Porter Wagoner - see artist discography

Jimmy Wakely - see artist discography

John C. Wakely "Country Son Of A Western Singer" (Shasta Records, 1968)

John Wakely "Please Don't Hurt Me Anymore" (Decca Records, 1969)
(Produced by Jimmy Wakely & Bill Robinson)
A fairly geefy solo album from John C. Wakely (1944-2001), son of singing cowboy Jimmy Wakely, who had released another album by Johnny the year before, and a few other in years to come. This stab at major label fame never really went anywhere, which wasn't too surprising since the music and the vocals are all fairly uninspired. A tame and overly tasteful mix of folk-pop and pop vocals, including some classic country covers, a couple of Jimmy Wakley oldies and a couple of tunes written by John C. himself. Nothing to write home about, though... The opening track, a cover of Terry Gilkyson's "The Cry Of The Wild Goose" holds more promise than the rest of the album delivered, perhaps because superpicker James Burton had a hand in the revamped, uptempo arrangement. I guess if you like singers such as John D. Loudermilk or Burl Ives, this might be worth checking out, but nothing really leapt out at me.

Billy Walker - see artist discography

Billy Joe Walker, Jr. "Painting Music" (MCA Records, 1989)

Billy Joe Walker, Jr. "Treehouse" (MCA Records, 1990)

Billy Joe Walker, Jr. "Universal Language" (MCA Records, 1990)

Billy Joe Walker, Jr. "Billy Joe Walker, Jr." (Liberty Records, 1992)

Billy Joe Walker, Jr. "Warm Front" (Liberty Records, 1993)
An unusual album by Nashville session guitarist/producer Walker... Mostly it's a set of heinously goopy soft-pop easy-listening instrumentals, but there are also a couple of sweet little songs, with guest vocalists J.D. Souther ("Looks Like It's Gonna Rain Today") and Nanci Griffith ("Moon Of The Misbegotten"), both of which are gooey enough that I would be super-embarrassed to have my friends catch me listening to them, but which are also kinda nice. Overall -- ugh -- what a sappy album, but Nanci fans in particular might like to check this one out.

Billy Joe Walker, Jr. "Life Is Good" (Liberty Records, 1995)

Charlie Walker - see artist discography

Clay Walker "Clay Walker" (Warner Nashville, 1993)
One of the early '90s "hat acts," Beaumont, Texas native Clay Walker may have shared a hometown in common with the great George Jones, but he certainly didn't have the same calibre of emotional range. Nevertheless, he struck gold on this debut disc, which had a pre-fab perkiness that fit right into the lightweight feel of the times -- a soft-toned country-rock voice, a danceable beat and an unimpressive batch of songs draped in upbeat, toe-tappy rhythms. It may be a bit mindless, nothing that really sticks to your ribs, but it's still enjoyable, and hopefully an indication to bigger, better things to come.

Clay Walker "If I Could Make A Living" (Warner Nashville, 1994)
Disappointingly bland and unsoulful. This is very by-the-numbers and unexciting. There's just no "there" there -- the songwriting is generally unimpressive and sketchy; the title track opens this album with a pleasant blast of novelty song fun (the issue at stake is whether he could make a living by getting paid to love "you..." If he could, he'd be a millionaire!) Sadly, though, the entire song just simply out to be the chorus; there are no clever verses to back it up, and while that and the melody were enough to take the song to the top of the charts, the lack of substance is still pretty telling. Nothing really sticks with you until you hit the Eagles-y "Heartache Highway," but by the time you get there, the album is almost over, and only "Lose Your Memory" stands between you and an easy dismissal of this sophomore effort. To his credit, Walker does sing this stuff well, but the album seems to have been slapped together with no particular thoughtfulness or eye towards making it even moderately memorable. It's a just cotton-candy fluff, lacking songcraft or conviction. Bummer.

Clay Walker "Hypnotize The Moon" (Warner Nashville, 1995)

Clay Walker "Rumor Has It" (Warner Nashville, 1997)
(Produced by James Stroud & Clay Walker)
The generic production generally falls flat; mostly the songs are blandly written as well. There are a couple of tunes on here that I thought were okay -- "I'd Say That's Right" and "Heart Over Head Over Heels," and maybe "Tonight I Need A Margarita" -- but not so much that I'd need to tape them, or even buy the album. It's just not a very interesting album.

Clay Walker "Greatest Hits" (Warner Nashville, 1998)
(Produced by James Stroud & Clay Walker)
This collection opts for his glossiest material, but even so, there are some pretty catchy tunes. Even with the awkward bridge and clunky key change, "Live Until I Die" is a catchy, irresistible tune, and there are a couple of other novelty songs on here that are okay. Considering all the songs that are in his catalog, though, this strikes me as a fairly wimpy best-of. It may be the big hits, but it's not the material I would have picked.

