| [an error occurred while processing this directive] |
| [an error occurred while processing this directive] |
 |
 |
| Title: | "SEVEN" |
| Artist: | "GARTH BROOKS" |
| Label: | Capital |
| Available: | Any Major Music Store |
| Reviewed by: | Kayla Christian |
| Rating: |  |
| "Seven" is a very different album for "Garth Brooks."
But that is what makes Garth so exceptional. You never know what he will
come up with next. His sister, Debbie, once remarked that when they are
performing the band members always had to keep an eye out for him. He was
always so spontaneous, they never knew what he would do next. This album
is a perfect example of his-spur-of-moment whims. Despite of all the success
of his other albums, Garth knows the future of "Seven" depends
on the music. The album has already hit one million copies in sales the
first week of its release, although that was a given, having his name on
it. There is a lot of personal stuff in here that says 'Garth' really loud
and obnoxious. It is rich in bluegrass gospel that is played with the hardest
guitar playing on any of his records. And to make it extra special there
is a beautiful Christmas song. The title "Seven" was chosen for many reasons. For one thing, Garth is in seventh heaven, and who wouldn't be with all the achievements, and awards, recently receiving Billboards "Artist Achievement Award." There are 14 songs on this album instead of the usually 10. This makes seven songs on each side of a cassette, the album is coming out in the seventh year of the decade, Garth's birthday is on the 7th (Feb), and, oddly enough, his name starts with the 7th letter of the alphabet. Looks like "Seven" is on a nice roll. The first cut on the album showcases the exceptional quality of Garth's voice. To hear him dip easily into that deep baritone voice and back out again, you can readily understand how Garth achieved such instant stardom. "Long Neck Bottle" is a honky-tonk song about drinking in a bar. Expressing the need to go home to his girl, but 'Long Neck Bottle/ let go of my hand'. Steve Warner not only wrote this song, but you will also get the gratification of hearing him play it on the guitar. "How Are You Ever Gonna Know" is a song that suggests you have to take risks. 'How are you ever gonna know/ if you never take a chance' and 'I guess love would not be love/ without a risk of being burned." The next song was inspired by a woman Garth saw who had a tan line where her wedding band used to be. "She's Gonna Make It," harmonized with Susan Ashton, is a beautiful ballad. After seven years of marriage, he wanted out. Seven months later (there's that seven again) she has picked herself up and gone on - 'has winds in her sails'. He realizes his mistake. 'She's gonna make it, he never will.' "I Don't Have To Wonder," written by Shawn Camp and Taylor Dunn, The choir consists of Trisha Yearwood, Susan Ashton, Vicki Hampton, Kathy Chiavola, Robert Bailey and Yvonne Hodges. It is the most gripping ballad on this album. It is so strong emotionally your heart can't help but cry out from the excruciating pain expressed in this song. To have a ring for the one you love, only to be turned down for another. Standing on a bridge, "Well, the angels sang like thunder/ As I felt myself go under/ Now I don't have to wonder anymore.' It is a very dark, very powerful song. For an joyous vision of the Caribbean, "Two Pina Coladas" puts a refreshing calypso beat to a drinking song, 'Let's set sails with Captain Morgan/and never leave dry land.' "Cowboy Cadillac" is a silly song about a car. Up-beat tempo that 'Every cowboy loves her/ Lord they all dream of her.' And "Fit For A King", a favorite of Garth's dad, is a great gospel cut. The Bluegrass Revival members Bela Fleck, Sam Bush, John Cowan and Pat Flynn really pour it on with Garth in the strong, "Do What You Gotta Do". This song focuses on the importance of doing the right thing when facing adversity. It is a highly motivating song, with Garth and the Bluegrass Revival teaming together, you can feel the strong support, lying on the table before you. When the chips are down, there is nothing as wonderful as having a special someone, who is there to give you love and support. The song "You Move Me" is an encouraging, touching, pick-me-up kind of song. 'Life is only therapy/Real expensive/And no guarantee/But you move me/You give me courage I didn't know I had.' A comforting thought, knowing someone is there to catch you, when you stumble. It had been over a year since we have heard a new song from Garth. If it wasn't for Trisha Yearwood and her collection hit package, "(Songbook) A Collection Of Hits" (featured in last month zine) it mmight have been longer. Along with her encouragement, they produced a beautiful duet call "In Another's Eyes". So richly blended are these two talents, you can feel the heartthrob of emotions through their combined expertise. Belonging to one but loving another, 'In another's eyes/ I'm afraid that I can't see/ this picture perfect portrait that they paint of me/They don't realize/And I pray they never do/cause every time I look/ I'm seeing you in another's eyes.' Here the heart takes a terrible beating for being in love with both. Country radio stations across the nation are thrilled that Garth is back on the air. Garth and Victoria Shaw ("The River, She's Every Woman") wrote "A Friend In Me". Garth was very happy to have her back as a writer on this project. For something different they wrote this song on the keyboard instead of the guitar. Both enjoyed putting this song together. It is not only a love song, but a friendship song as well. It can be a song between two buddies as well as a couple. A beautiful song that expresses the deep love for a friend. Other songs on this album includes "When There's No One Around" a song that expresses the need to have one's own space. 