18 January 2022

GRAMMY's

GRAMMY Awards rescheduled to April 3rd

The 64th Annual GRAMMY Awards® have been rescheduled and will now broadcast live from the MGM Grand Garden Arena in Las Vegas on Sun, April 3 (8-11:30 p.m., live ET/5-8:30 p.m., live PT) on the CBS Television Network and will be available to stream live and on demand on Paramount+. Trevor Noah, Comedy Central’s Emmy® Award-winning “The Daily Show” host and comedian, will return as master of ceremonies for Music’s Biggest Night®. The show moved from its original date of Jan. 31 amid growing concerns surrounding the Omicron variant. News of the rescheduled date was initially shared via a joint announcement from the Recording Academy®, CBS and CMT, as the CMT Awards will move from its originally scheduled date of Sunday, April 3 to a later date in April. Additional details about the dates and locations of other official GRAMMY® Week events, including the GRAMMY Awards Premiere Ceremony®, MusiCares® Person of the Year and the Pre-GRAMMY® Gala will be announced soon. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Country music mourns the loss of three industry greats

Nashville is mourning the loss of three industry greats over the past weekend, songwriter, Dallas Frazier, acclaimed TV host and on air radio personality, Ralph Emery and country and pop record producer, songwriter, and musician, Jerry Crutchfield.One of country’s most enduring songwriters and Nashville Songwriters Hall of Fame member, Dallas Frazier, passed away at age 82. Frazier’s songs hit the charts with “Elvira” which was a tremendous crossover smash for the Oak Ridge Boys, while Emmylou Harris topped the charts with “Beneath Still Waters,” became one of Nashville’s most sought-after writers, composing hits for Elvis Presley, Moe Bandy, Roy Head, Rodney Crowell, Connie Smith and so many more. “A major loss that will be felt for a long time. It is hard to imagine never hearing a new “Dallas Frazier song,” delivered as it should be and sung by Connie Smith. That team was pure magic.”–Jeannie SeelyThe legendary, Walter Ralph Emery, was a Country music disc jockey and television host from Nashville. He gained national fame hosting the syndicated television music series, Pop Goes the Country (1974 – 1980), Nashville Alive (1981-1982), and Nashville Now (1983-1993). Recognized nationally as “the dean of country music broadcasters,” Ralph Emery was a pioneer in the country radio on air personality world. “When I was an 11-year-old disc jockey in Luverne, Alabama, Ralph Emery was a hero. Our radio station carried his daily syndicated radio show, and it wasn’t hard to sell sponsorships. I was honored to cohost the Mel Tillis Memorial at the Ryman with Ralph in 2018.”–Bobby TomberlinJerry Crutchfield, best known as a hit producer and Nashville music publishing and record company titan who had a hand in signing and developing such top Music Row writers as Dave Loggins, Don Schlitz, Gary Burr and Mark Nesler. Notable albums produced by Crutchfield that obtained gold, platinum, and multi-platinum status include those by Lee Greenwood, Tanya Tucker, Chris LeDoux, Tracy Byrd, and Lisa Brokop. He also produced artists such as Anne Murray, Dottie West, Tammy Wynette, Glen Campbell, Brenda Lee, Buck Owens, Jake Hess, Larry Gatlin, The Gatlin Brothers and Mylon LeFevre. He was also known for producing the No. 1 pop hit, “Please Come to Boston” recorded by Dave Loggins. He was also a very successful songwriter, and musician who recorded for RCA Victor Records with vocal group The Country Gentlemen, later known as The Escorts. “A well-crafted recorded composition belongs to the producer as much as it does an artist, and there were a lot of artists that shared victories with Jerry Crutchfield. He wore many hats in the industry, and it’s insane to think of all the hits that wouldn’t be without him.”–Zacharia Malachi“We have lost three icons of the Nashville music community. They don’t make them like that anymore. They changed the face of music in their unique way. And what they created still reverberates throughout music city.”–Kent Blazy

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Review: ‘Where Phones Don’t Work’ – Wade Bowen