Clay Walker "Live Laugh Love" (Warner Nashville, 1999)
(Produced by Doug Johnson & Clay Walker)
Interesting. This is very formulaic, and very poppy, but it's also consistently well-written and engaging... At least the first third of the album is, then it slams into a total clunker ("If A Man Ain't Thinkin' 'Bout His Woman") and one of those awful tinkly-keyboard ballads, and briefly grinds to a halt. Then Walker seems to regain his footing, and while the rest of the album is kind of overproduced, it's still pretty listenable; "Chain Of Love," about the power of good Samaritanism, is a true cornball classic. One of Walkers better, and more consistent, efforts. Worth checking out.

Clay Walker "Say No More" (Warner Nashville, 2001)
(Produced by Byron Gallimore, Blake Mevis, Brent Mason & Clay Walker)
Yeesh!! Gigantic, synth-laden overproduction buries anything remotely resembling subtlety on this oceanic snoozefest. Between the cheesoid ballads and everything else sounding waaaaay too-smooth, this is a really un-involving album. "Easy To Hold" and "Texas Swing" are the only tracks on here worth paying attention to. Everything else is way too wimpy and popped-out. A big, big disappointment.

Clay Walker "Christmas" (Warner Nashville, 2002)
(Produced by Jim Ed Norman)
Yikes. A truly scary holiday album -- a big, big production with tons of brass and horns, a retro-riffic vocal chorus, and Walker, sounding a bit adrift, a minor player in an oversized schmaltzfest. I mean, he sounds okay, but not particularly distinctive. Wouldn't be my first choice to trim the tree to... (For more holiday music, see my Hillbilly Holiday section.)

Clay Walker "A Few Questions" (RCA Nashville, 2003)
(Produced by James Ritchey & Clay Walker)
I wasn't wild about the musical end of this album -- Walker and his production are both a bit thin -- but the lyrical content is quite striking. Although Walker only wrote a couple of the songs, this album has a very personal feel, and a sense of cohesion and depth that is all too rare in contemporary pop and country. It opens with the title track, which is one of those lofty efforts that I call "issue songs," a subgenre I don't generally care much for, as it seems opportunistic and contrived. However, on this track (which was also the album's lead single), Walker may surprise a few folks with his sincere questioning of our world's injustice and imbalances, not merely deploring when "bad things happening to good people," but also questioning the privlege and affluence he enjoys as a modern American. Even more surprising is that the album actually continues along in the same vein, for song after song. Walker returns to the issue of American materialism and spiritual drift on songs such as "Everybody Needs Love," the potentially controversial "Jesus Was A Country Boy" (where he sings, "I bet he never had a million dollars/or wore a lot of fancy clothes...") and, most effectively, on "This Is What Matters," where Walker encourages the world to turn off the cell phones and fax lines, and kick back with nature, family and friends for awhile. The album is dedicated, not surprisingly, to "the Good Lord," but Walker eschews the self-serving "told you so" smugness that many self-styled Christians drape themselves in, and actually seems to be searching for both answers and for a personal philosophy that will allow him to live life as a good, whole human being, one who is engaged with other people and with the world around him... He's not parading his religion, he's actually exploring his spiritual values, and it's an interesting effort, made all the more thought provoking for the highly commercial context. This isn't the greatest Nashville-style country I've ever heard, but it is a substantive, earnest album, notable amid an ocean of crass, cynical, individualistic self-involvement. Good for Clay!

Clay Walker "Fall" (Curb Records, 2007)
(Produced by Keith Stegall & Jim Ritchie)
Walker remains one of my favorite hat-act Top 40 dudes... Sure, he records plenty of those bombastic, lavishly produced power ballads, but since he kicks off this disc with a romping, rowdy novelty tune like " 'Fore She Was Mama" (about some kids who find a shoebox full of pictures taken when their mother was a wild'n'crazy hottie), all is forgiven. There are also the usual nods towards the little guy ("Average Joe," "Workin' Man") and the current Nashville obsession with tropical vacations ("Mexico"), but there are also surprises such as a duet with the late, great Freddy Fender ("Before The Next Teardrop Falls") and a sweet, sensitive-guy tribute to all that is plain and pure of heart ("It Ain't Pretty, But It's Beautiful") Walker's voice has heft, but not too much swagger, and personally, I prefer it that way. Nice to have him back in action.

Clay Walker "Greatest Hits" (Warner-Rhino Records, 2009)

Clay Walker "She Won't Be Lonely Long" (Curb Records, 2010)

Chris Ward "One Step Beyond" (Warner-Giant Records, 1996)
Unoriginal but inoffensive '90s country, with generic arrangements and derivative, rootsy, rumbling vocals. It's okay, but kinda uninspired. Didn't do very well on the charts, either, although in places he sounds about as good as many of the other junior-level hat acts of the time. He coulda been a contender.

