Showing posts with label Rascal Flatts. Show all posts
Showing posts with label Rascal Flatts. Show all posts

Thursday, July 19, 2012

D. Vincent Williams @ the Bing Lounge--7-17-12

(Today's word will be in red and bold.)


You may not recognize the name, 'D. Vincent Williams'; however if you've been a country music fan for any length of time, you've probably heard his songs.

For example, "I'm Movin' On" by Rascal Flatts:
Or, James Otto's "Just Got Started Lovin' You".
How about "Hands of a Working Man", by Ty Herndon?

D. Vincent Williams had a hand in writing all of these hits, as well as many others, for various country artists.

The evening of July 17, 2012, Williams performed at least part of the above songs, plus others, for the crowd gathered at the Bing Lounge. Even before the show began though, Williams could be found wandering amongst those in attendance. While the audience dined on catered food, Williams made the rounds, introducing himself to each guest; asking names and answering any questions people had.

One person asked what the "D" in his name stood for.  I didn't catch the whole conversation, though I did hear that "Vincent" was in tribute to some of his family members.  The "D" is for David, which is his first name.

When it was time to start the show, Williams and his band were already onstage and ready to go, instead of waiting in the green room to be introduced.  The show itself seemed to be a continuation of what had been going on earlier; with great music thrown into the mix.

To say the least, Williams, (and his band, for that matter), is very warm and personable.  Almost from the start it felt as though Williams had been a long-time friend.  He talked, joked, and told stories like he'd known everyone there his whole life.  As he told the audience at one point, he and the band like to have fun; they check their attitudes at the door.

If song writing weren't enough, Williams is a singer as well; which is why he was at the Bing Lounge.  After landing a record deal almost immediately after hitting Nashville, he saw the deal fall through, and turned to songwriting instead.  The same thing happened to Williams again a few years later, and he stuck with songwriting after that, until Keith Steagall convinced him to record his own music.  Steagall is known for working with some of Nashville's best artists, most notably Alan Jackson.

During his Bing Lounge performance, Williams showcased the vast variety of music he writes and performs regularly.  As he explained, he wanted his album to show all sides of him.  He wanted each song to be able to stand alone, yet mesh together to make a strong album from start to finish.  From the performance given, it's safe to say Williams has achieved, if not exceeded, his goal.  As one person said, every song Williams did was a winner; there wasn't one song the person would skip on Williams' new CD.

Though Williams is classified as a country musician, he definitely isn't just a country singer.  His songs are tinged with a bit of everything from pop to rhythm and blues; still staying true to the country genre.  After a particularly soulful number, KUPL's Danny Dwyer told Williams it was like listening to a mix of Marvin Gaye and Ray Charles.Yet another audience member was reminded of the Charlie Daniels Band while listening to another Williams tune. I found these diverse comparisons interesting, especially since *I* heard a mix of two other artists; The Zac Brown Band and Phil Vassar.  Especially Phil, when Williams was playing keyboards.  Yet, even with the comparisons, Williams' writing and singing are strong enough to give him his own unique style and sound. 

D. Vincent Williams' single that will be released to radio later this month is called, "Down By the River".  As with the other tunes, Williams explained how the song came to be written.  In addition, he was telling how he wants to have a song that's a classic, like Alabama's "Mountain Music", or "Fishin' in the Dark" by the Nitty Gritty Dirt Band.  He wants to be one of those artists who has a song that's still popular 25 years, or more, from now.  I'm thinking his dream might come true from the sounds of "Down By the River". 

Of all the shows at the Bing Lounge in the last two years, D. Vincent Williams' performance was definitely one of the best ever.  If this man comes anywhere near where you are, go see him, you won't be disappointed!







Sunday, April 15, 2012

REVIEW--Lionel Richie--"Tuskegee"


Knowing that reviews are usually skewed, owing to the opinions of the person doing the reviewing, I'll put this out first thing:  I'd forgotten how much I love Lionel Richie's music!

With that said, it's kind of a given that those who've liked Richie's music in the past, will like "Tuskegee".  After all, Richie's latest contribution is made up of thirteen of his biggest hits from the past.

Not that "Tuskegee" is a "Greatest Hits", or "tribute" CD; it's more a combination of the two.

On the greatest hits side, you have Lionel Richie singing, what else, his greatest hits.

While most tribute albums have other artists performing someone else's hits, the "tribute" part of this CD actually pairs country artists with Richie, putting a new spin on his classic hits.

Sometimes these things can be disasterous; "Tuskegee" though is a definite winner!  As an example, I'm not a big Rascal Flatts fan; however, one of my favorite tracks is the duet of "Dancing on the Ceiling", they do with Lionel.

Even one of the less stellar duets, "Hello", (done with Sugarland's Jennifer Nettles), is still good; it just doesn't shine as brightly as other tracks.  Funny thing is, "Hello" is over all one of my favorite Lionel Richie tunes.

Again, if you aren't a Lionel Richie fan, you may not like his latest offering.  Those who are though should be very happy with "Tuskegee".

Tuesday, April 10, 2012

Guess Who?--Part 2

(Today's word will be in ALL CAPS, BOLD, ITALIC, and STRIKETHROUGH.)