'A song that I sing when there's no one around.' "Take The Keys To My Heart," a fast tempo, up-beat song. 'Take these keys to my heart and drive me crazy.' This catchy tune will have your heart a-bouncin' while it 'drives it home.' And that last song motors us right into a very beautiful Christmas Song called "Belleau Wood." A very touching song of soldiers at war in WWI. On Christmas Day, the snowflakes fall in silence only to have the silence broken by a German soldier singing a song we all know well, "Silent Night." Across the frozen battlefield more voicesjoin in, 'Then the devil's clock struck midnight/And the skies lit up again/And the battlefield where heaven stood/Was blown to Hell again./The answer seemed so clear/Heaven is not beyond the clouds/but just beyond the fear.' A magnificent song for all mankind. "Seven" is a superb album richly produced by Allen Reynolds. Garth Brooks has done it again. |
 |
 |
| Title: | "COME ON OVER" |
| Artist: | "SHANIA TWAIN" |
| Label: | Mercury |
| Available: | Most Major Music Stores |
| Reviewed by: | Donn Jehs |
| Rating: |  |
| What Shania gives us here is an album full of 'guys do it songs.' Instead
of a leader in new directions she has become a follower down a path recently
well-traveled. That doesn't mean the songs are bad or the delivery less
than stellar, just that we've heard this theme a lot lately. From work woes
to going out on the town Shania hits nearly ever button normally pushed
by her male counterparts. The album opens with a light-hearted but lightweight romp "Man! I Feel Like A Woman!" reminiscent of Cyndi Lauper's "Girls Just Want To Have Fun" and gives little clue to the quality of the rest of the album. >From the opening 'kick it,' "I'm Holdin' On To Love" really gets the album rolling as the first in a trio of well written, vocally smart and musically satisfying songs. The pause in the chorus with the whispered 'kiss me' makes you sit up and take notice, wondering what surprise will come next. The staccato clapping in the chorus is a nice touch. "Love Gets Me Every Time" echoes the frequent plight of the bachelor who wants to be single but keeps falling in love. Guys are always telling their wives/girlfriends to 'trust them' and "Don't Be Stupid" is Shania's take on jealousy. The fiddle play across the vocals is a highlight. All three cuts are dance 'til you drop songs. The real pearl on this album is a stunning duet with Bryan White which is sure to be on the play list at every wedding "From This Moment On." Like "Butterfly Kisses" it has the power to appeal to lovers everywhere and should go right to the top of the charts if/when it is released as a single. The only problem is it immediately segues into the next cut which proceeds to tell us 'get a life - get a grip' and leaves you no time to savor the beauty of the song you just heard. The title song, "Come On Over," has already charted and is an invite every Shania fan wishes they could take her up on but they'll settle for the single. "When" is a pessimistic look on lost love done with tongue firmly planted in cheek. "Whatever You Do! Don't!" will ring a familiar bell with guys out there who have had a crush (the ladies too) and get tongue-tied and embarrassed around the object of their adoration especially if she (or he) turns their attention your way. I'm not sure whether it was intentional or not but "If You Wanna Touch Her, Ask!" seems to be a double entendre - especially when Shania makes 'ask' a two syllable word. "You're Still The One" has an offkey organ sound that grates and makes this cut sound whiny rather than the ballad the lyrics suggest. The next two cuts return to the 'girls can do it too' theme and the first, "Honey I'm Home," must be the omly country song to mention pantylines and PMS. "That Don't Impress Me Much" is the obverse of the 'American Princess' song - poking holes in that overinflated male ego. In a dramatic swing Shania takes up the subject of spouse abuse with "Black Eyes, Blue Tears" saying get out, 'I'd rather die standing/Than live on my knees/Begging please--no more.' And in another incredibly poor segue goes directly into "I Won't Leave You Lonely" a lovely ballad about holding on to each other. "Rock This Country" is another anthem type song and says a lot about the the crossover influence. Perhaps someday there will be a song called "Rock Isn't Country." It also has another of the clever wordplays involving a well known beer. The album closes with another ballad which expresses the whole effect of this album, "You've Got A Way" - with words/You get me smiling even when it hurts.' So when you visit the record store just look for Shania and "Come on Over" and buy the album. |
 |
 |
| Title: | "LABOR OF LOVE" |
| Artist: | "SAMMY KERSHAW" |
| Label: | Mercury |
| Available: | Most Major Music Stores |
| Reviewed by: | Kayla Christian |
| Rating: |
| 1991 was the start of the high road that Sammy Kershaw is now cruising
so diligently. A fresh, unique, and authentic powerhouse from southern Louisiana.