Monte Warden "Monte Warden" (Watermelon Records, 1994)

Monte Warden "Here I Am" (Asylum Records, 1995)

Monte Warden "A Stranger To Me Now" (Asylum Records, 1999)
(Produced by Joe Thomas)
A super-slick roots-pop outing from a former member of the much-beloved Austin group, the Wagoneers, packed with lots of ringing, bright-toned guitars and a truckload of studio-produced harmony and vaguely Roy Orbison-y vocals. Honestly, this is just too smooth for me; it's in the same general range as the Mavericks or even the Smithereens, but somehow Warden lacks the oomph to make it all work. Oh, well. Then again, judging from reviews I've read elsewhere, plenty of other folks seem to love this album... so take what I say with a grain of salt.

Steve Wariner - see artist discography

Wayne Warner "Wayne Warner" (Madacy Records, 2002)

Wayne Warner "Doing Something Right" (B-Venturous Records, 2004)
(Produced by Troy Lancaster & Wayne Warner)
Even though he's a major fashion victim -- with a mascara-heavy sorta-boy-band look, matched with fake-ratty designer ripped jeans -- New Englander Wayne Warner has a refreshingly down-to-earth spin on the current commercial country sound. He's on the slick side, but doesn't delve into torturously overwritten psychological epics, ala Kenny Chesney or Tim McGraw, but prefers to keep it simple and melodic, with uptempo country-rock tunes, songs about broken hearts and an optimistic search for love. In many ways he reminds me of old Eddie Rabbitt and Eddy Raven (indeed, before I looked him up online, I thought from the sound of his voice and his phrasing that Warner was from Louisiana...) This is probably too slick for the indiebilly crowd and too plain for the new Nashville scene, but for country fans looking for something nice in between the two, this disc might fit the bill. Worth checking out if you're a commercial country fan with an adventurous streak. (POSTSCRIPT: Good Sport Of The Year Award: Not only that, but the guy also knows how to take a joke! Wayne Warner got wind of my review above, where I crack on his looks, and wrote to say this: "Hey Bud, I confess that I rarely read reviews done on "me" but yours was passed along to me. and I am glad it was. I love your style of writing and I thank you for the kind words. Additionally, We can consider my make up artist fired BUT - the very jeans for which you speak, have kept my Vermont butt warm since I was a teenager LOL. Your web-site is kool as well - you fill a great void - keep up the good work..." Now THAT'S a class act... (And don't I feel like a jerk now? Thanks for taking it on the chin Wayne, and best of luck! :-)

Wayne Warner "Turbo Twang'n" (CBUJ Records, 2006)

The Warren Brothers "A Beautiful Day In The Cold Cruel World" (BNA Records, 1998)
(Produced by Chris Farren)
Likeable, but markedly generic and mediocre country-pop, tilting slightly in a rootsy direction. I don't think the frequent comparisons to these siblings and the duo of Foster & Lloyd are at all merited: Foster & Lloyd had a strong, tangible creative spark, whereas the Warrens are just kind of getting along and making the most of what the Nashville studios have to offer. The basic sound is rock-ish, with super-clean guitars and enough pedal steel to attract traditional country fans, draped around a remarkably prominent, remarkably unfiltered drum kit. What's weakest about this album, though, is the songwriting, which is adequate at best, and the vocals, which are uniformly unimpressive. They might be aiming for that half-spoken, "just plain guys" sound that modern country dudes use to help stand out from the gigantic sound mixes... but these guys just don't have very good voices, and that tactic doesn't work well for them. Some songs are simply terrible, like "The Enemy," while others are just adequate and inoffensive; on the whole this is a pretty negligible effort.

The Warren Brothers "King Of Nothing" (BNA Records, 2000)
(Produced by Chris Farren, Brad & Brett Warren)
This time around they tried to beef up their sound with a tougher, more muscular production style -- some brash, roots-rocking power chord tunes, along with a few super-drippy ballads. In a way, I guess this is a better record than their debut, but not by much. It's funny, though, how they poke fun at the studio-based perfectionism of modern Nashville in the opening verse of "Move On": I guess you can say this for the Warrens, at least they're not too overtly a high-tech studio band, mostly their sound is guitar-based and uncomplicated. Still, this album didn't do much for me; in fact, I found it pretty irritating.