One of my earliest posts was about how some newer country artists sound similar to other, established country singers: http://kuplramblings.blogspot.com/2011/06/guess-who.html

Since that post, I've realized that I left out an obvious pairing of similarities, (to me at least), a new artist to add to the list, and a country singer I didn't think sounded like someone, until it was brought to my attention.

The artist I left off the previous list is Justin Moore. From the first time I heard Moore's music, I've thought he sounds like Blake Shelton.

Recently I was able to hear Moore and Shelton duet, live in concert, and to me, they're totally similar in sound. I'm sure there are those who will disagree; as I said, it's just what I hear when I hear both voices.

The first time I heard Hunter Hayes' "Storm Warning", I thought it was a new Rascal Flatts tune. Took me a few times of hearing it, to remember it's not Gary LeVox.

Though I haven't heard any other cuts from Hunter Hayes' debut CD, others have told me not all the songs sound like the Flatts boys.

I've always thought Eric Church had his own style of singing; until his latest single, "Springsteen". Even then, until I heard Earthquake Jake mention it on "Simon in the Morning", I didn't notice how much Church sounds like Willie Nelson on this song.

Even then I wondered if maybe I heard it because it was suggested that Church sounds like Willie. Then one day I heard the song on the radio, and had a moment where I couldn't remember the song. Eric really did sound like Willie Nelson!

If/when I come across any other country artists who sound alike, I'll add them to this growing list. I hope you find these match-ups as FUN and interesting as I do.

Monday, April 2, 2012

47th Annual ACM Awards


Watching the Academy of Country Music Awards Sunday, April 1, 2012 may have seemed like a bit of an April Fool's joke to some.

For one, there are actually 35 awards handed out, from awards to radio stations, and air personalities, to Entertainer of the Year. However, of these 35 awards, how many actually made it on to the three hour broadcast Sunday evening? Nine, yes, that's a single digit, nine; less then a third of the awards presented actually were broadcast on the air.

The rest of the broadcast was made up of performances, between artists at the MGM Grand in Las Vegas, and others at the "Fan Jam" at Mandalay Bay.

Granted, performances are definitely a large part of what draws viewers to these type of shows. I guess it's just me that feels, if it's an *awards* show, the awards should actually be what's featured the most.

Also, I won't deny that I love all genres of music, and I'm as big a KISS fan as anyone; but seriously, what was the point of them being at the ACM Awards? Had there been some legitimate reason given, (other than they're KISS), maybe I'd understand; there wasn't though, so I'm still left wondering. It was cool, but still...

Hosting duties were once again handled by Reba McEntire and Blake Shelton. Both did an excellent job as hosts, despite some of the lame jokes they were given to say.

Two performances that were hyped quite a bit were by Toby Keith and Rascal Flatts.

Toby's live performance of "Red Solo Cup" was touted as having "Las Vegas entertainers", joining the singer singing the song. While Toby wandered through the audience at the MGM Grand, singing his hit, the only entertainers I saw were Carrot Top, Wayne Newton, a show girl and towards the end of the song, the Warren Brothers.

Except for Wayne Newton, where were the "Las Vegas" entertainers? It's not like there aren't plenty of them! And as Earthquake Jake pointed out on KUPL this morning, it would have been really cool if Garth had been part of the performance; after all, he does perform in Vegas now.

Rascal Flatts' performance of their new single, "Banjo" was to feature comedian and grammy winner, Steve Martin, performing with the band. Well, Steve was there, and he played the banjo; but that was it. He stayed in the background, barely moved at all, and basically just blended in with the other musicians.

I would think, if you're going to plug Steve Martin as a guest performer, he'd have been given a bigger role. Especially since another banjo player with the band had a featured solo spot. Why wasn't Martin given that spot?

Both of these presentations were very lackluster in producing what had been promised.

On the other hand, one really cool presentation was when Martina McBride and Train's Pat Monahan sang "Marry Me" while a couple was actually being married on stage behind them. Not a way I'd want to be married, but for a Vegas wedding, it was pretty nice.

As far as the actual awards are concerned, for me, there were a couple nice surprises, along with some of the obvious winners for the night.

Though they were surprised with the award the night before the show, I was happy to hear that Thompson Square had won for "Vocal Duo of the Year".

Another pleasant surprise was the Eli Young Band winning, "Song of the Year", for "Crazy Girl". Love the song, and the band!

The 2012 ACM Awards actually added a new award to their list, the first new addition since the 1960's; "Songwriter of the Year".

Sounds prestigious, for sure, and you would think, being a new award, it would have been on the broadcast part of the show; not the case.

Not only was the award not broadcast, it was relegated to one of the awards that the winner is notified ahead of time, so they can be in Las Vegas, or not, if they didn't win.

Of this year's inaugural nominees: Rhett Akins, Ben Hayslip, Dallas Davidson, (the three are known collectively as "The Peach Pickers"), Luke Laird, and David Lee Murphy; Dallas Davidson walked away with the award.

One thing I did notice this year also was that, except for Thompson Square getting a brief mention for winning "Duo of the Year", the off camera awards weren't announced during the show.

