McEntire, who each join Terri for duet versions of their hits. Friends Jann Arden, Dierks Bentley and Dean Brody sing with her, as well.
Terri grew up singing most of these songs and playing many of them during her years at Tootsie’s, which shares an alley with the artists’ entrance to the Ryman Auditorium, one of the homes of the Grand Ole Opry. During the ’50s and ’60s, the historic Nashville nightspot, originally known as Mom’s, was a regular hang for greats like Patsy Cline, Willie Nelson and Kris Kristofferson. Loretta Lynn’s husband used to drink there when Lynn played the Opry. Terri, of course, played Tootsie’s many years later, and only in the afternoons – her mother forbid the young singer from venturing there after dark.
“It was a war zone down there at that time, nothing but peep shows and pawn shops and adult theatres,” Terri recalls. “And there was Tootsie’s and the Ernest Tubb Record Shop in the middle of it all.”
Like many of her heroes whom she covers on Classic – Patsy Cline, Loretta Lynn and Emmylou Harris among them – Terri eventually became a member of the Grand Ole Opry – the first and only Canadian female to date. That long-running, live radio show has an important place in the album.
“The Opry is a big part of this,” Terri says. “I wanted to be a member of the Opry because of this music. Every time we step on that stage, we’re playing tribute to everybody that came before us.”
Two of Terri’s Classic duet partners are fellow Opry stars. Dierks Bentley joins her for a remake of the George Jones and Tammy Wynette tale of pawnshop romance, “Golden Ring.” Reba McEntire harmonizes with her on “How Blue,” originally a hit from McEntire’s 1984 My Kind Of Country album, itself a collection of mostly covers.
“The guests on the album are people who have influenced me or people I’m a fan of, as artists,” says Terri, who was once a card-carrying member of the Reba McEntire Fan Club. Literally – she still has the card. Terri also still has a T-shirt her mother ordered from the fan club and gave her for Christmas one year.
“I took it into the studio the day Reba came into sing and said, ’Look what I found,’” she says.
McEntire wasn’t the first guest to sign on for Classic, though. That honour went to Tanya Tucker, who reprised her 1972 smash “Delta Dawn.” “Delta Dawn,” Terri says, was the second song she ever learned on the guitar (the first being “The Long Black Veil,” a 1959 hit for Lefty Frizzell that quickly became a folk standard). “I remember picking up the guitar and learning the chords and getting blisters on my fingers. I didn’t have calluses yet, because I only knew three chords.”
Tucker’s hit gains an additional level of empathy for the haunted Dawn in this new version, and a graceful fiddle-and-accordion tag sounds like a tender farewell to Dawn as she departs for that mansion in the sky.
On that track, and throughout Classic, Terri makes great use of some of Nashville’s top session musicians. Several of them have recorded with her throughout her career, playing on hits like “Better Things to Do,” “Poor, Poor Pitiful Me” and “I Wanna Do It All.” This time, Terri let them loose in the studio.
“They had fun,” she says. “And they played with reckless abandon – it’s not all polished and perfect. It sounds like they had a great time. That’s what always spoke the loudest about the records I’ve loved: It’s not about perfection, it’s about feeling an energy.”
That energy runs all the way through Classic, the energy of a contemporary artist having a lively discussion with the music that made her who she is. The spirit of Kitty Wells and Merle Haggard and Glen Campbell and Patsy Cline comes through loud and clear in the songs of Classic. At the same time, it sounds like a Terri Clark record.
“These are the songs that led to ’Better Things to Do’ and to everything else that followed in my career,” Terri says. “They shaped who I became as an artist, from the very beginning.”
Classic – November 13, 2012
The Bellamy Brothers
Pasco County FL | Country
The Bellamy Brothers are an American pop and country music duo brothers David Milton Bellamy (born September 16, 1950) and Homer Howard Bellamy (born February 2, 1946), from Darby, Florida, United States. The duo had considerable musical success in the 1970s and 1980s, starting with the release of their crossover hit "Let Your Love Flow" in 1976, a Number One single on the Billboard Hot 100 David and Howard Bellamy were inspired by many musical sources from an early age. Their father played country music around the house, and was also a member of a local Western swing band; in addition, they were inspired by the rock and roll music their sister played, Despite having never had formal music training, both brothers learned how to play guitar, mandolin, and banjo. In addition, David learned accordion, fiddle, organ, and piano. Their first musical gig was in 1968 at a benefit concert with their father in San Antonio, Florida at the Rattlesnake Roundup. Soon after, the brothers moved to Atlanta, Georgia and formed a band called Jericho. However, playing in bands and clubs proved tiresome for the brothers, who soon moved back home. The brothers were soon noticed by a friend of recording artist Jim Stafford, who eventually recorded "Spiders and Snakes", a tune written by David. "Spiders and Snakes" went on to become a Top 5 hit, providing the Bellamys with the money to move to Los Angeles, California.Howard became a road manager for Stafford; Stafford's previous road manager, Leo Gallagher, later gained fame as a comedian. 