The Warren Brothers "Well-Deserved Obscurity" (429 Entertainment, 2004)

The Warren Brothers "Barely Famous: Hits" (BNA Records, 2005)

B.B. Watson "Light At The End Of The Tunnel" (BNA Records, 1991)
(Produced by Clyde Brooks)
A good ole' Texas boy who briefly straddled between the outlaw and commercial worlds, Bad Boy Watson had a nice hard country vibe, only slightly impeded by the Nashville studio sound. This is basically a fine barroom set, sorta like a 1990s Moe Bandy -- an authentic barroom balladeer who wasn't afraid to muss about a bit with commercial production. This disc includes several winners: "Lover Not A Fighter," a fine beer-drinkin' anthem, "Honkytonk The Town Tonight," the Hank, Sr. tribute, "Hank Drank," and his version of "Overnight Male," which has a lot more sizzle to it than George Strait's Top Ten hit of the following year. All in all, this is a disc worth tracking down and checking out.

B.B. Watson "Delta Dream" (SNA Records, 2001)
It was a mighty long time between his first album and his second, but the results are pretty similar. Watson's given himself a Delbert McClinton-style roadhouse makeover, and there are a couple of tunes on here that are too Southern rockin' for my taste, and a couple others that kinda drag on a bit. But there are also several true country treasures, such as "Little Rock And A Heart Ache" and "The Memory's The First Thing To Go," as well as the nostalgic "Opry Time," that make this another disc worth tracking down. As on his first album, a hefty chunk of these songs were written by Richard Fagan, a fella who's got a nice ear for the old-fashioned country sound. Recommended!

Gene Watson - see artist discography

Jimmy Wayne "Jimmy Wayne" (Dreamworks Records, 2003)
(Produced by Chris Lindsey & James Stroud)
Yawn. Overproduced, overly wordy, prettyboy country. Wayne has an okay voice, but he doesn't seem fully in control of his product, and has an unfortunate penchant for needlessly elaborate, pseudo-intellectual material, such as "True Friends," a song about two childhood friends who meet in jail -- one's a prison guard, and the others a convict -- and "Papers Angels," a shamelessly sentimentalized issue song about abducted children. Oh, and then there's also "I Love You This Much," a weeper about some guy trying to get close to his distant dad, complete with swelling string sections and gushing vocals. Yawn, again. Memo to Nashville: can we just agree to keep the made-for-Dr. Phil, sensitive-guy, psychobabble "issue" songs down to a minimum, at least from here on? Thanks.

Jimmy Wayne "Do You Believe Me Now" (Big Machine Records, 2008)
(Produced by Joe West & Dave Pohanish)
This is the second go-round for pop-country modernist Jimmy Wayne -- a few years back he cracked the Top Ten, but then his label folded up their Nashville office and took his career with them. Wayne makes his comeback in a big way here, with a chart-topping single (the album's title track) and a bunch of other guitar-heavy, made-for-radio romantic tunes. The production style is a bit too seamless and vast for my tastes, but Top 40 fans who like Keith Urban and Tim McGraw will probably dig it. Guitarist Joe West also produced this album, and he puts his electric power chords at the center of a shimmering, unrelenting, wall-of-sound mix, the kind of high-tech production style that immediately puts listeners on notice that this is a pop-oriented album, pure modern Nashville. Wayne breaks with recent tradition by largely skipping past the obligatory novelty-oriented, rowdy-guy honkytonk tunes, opting instead for a straight-up set of romantic ballads, aimed right at that thar big ole female demographic... Judging by the radio success so far, it seems to have hit the mark. Also includes "No Good For Me," a duet with Patty Loveless, who belts it out with the best of 'em.

Jimmy Wayne "Sara Smile" (Valory Music, 2009)

Jimmy Webb/Various Artists "Still Within The Sound Of My Voice" (E One Records, 2013)
A guest-fest hosted by songwriter Jimmy Webb, with appearances by Kris Kristofferson, Lyle Lovett and Keith Urban, as well as a slew of pop-rock stars such as Joe Cocker, David Crosby, Graham Nash, Carly Simon and Brian Wilson, as well as the band America.

Well Hungarians "Sorry 'Bout The Mess" (American Eagle Records, 2004)
I'm classing these guys in with the "commercial country" crowd -- despite the crass band name and a couple of funny, outlaw-ish novelty tunes -- simply because these guys are surprisingly slick and radio-friendly. Basically, it's a Southern rock-meets-soft country rock feel, reminiscent of the Marshall Tucker Band, but with a raunchier, guy-band edge. For the style, these guys ain't bad; I wouldn't be surprised to see them change the band name to something more salable, and maybe even re-release some of these tracks close to as-is... It's kind of a pity they've novelty-acted themselves into a corner straight out of the gate. Anyway, for a wannabee top-country band, these guys really have their act together, and I could easily imagine soft songs like "Sorry About The Mess," "Windfield Ferry" and "Getaway Car" getting airplay on radio someday... even if I prefer the alty-er numbers like "Rock 'N' Roll Singer," "She Ain't You" and "Why Can't We All Just Get Along." These guys are definitely worth keeping your eye on.