Multi-platinum albums later, "Labor Of Love", becomes his 6th
album. Sammy is now settling into a very comfortable country groove. Sammy opens with a fabulous song that could easily become one of his biggest hits. "Honky Tonk America" is a song about the hard-working Americans who gather at a favorite watering hole. When the weekend hits, they want to be able to get away and have a little fun, 'It's a blue collar place, a red blooded crowd.' The first verse will fill you with the distinctive, rich quality of his voice. He has an attractive sound that makes each song a pleasure. He captures and captivates the easy-going charm of a small town in "Shootin' The Bull (In An Old Cowtown)." The urge hits to leave the small town for the flashy glamour of the Big City, only to find how much of the small town was taken for granted and his yearning to return. "One Day Left To Live" is a song that reminds you 'to take nothing for granted, in a second it can all be gone'. You should live your life to the fullest, like each day is your last, for it might be. It can be taken away in a blink of an eye so don't be afraid to tell someone how you feel, you might not have the chance tomorrow. "Cotton Country Queen" has got that 'kickin' up your heels' vibration. It is that 'Don't Go Near The Water', chasing the frisky love of his life, sneaking around Momma and Daddy, feeling so good when you see her, just can't stay away from her no matter what, prettiest girl I ever did see, type song. Sammy also knows how to deliver a ballad with heartfelt emotion; just listen to the chilling litany of "Matches". It is hard for some to imagine that someone could break your heart so badly that you would actually burn the place down where you met. 'And you broke my trust, you took advantage of my heart and you left me here.' "Matches" is a dark, broken-hearted song. Sammy mentioned that "Labor Of Love" turned out to be the song that also describes his feelings about this album. 'Swing that hammer, beat that drum, work, work, work. It's the labor of love.' An all around fun song. "Thank God You're Gone" is written by Sammy and Mike Fornes (Sammy's driver). Many songs are out there with that jubilant attitude of, 'Yeah, she's gone!' Mike suggested to Sammy they turn it around so he's telling himself to thank God she isn't there to see him falling apart, 'Pickin' up the pieces of my shattered, broken heart.' Ten minutes after Mike's suggestion, "Thank God You're Gone" became a completed song. His Cajun roots are perceptible in the bouncy but climactically, sorrowful "Little Did I Know". It's followed by the smooth, caring love song "An Arm's Length Away". This song is about being around someone and being totally crazy about them. Wanting to hold, and caress them yet they don't even know you care. In your mind you're thinking 'For so long, I've longed to hold you, oh the nights I almost told you.' The next song takes you back into that kick-heels beat with "Roamin' Love", a 'you broke my heart, now that's love, you can come back' type song. Another song that Sammy wrote in 10 minutes. My favorite on this album and also a hit single is "Love Of My Life," a beautiful, sentimental love song. It would make any woman melt, to hear these precious words sung to her, 'You are the love of my life and you are the reason I am alive/Baby you don't have to say a word, I see it in your eyes.' Keith Stegall and Dan Hill penned this moving song. Sammy says, "If I had not lived this song years ago, I would be a dead man." Sammy's ability to ascend to dramatic emotional plateaus has been molded by the rocky road he has been down in his lifetime. Born in the heart of Cajun country listening to his mother's lullabies from Hank Williams's, instilling his lifelong affinity with music, he had a rough childhood. His father's tragic death when he was 11 years old, along with other tragic events in his life, have formed a man of intriguing complexity and an artist who has few peers. Sammy Kershaw has been there, done that, and lived to sing us the story. |
Back to Contents