In the past, though they're given out before the broadcast, artists, producers, radio stations, air personalities, etc., were all at least mentioned during the broadcast as having won.

Over all, the show was mostly entertaining. It had it's good moments, and it's not so good ones; and things I'd like to have seen done differently, for sure.

For those who missed the show Sunday evening, here's the complete list of winners, including those that weren't aired during the three hour broadcast:

Vocal Event of the Year: “Don’t You Wanna Stay” by Kelly Clarkson and Jason Aldean

Video of the Year: “Red Solo Cup” by Toby Keith

Songwriter of the Year: Dallas Davidson

Song of the Year: “Crazy Girl” by the Eli Young Band

Single Record of the Year: “Don’t You Wanna Stay” by Kelly Clarkson and Jason Aldean

Album of the Year: “Four the Record” by Miranda Lambert

New Artist of the Year: (American Idol winner) Scotty McCreery

Vocal Group of the Year: Lady Antebellum

Vocal Duo of the Year: Thompson Square

Female Vocalist of the Year: Miranda Lambert

Male Vocalist of the Year: Blake Shelton

Entertainer of the Year: Taylor Swift


Small Market Radio On-Air Personality of the Year: Bill Barrett, Tim Fox, and Tracy Berry from KKNU-FM in Eugene, OR

Medium Market Radio On-Air Personality of the Year: Roger, Tom, and Melissa on WPCV-FM in Lakeland, FL

Large Market Radio On-Air Personality of the Year: Big Dave and Chelsie from WUBE-FM in Cincinnati, OH

Major Market Radio On-Air Personality of the Year: Kelly Ford and Rider from KYGO-FM in Denver, CO

National Radio On-Air Personality of the Year: Lon Helton for the CMT Country Countdown USA

Small Market Radio Station of the Year: WUSY-FM in Chattanooga, TN

Medium Market Radio Station of the Year: KATM-FM in Stockton, CA

Large Market Radio Station of the Year: WQDR-FM in Raleigh, NC

Major Market Radio Station of the Year: WQYK-FM in St. Petersburg, FL

Specialty Instrumentalist of the Year: Aubrey Haynie

Steel Guitar Player of the Year: Paul Franklin

Piano and Keyboard Player of the Year: John Hobbs

Guitar Player of the Year: Kenny Greenberg

Fiddle Player of the Year: Stuart Duncan

Percussionist and Drummer of the Year: Shannon Forrest

Bass Player of the Year: Michael Rhodes

Audio Engineer of the Year: Justin Niebank

Producer of the Year: Frank Liddell

Promoter of the Year: Brian O’Connell from Live Nation

Talent Buyer of the Year: Jimmy Jay from Jayson Productions Inc.

Venue of the Year: Bridgestone Arena in Nashville, TN

Nightclub of the Year: Billy Bobb’s Texas in Ft. Worth, TX

Casino of the Year: Mandalay Bay Hotel and Casino in Las Vegas, NV

Wednesday, April 20, 2011

Simon in the Morning-4-19-11--Favorite Tim McGraw Songs

Yesterday's “Simon in the Morning” show reminded me just how much I sometimes see things differently than the rest of the world.

Listeners were asked to either call KUPL, or post on the “Simon in the Morning” Facebook page, their favorite Tim McGraw song.  Near the end of the show, the votes were tallied and a list of the top 5 Tim McGraw songs was compiled.

When I heard the #1 listener voted song, “Live Like You Were Dying”, I realized I wouldn’t have chosen that song; it wouldn’t have even crossed my mind.  For as sentimental and caring as I am, for some reason I tend to shy away from songs like this one.  I have no idea why. 

It got me to thinking of other songs that were big hits that I just didn’t understand how it could be.  
The first song I thought of was “Amazed” by Lonestar, which was a huge hit.  To me, it’s okay, though their cover of Marc Cohen’s “Walkin’ in Memphis” is a song I like much better.  Also, Lonestar had a minor hit with the song “Mountains”; another song I like even more than “Amazed”.

Then there’s the late Chris LeDoux.  In my opinion, just about everything Chris recorded is underrated. This point is emphasized by the song, “Life is a Highway”.  Most people know the Rascal Flatts version from the movie “Cars”.  However, Chris had a minor hit with the song well before Rascal  Flatts recorded it.  Though the Flatts’ version is good, I still like Chris’ better.


Of course, before Chris LeDoux, the writer of “Life is a Highway", Tom Cochrane had a minor hit with it in 1991.  No offense to Tom, but I really don’t like his version at all. 


Even when it comes to my all-time favorite country artist, David Lee Murphy, I have to be honest…I’ve never quite understood how “Dust on the Bottle" became a #1 hit; yet “Party Crowd” and “Loco” didn’t.  “Dust on the Bottle” just isn’t one of my favorite DLM songs, while I love both “Party Crowd” and “Loco”.

I could ramble on and on about any number of songs I like; and how most of them are ones others probably wouldn’t choose to be a hit.  I’ll end this for now though, secure in the knowledge that the tuba player I follow is still within my sight.  :)