Kitty Wells - see artist discography

Paul David Wells "Sounds Good To Me" (Capitol Records, 1990)
(Produced by Billy Joe Walker, Jr.)
...I'm sure it does, Paul... But what about the rest of us?? Actually, this record ain't bad, but it is surprisingly ricketty-sounding for a mainstream, major-label country release. It took me a while to place the vocal likeness, and then finally it dawned on me: he sounds like Steve Goodman! But the thing about the late Mr. Goodman, a fragile-voiced folkie legend who passed away in 1984, was that Goodman was a really great songwriter, and had a sort of effortless charm. Wells, on the other hand, seems pretty effortful, and the strains in his work develop into open cracks and gaping fissures from song to song. His heart's in the right place, what with all the songs about working class dudes just trying to do right, and late night drinking down at the local tavern, but it doesn't quite hold together. Didn't make a dent in the charts, either, but that isn't too surprising. An interesting, redneckish throwback to the old 'Seventies hippiebilly sound that allowed golks to be a little rougher and raspier than country singers are now... Not sure why Capitol released it, though. Guess it's one of life's little mysteries.

Dottie West - see artist discography

Elbert West "Livin' The Life" (Broken Bow Records, 2000)
He looks like a big old dork, but he's got a nice rich, Joe Stampley-ish (slightly exaggerated) hick voice, and nice bouncy honkytonk arrangements, ala The Derailers.... Maybe it's a little too puffed up to be taken seriously in an indiebilly sense, but as far as roots-oriented commercial country goes, this is pretty good. Worth a spin.

Emily West "Emily West" (EP) (Capitol Nashville, 2007)
This 4-song EP is sort of a standard-issue Top 40 outing, in the Martina-esque, Shania-ish range. Relatively upbeat as well as lavishly produced. Not bad for the style.

Emily West "Emily West" (Capitol Nashville, 2010)

Emily West "I Hate You, I Love You" (EP) (Self-released, 2011)
Country-tinged adult-pop mood music, with more of a Bacharach-ish feel than her early work. This 6-song set still has some pedal steel and a twang in her voice when she wants to pull it out... But I guess she bailed on Nashville, or Nashville bailed on her, hence the indie release. Nashville is a tough town.

Shelly West - see artist discography

Western Flyer "Western Flyer" (Step One Records, 1994)

Western Flyer "Back In America" (Step One Records, 1996)

Billy Edd Wheeler -- see artist profile

Whiskey Falls "Whiskey Falls" (Midas Records/We Three Kings, 2007)
(Produced by Bill Brandt, Cliff Downes & Whiskey Falls)
The vocal harmony tradition of the Oak Ridge Boys, Alabama, Shenandoah, and the like is alive and well, within the Southern rock-tinged country-pop of Whiskey Falls... The twin shadows of Poco and The Eagles also hover over their music, which is appropriate, given the band's California origins. It's good news for fans of the classic country-rock style, too, since these guys mostly strike the right balance between twang and thunder... Their sweeter songs are best, particularly the single that opens the album, "Falling Into You," and "So Much Better," in the middle of the disc, although a few of their rowdy tunes turn out to be unfortunate nods towards the current trend of swaggering, faux-outlaw Southern rock, ala Montgomery Gentry, Van Zandt, et al. Whiskey Falls is clearly a band whose strengths lie in a softer approach, although their clunky power-chord anthems are more fun to listen to than many of the top country acts they're seeking to emulate. All in all, a promising debut: plenty here for a variety of commercial country fans to groove out on. Definitely worth checking out, if it sounds like your kinda country.

Bryan White "Bryan White" (Asylum Records, 1994)
(Produced by Kyle Lehning & Billy Joe Walker)
Prefab Top 40 stuff with a pretty-boy frontman. White's voice is okay on uptempo numbers; nothing special, but okay. On the slow, cloying ballads -- his specialty -- it sounds really, really irritating. Mostly this is way too wimpy and saccharine for me... Bleah. Who needs it? (Reality check: the songs "Rebecca Lynn" and "Someone Else's Star" both hit #1... Not bad for a debut album... even if both tunes make my skin crawl!)

Bryan White "Between Now And Forever" (Asylum Records, 1996)

Bryan White "The Right Place" (Asylum Records, 1997)

Bryan White "How Lucky I Am" (Asylum, 1999)
(Produced by Derek George, Dann Huff & Bryan White)
Lucky is right! Ye gods, this guy sucks. I just loathe his cloying, smarty-pants, whiny, Terrence Trent Darby-ish, wish-I-was-a-soul-singer vocals... Thank god producer Dann Huff was called in to inject a little life into a few tunes, otherwise, this would be one of the dullest albums ever produced. Actually, even with Huff on board, this is one of the dullest albums ever produced. Eminently skippable.