Bowen’s latest six-track EP, ‘Where Phones Don’t Work’ is one of the most underrated records to come out of 2021. To our ears, it is one of the most heartfelt and raw collections we heard last year and a really strong EP from the Texas-raised country star. His raspy vocals are full of honesty as he delivers songs about love and his home-state. From the catchy ‘Where We Call Home’ to the melodic hooks of ‘When Love Comes Around’ it’s sure to have your foot tapping along before the record is finished. My favourite track is ‘The Last Town In Texas’, the lovesick song with it’s swooning pedal steel tugs at the heartstrings. Bowen teams up with some esteemed writers to deliver this record, the likes of Eric Paslay, Rhett Akins and Steve Earle all make their mark on this brilliant record that is full of uplifting tunes derived from Bowen’s period of reflection over the last year or so during the pandemic. A mention must be given to producer Paul Moak who has helped to bring these songs to life and capture the passion Bowen first crafted them with. 

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Review: ‘Tiera’ – Tiera

Over the last decade or more we’ve seen a lot of cross-genre country stars rising through the ranks as the charts lean towards a more pop country sound. However, Tiera’s style is unique, as she blends her R&B influences with her country roots. Her self-titled EP is up-beat and care-free for the most part as she draws on her relationship with her boyfriend (now husband) for lyrical inspiration. There is a shimmer to her vocals as she opens with ‘Found It In You’ with it’s catchy, rhythmic melodies, it’s faint banjo buried in the slick production. ‘Miles’ is a stand out track, it features Breland, the pair’s musical styles are very similar and their voices go well together. ‘Not Your Girl’ is an empowering song, it’s lyrics reminding the listener to be themselves. It’s an EP that’s bound to put a smile on your face. Cameron Bedell has helped Tiera find her niche with the production too, her style unique and refreshing in the country music landscape. With a voice like hers and a passion and knowledge (as displayed on her Apple music show) she has the scope to explore with her sound but I think what she’s doing right now is just perfect. 

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Callista Clark

Review: ‘Real to Me’ – Callista Clark

Callista Clark is one of the brightest stars shining out in Nashville right now. At only 18 years old her voice is as powerful as label mate’s Carly Pearce, she can play an array of instruments and is writing with some of the best writers in music city. Her first offering introduces us to the young firecracker, who has a lot to say for someone so young. From the heartbreak of ‘Don’t Need It Anymore’ to the attitude and sassiness of ‘Change My Mind’ the emotion in her voice is audible and believable as she delivers every word with power and gusto. The stand out track is single, ‘It’s Cause I Am’, the foot-tapping production frames her voice well, the bass line and drums driving it along. Her falsetto at the end of each line in the chorus adds a new dimension and is a hook in itself. Overall, it’s a brilliant start to life as a country singer, she has the real makings of a future star. Her vocals are to be marvelled at and the partnership of Clark and producer Nathan Chapman is a match made in musical heaven. On the whole, it’s a catchy and fun collection with some real gems amongst the lyrics. I look forward to hearing more. 

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Review: ‘Lighten Up’ – Erin Rae

Erin Rae is one of the most promising artists on the Americana scene right now. Three years ago she released her critically acclaimed debut album, ‘Putting On Airs’ which earned her a nomination for Emerging Act Of The Year at the Americana Awards in 2019. Now, she returns with the intimate and honest sophomore album, ‘Lighten Up’. The record opens with ‘Candy + Curry’, her whimsical and whispy vocals taking centre stage. As Rae says herself, it is sonically surprising. My favourite track on the record is ‘Drift Away’, lyrically much of the record has a focus on being present, enjoying the here and now and this track epitomizes that and reassures ones anxieties. Her vocals are at their very finest on this track. Production wise, the record is solid too, each arrangement carefully crafted to suit the lyrical themes and Rae’s vocals. Another highlight is the lead single from the album, ‘Modern Woman’. It’s a song celebrating womanhood, the upbeat, toe-tappingly good track is backed by swirling pedal steel guitars in the chorus as she sings “Round up the old perceptions”. It’s a catchy and empowering tune. To summarise, Erin Rae’s sophomore album capitalises on the inroads she made with her debut and solidifies her status as one of the most captivating Americana artists out there today. 