1970s The duo signed to Curb Records in 1975. A single featuring only David, "Nothin' Heavy", was unsuccessful. However, at the suggestion of Neil Diamond's drummer Dennis St. John, the brothers recorded and released the single "Let Your Love Flow", written by Diamond's roadie Larry Williams.Released in 1976, "Let Your Love Flow" was a No. 1 single on the United States pop charts, as well as more than a dozen countries worldwide. Although "Let Your Love Flow" was also a hit on the Hot Country Singles & Tracks chart, the Bellamys' country music success was limited until 1979, when "If I Said You Had a Beautiful Body Would You Hold It Against Me" was released. The song, whose double entendre title was derived from a Groucho Marx quote, landed the Bellamys their first country music No. 1 in the United States. It was first played on radio in the United Kingdom in Northern Ireland before becoming "Song of the Year" for all of the U.K. in 1979. 1980s and 1990s After the success of "If I Said You Had A Beautiful Body," the brothers continued with a run of country hits, including tunes such as the fun-loving "Redneck Girl"; serious ballads like "Santa Fe" and the insightful social commentary pieces, "Old Hippie" and "Kids of the Baby Boom." Billboard named the Bellamy Brothers as Top Country Duo and they eventually went on to set the record for most duo nominations from both Academy of Country Music and Country Music Association. In 1991, the Bellamys switched to Atlantic Records. Their tenure there produced one album before the duo formed its own label, a first in country music. Although they were still recording albums, their singles struggled to achieve the success of their previous hits, and by 1999 they had switched to Blue Hat Records for their Lonely Planet album. 2000s In 2005, the Bellamys returned to Curb Records to record Angels & Outlaws, Volume 1, a compilation album featuring re-recordings of the duo's older hits with additional artists, including Dolly Parton, George Jones, Alan Jackson, Tanya Tucker, and Montgomery Gentry. A re-recorded version of "If I Said You Had a Beautiful Body", featuring Dolly Parton, spent one week at #60 on the Billboard Hot Country Songs chart in 2005. The Bellamy's most recent studio project was an album of gospel music, titled Jesus Is Coming, released on May 8, 2007. Its title track was previously recorded on Native American in 1995. In 2008, the song "Let Your Love Flow" was used in the Barclaycard advert for their new contactless cards. The song re-entered the UK singles chart at #48 based on downloads and peaked at #21 in the pop charts in March 2009 and was listed on BMIÃÂ¢ÃÂÃÂs list of Top 100 Song of the Century at #68 that same year. A cover by Petra Haden was used in a 2010 Toyota Prius commercial. The Anthology, Vol. 1. was released in 2009 and includes the single "Guilty of the Crime," which is a collaboration with the Bacon Brothers. The video features Shannen Doherty of Beverly Hills, 90210 fame. Both sets of brothers performed the song together on the Grand Ole Opry in Nashville, Tenn. on Sept. 1, 2009. In June 2010, their song "Jalepenos", about the problems of political correctness, was banned before it could even be released to radio because of its profanity. Jesse and Noah In the late 1990s, David's sons, Noah and Jesse, became active in the music scene. In 1998, they formed a group called Burning Sky. The group released a video that year for their single "It Weeps In My Heart" which was featured on CMT. They currently perform as the duo Jesse and Noah, which has found success in the state of Texas. Their single "Daddy's Got A Shotgun" made it on the Texas Music Chart's Top 50 of 2006.
Nashville TN |
Keith Anderson could be the poster child for the notion that good things happen to good people. He's quickly earned the reputation of being an adept writer of award nominated hits, not just for his own projects but for other artists as well and his good guy persona is as widely known as his high energy, let's-get-this-party-started live shows. The release of his sophomore album C'MON! finds Anderson, the Grammy-nominated songwriter, in fine form. He co-wrote 10 of the disc's 11 tracks, pairing with some of Nashville's top tunesmiths including Rivers Rutherford, Tim Nichols, Chuck Cannon, Vicky McGehee, Jeffrey Steele (also the disc's producer) and Bob DiPiero. "I wrote by myself for so long that it's fun to co-write," the Oklahoma native says. "I'm just such a social person that I love people and working together with them. Different co-writers have different strengths and I think you tend to tuck away certain ideas for certain co-writers."
It is a Nashville legend that Connie's first record, the aching and unforgettable "Once a Day," written by Bill Anderson and recorded on July 16, 1964 when she was just 23, became one of the most celebrated singles in country music history—the first debut single by a female country singer to go to Number One, a position it held for eight weeks. Forty-seven years later it is still the only first single ever to have done that. When Connie sang "Once A Day" in the all-star B-movie musical Second Fiddle to a Steel Guitar the following year, she was introduced on-screen as "The Cinderella of Country Music." "Once A Day," and her stunning rendition of "How Great Thou Art" remain the two most requested songs by her fans to this day. Connie's memorable string of hits would include "You and Your Sweet Love" "If It Ain't Love" "Where Is My Castle?" "Run Away Little Tears" "Just One Time" and "I Never Once Stopped Loving You." The passion for singing and for the songs, and the singular vocal precision in delivering them that marked those standards-to-be are fully on display in this return to recording. "If you add up all the songs on this album," Ms. Smith says, "it would add up to my personality. It's me talking again, after so many years, with a message no different than I've always had. It's just that I love you, and I want that love to come back." It's bound to.