Bryan White "Dreaming Of Christmas" (Asylum Records, 1999)
(Produced by Derek George, Kyle Lehning, Billy Joe Walker & Bryan White)
A short, 6-song holiday EP which has some surprisingly good performances from this slick Top Country dude. The opening track, "I'll Be Home For Christmas," actually sounds like a country song(!), complete with pedal steel and geetars... Then he gets all Vegas-y and cute... His whispery, Michael Jackson-esque vocals are pretty darn irritating, if the truth be told. Still, if you like corny pop-Christmas records, this might have somethin' for ya... (For more holiday music, see my Country Christmas section.)

Bryan White "Greatest Hits" (Asylum Records, 2000)
Yeesh. Super-cheesy, super-sappy, wimp-o-rific power ballads that make John Meyer seem like the Incredible Hulk. I'm sure this guy was a big success, but this stuff is awful!

Joy Lynn White "Behind Midnight & Hindsight" (Columbia Records, 1992)
(Produced by Blake Chancey & Paul Worley)

Joy Lynn White "Wild Love" (Columbia Records, 1994)

Joy Lynn White "The Lucky Few" (Columbia Records, 1997)

Joy Lynn White "On Her Own: Demos 2002" (Thortch Records, 2005)

Joy Lynn White "One More Time" (Thortch Recordings, 2005)
(Produced by Kyle Lehning & Joy Lynn White)
It took me a while to warm up to this record... White's tactical retreat from would-be Top 40 success has left her sounding pretty snarly and rugged... So if you still groove out on old Lone Justice albums or early solo work by Maria McKee, this album's really gonna stir and excite you. White also has a surprising amount of Patti Smith in her and after a while that's what drew my attention, getting me past the roots-rock power chords and crunchy, bluesy guitar riffs (which, frankly, don't appeal to me that much...) and into the songs themselves. There's at least one real masterpiece on here, Phil Lee's soul-searing "Just Some Girl," which explores the "no humans involved" phenomenon, where anonymous young women wind up dead and unmourned, their deaths uninvestigated because the cops figure they were "just" prostitutes or whatever, and nobody's going to care that they're dead. Well, the song has a bit lighter touch than what I just wrote, but it touches on the same subject matter, and it packs a real wallop... It's also one of the most musically subtle songs, and as such highlights White's strengths much better than the louder, brasher songs that surround it. Similarly, "Girls With Apartments In Nashville" is a softer meditation on tough times trying to make it big in Music City... White also has fun with a chunky cover of Allan Toussaint's "A Certain Boy" (delivered with gusto with vocal assist from fellow alterna-chick Amy Rigby...) Even though this album is a little too abrasive for me, I'm sure many Americana lovers will dig it. Definitely worth checking out!

Lari White "Lead Me Not" (RCA Records, 1993)

Lari White "Wishes" (RCA Records, 1994)

Lari White "Don't Fence Me In" (RCA Records, 1996)

Lari White "The Best Of Lari White" (RCA Records, 1997)

Lari White "Stepping Stone" (Lyric Street Records, 1998)
(Produced by Dann Huff)
Yeesh. I can't say I'm wild about her voice (though at least she has some rough edges, which I'm always in favor of...) but the real problem here is the glitzy, over-baked, drum-machine-y prefab production. And the crappy songwriting. Ye gods. It'd probably be a little better, too, if every photo on the album didn't highlight her being all slinky and showing off her bod... It's all just so contrived, and poppy... and bad. Even though there are a few okay moment, you can skip this one. Worth noting: Toby Keith guests on one song ("Only God Could Stop Me From Loving You") and Wynona Judd took the song "Flies On The Butter" into the charts, several years after this disc came out. This really is quite bad, though.

Lari White "Green Eyed Soul" (Skinny White Girl Records, 2004)

Lari White "My First Affair" (Skinny White Girl, 2007)

Lari White "The Best Of Lari White" (RCA Records, 1997)

Michael White "Familiar Ground" (Reprise Records, 1992)

The Whites - see artist discography

Keith Whitley - see artist discography

Slim Whitman - see artist discography

Chuck Wicks "Starting Now" (RCA Records, 2009)

John & Audrey Wiggins "John & Audrey Wiggins" (Polygram Records, 1994)

John & Audrey Wiggins "The Dream" (Polygram Records, 1997)

The Wilburn Brothers - see artist discography

Wild Rose "Breakin' New Ground" (Universal Records, 1988)
(Produced by James Stroud)

Wild Rose "Straight And Narrow" (Capitol Records, 1991)
(Produced by James Stroud)

Wild Rose Band "Listen To Your Heart" (Capitol Records, 1991)
(Produced by Ed Seay, Paul Worley & Wild Rose)