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Review: ‘Shining in the Half Light’ – Elles Bailey

Elles Bailey is nominated for UK Americana Artist of the Year at this years award ceremony and with her latest offering you can understand why. Straddling both the Blues and Americana worlds, Bailey is an innovative artist and true entertainer who crafts songs that are bound to capture your heart. The cohesive, sparkling light of the new album is the addition of gospel style backing vocals that allow her songs to explore new heights. From the opening track, ‘Cheats And Liars’ to the closing, title track, it is full of stellar songwriting. ‘Cheats And Liars’ introduces us to the sonic feel of the record, and it’s a powerful opening. There is an eeriness to the track, particularly in the chorus, the production is well thought out – purposeful – every note designed to complement the overall feel of the track. You can imagine this being a crowd pleaser at a festival, keeping the audience rooted to the spot. The standout track for me is ‘Sunshine City’ the slide guitar and Bailey’s vocal lines working well together, what sounds like a Hammond B3 a constant throughout keeps it rooted. The blues meets rock n roll on this track, Bailey’s strong vocals the cherry on top of the musical cake. Bailey’s previous work has been award winning and put her firmly on the map but despite this, this record lets her continue on the trajectory of her career and it may be her strongest to date. 

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Review: ‘All The Birds Sing’ – Adam Shoenfeld

Adam Shoenfeld has been one of Nashville’s most in-demand guitarists for some time now having played on 45 No. 1 songs and earning seven nominations at the Academy of Country Music awards for Guitar Player of the Year. He’s been band leader on every single Jason Aldean record and toured with Tim McGraw as well as writing songs for the likes of Faith Hill. So it comes as no surprise that his solo record, ‘All the Birds Sing’ is full of great songs, performed and produced excellently by Shoenfeld and his wife Katie Cook. It draws influence from the rock n roll music Shoenfeld grew up on and draws heavily upon personal experience. The title track is a real highlight, full of passion, it’s an empowering track with a rousing chorus whilst ‘Son’ begins as a simple piano ballad, with a beautiful lyric – a message to his son, reassuring him he can do anything he wants and that he’s proud of him. ‘Say A Word’ also shows that there is real weight to his words, it’s meaningful, poetic songwriting. Of course, the guitar work throughout is exemplary, but his vocals should also be applauded. He has found his voice and though he may be a busy man in the music industry, I hope he finds time to capitalise on this with a second record! 

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Review: ‘Cosmic Banjo’ – Michael Johnathon

What Johnathon does with the banjo is quite unique and entrancing; Cosmic Banjo is a celebration of that. His own take on the Pete Seeger’s picking style transcends the limits of the long neck banjo. The record is his 18th album and might well be his best to date. His vocals have often been likened to John Denver on past releases and you can see why with his melodic tones but the standout feature of this record is Johnathon’s arrangements. The production of the title track is haunting and inventive in equal measure, a sense of mystery and theatricality about it. The Baghdad Breakdown fuses Jonathan’s western style with the sound of the middle east in what may seem like a musical juxtaposition, the effect is that of tension and suspense throughout the track, a sense of adventure permeates. The live version of ‘How Can I Keep From Singing’ accompanied by a string quartet is full of sincerity and delicacy and is the highlight for me on this record. To conclude, this is a strong collection of songs from Johnathon, a brilliant yet surprising follow up to ‘The Painter’. 

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Review: ‘Things To Come’ – Jeremy Parsons

Jeremy Parsons draws influence from the sounds of his home-state, the Lone Star State. After spending several years in Nashville, he has returned to Texas and released a brilliant record that is gaining traction across the pond. Upon first listen it’s his vocals that jumps out at me, he has a beautiful tone to his voice. An acceptance coupled with a slight hint of positivity permeates the title track though wisdom prevails as he learns from the past, “Time is a healer and life must go on.” Honesty and refined lyricism is at the heart of this record. He’s a hardworking and talented musician whose career has been somewhat of a rollercoaster ride and that shows in his songwriting as he draws from the experience. Melodically, too, the album is strong, from the haunting, tear-jerker chorus of ‘Tragedy’ to the catchy, simplicity of ‘Good Ole Days’. Using traditional country instrumentation to great effect, with soaring slide guitar and brushes on the drums, the arrangement beautifully frames Parsons stories. It’s a record about growth and learning from past experiences, taking the useful memories with you as you push forward into the future. Very well written and beautifully delivered. 

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