Little David Wilkins "Little David Wilkins" (MCA Records, 1974) (LP)
(Produced by Owen Bradley)
Singer and pianist Little David Wilkins first made his mark as a songwriter in the late 1960s, but got his chance to break out as a solo artist, scoring a couple of Top 20 hits on his first two albums. Here on his debut, Wilkins kicks things off with an old-fashioned battle-of-the-sexes novelty song, "Not Tonight (I've Got A Headache)," then moves into some sort of Jerry Lee Lewis-ish material, some ballads and other, more country-sounding material. He bookends the album with a song that could be seen as a logical conclusion to the bullheaded sexism of "Not Tonight," a far more unsettling country tune called "You Can't Stop Me From Loving You," which is basically a stalker song seen from the point of view of an estranged and bitter ex-husband. Sometimes these kind of songs have a romantic feel but this one's just creepy: the first verse begins with him complaining about not being able to see his kids, or come into his old home and moves inexorably to the chorus, which has a distinctly threatening, defiant tone. It's possible this was on-purpose satire, but I doubt it... Anyway, the rest of the record has a much lighter tone, with almost all the songs being Wilkins originals. There are a couple of Conway Twitty-ish ballads and soul-style weepers, but he's best on the uptempo numbers, with the classic, bright MCA-Decca production style -- not the label's best album, but certainly worth a spin.

Little David Wilkins "King Of All The Taverns" (MCA Records, 1975) (LP)

Little David Wilkins "New Horizons" (Playboy Records, 1976) (LP)

Little David Wilkins "On The Road" (Little David Records) (LP)

Little David Wilkins "The Best Of" (Rockabilly Records)
A short, digital-only reissue of some of his stuff on MCA...

Diana Williams "Diana Williams" (Capitol Records, 1976)
(Produced by Bill Denny)
This is what I believe to be the only album by singer Diana Williams, who first made a few waves with her recitation-song, "Teddy Bear's Last Ride." Included here, this single was an answer to Red Sovine's "Teddy Bear," a weeper about a paraplegic child who talks to truckers on the CB radio, "Teddy Bear" was was a big hit earlier in '76, and this sequel was an attempt to piggyback on Sovine's success -- it was also kind of a downer: in "Last Ride," the little boy dies of a mysterious disease. (In a different sequel, "Little Joe,"recorded by Sovine himself, the kid is cured by some miracle and grows up to live a long life... So I guess the Williams song can be considered some sort of alternate reality version? Anyway, here's Ms. Williams.

Don Williams - see artist discography

Hank Williams - see artist discography

Hank Williams, Jr. - see artist discography

Holly Williams "The Ones We Never Knew" (Universal South Records, 2004)
(Produced by Monroe James & Holly Williams)

Holly Williams "Here With Me" (Mercury Nashville, 2009)
(Produced by Justin Niebank & Holly Williams)
A powerful set of confessional songs from the granddaughter of the great Hank Williams... Like her father (Hank, Jr.) Ms. Williams is perhaps not the most elegant or moving singer, but through sheer force of will, she imbues her songs with raw emotional power. Interestingly enough, the artists this most reminds me of are also second- and third-generation country singers, particularly Rosanne Cash and Carlene Carter, whose self-awareness of themselves as members of hard-country royalty must color their art in some similar way. This album is full of searing emotional portraits, songs of love yearned for and lost, as well as intensely adult, real-life topics such as the loss of a child (in "Without Jesus Here With Me") in which she describes the coming-together of her entire family to help cope with the tragedy, and the comfort she found from religion as well. This dovetails into a nice, soulful cover of Neil Young's "Birds," which takes the anguished feel of the first song, and brings it to a quiet close. This isn't an album full of hummable pop hooks, but it packs a wallop, nonetheless. If you like the adult-contemporary leanings of Mary-Chapin Carpenter, et al., or sometimes wonder what Gretchen Wilson might sound like when she mellowed and matured, then you might wanna check this record out.

Holly Williams "The Highway" (Georgiana Records, 2013)
(Produced by Charlie Peacock & Holly Williams)
The third album from Holly Williams, granddaughter of Hank Williams, Sr., a soulful artist who is comfortable with country touches, but has set out on her own creative path, separate from the honkytonk and top-country legacies of her dad and granddad. This album anchors Williams firmly in the confessional, post-folk "adult-alt" pop landscape, with contributions by Jackson Browne, Jakob Dylan and others (including producer Charlie Peacock of the band, The Civil Wars...) but there's enough twang floating around that it's not hard to imagine some success with Nashville radio as well. Several very powerful songs on here, particularly the heartbroken weeper, "Happy." If you like Shelby Lynne, Rosanne Cash or Aimee Mann, you might wanna check this out as well. This album includes guest appearances by Dierks Bentley, Jackson Browne, Jakob Dylan and Gwyneth Paltrow.

Jason D. Williams "Tore Up" (BMG-RCA Records, 1989)
(Produced by Roy Dee)
Piano pounder Williams is basically an unabashed Jerry Lee Lewis imitator, and a pretty good one at that. This is a slick but lively retro set, with Mark Wright, Richard Bennett and a bunch of other Nashville studio-scene usual suspects pitching in. It is what it is -- you could go either way on this one, though I suspect some folks will get into it. I had to pick this up because I noticed that Joe Diffie was singing in the chorus, as well as Donna Rhodes of RCR backup-singer fame. Plus, it only cost fifty cents in a bargain bin, so how could I resist? Worth a spin, if you're into it. Williams has several other albums, but this one has his only songs to hit the Country charts, "Where There's Smoke" and "Waitin' On Ice," which clocked in at #71 and #70, respectively.

Leona Williams - see artist discography

The Willis Brothers - see artist discography

Kelly Willis - see artist discography

Trent Willmon "Trent Willmon" (Columbia Records, 2004)
(Produced by Frank Rogers)
Another neo-trad hat dude from Texas, Trent Willmon is the kind of artist I want to like yet have to struggle against his limitations... He's good with the set-up on most of these tunes, singing in a plainspoken, down-home mumble that draws you in and makes you feel right at home, but in the clinch it turns out his vocal phrasing is weak, and on the more impassioned verses, he falls flat and is unconvincing. Of course, it may be the production that's really letting him down: several of these songs start out great, then slide into clumsy, hackneyed Nashville production, with plenty of big, overly-obvious key changes. Willmon has sort of a storyteller's gift, but he keeps getting shoved into a grandiose Clint Black-like romantic mode, and it doesn't always work that well, since he really can't do big things with his modest voice. Still, he's got an appealing presence and he writes most of his material, so I'd say he's a guy to keep your eyes on. This album did fine on the charts and most fans think of him as a "hard" country singer even with the cheesy production; it'd be interesting to see if he can trim out more of the commercial sounding moments next time around... if he does, I bet it'll be the real deal.

Trent Willmon "A Little More Livin' " (Columbia Records, 2006)

Trent Willmon "Broken In" (Compadre Records, 2008)

Larry Willoughby "Building Bridges" (Atlantic America Records, 1983) (LP)
(Produced by Rodney Crowell)
A slick but soulful, commercially-oriented album. Without knowing anything about this album, you can quickly hear the influence of producer Rodney Crowell, who apparently is Willoughby's cousin, which might explain Willoughby's very Rodney-esque vocals. It also doesn't hurt that so many musicians from the Emmylou Harris/Rodney Crowell sphere of influence are present on here: Rosanne Cash, Vince Gill, Emory Gordy and Hank DeVito, and Rodney himself singing harmony on a tune or two... It's practically a Hot Band reunion record. Plus, future superproducer James Stroud is sitting in on drums, while Tony Brown plays piano... that's a lot of neo-twang talent for one record. Most of the songs are Willoughby originals, along with a couple of nice tunes written (but not recorded) by Crowell ("Angel Eyes" and "Careless Love"). There are some production touches that are a little too early-'80s for me, particularly the synth-ish keyboards and the artificial-sounding drums, but there's an undercurrent of twang that redeems it all. Willoughby had success as a songwriter -- two of the songs on here were later made into Top Ten hits by other artists -- but sadly, this album tanked. Would have been nice if he'd gotten more opportunity to make his mark, but it seems like he was a few years early for this particular neo-trad style.

Mark Wills "Mark Wills" (Mercury Records, 1996)
(Produced by Carson Chamberlain & Keith Stegall)
Most of these Nashville pretty boys bolt out of the gates in a neo-trad, honkytonk mode, and then they get progressively more cheesy as time goes on, selling their souls on the alter of the queasy power ballad... Wills sort of reverses that process by starting off as a big old cheeseball, right up front. This is a pretty dreary debut, with even the "fun" uptempo numbers feeling irredeemably prefab, like the lesser efforts of Rodney Crowell or Marty Stuart... The ballads are terrible, though! Bleahh. (His trendy look: coiffed, silky mullet.)

Mark Wills "Wish You Were Here" (Mercury Records, 1998)
Amazingly, this is even more formulaic than his debut disc... also a little more interesting. It's super-slick, but he delivers okay on some of these songs, particularly on the somewhat fluffy "Emily Harper," which has a fun, harmony laden chorus. The hits were, predictably, soooper-cheesy sensitive-guy ballads, like "I Do," and several of the uptempo tunes sound like Bryan Adams or Bon Jovi rock tunes. The message-y single, "Don't Laugh At Me," is atrociously on-the-nose: I mean, give us break! So... it's a mixed bag, mostly pretty drekky, but possibly his most interesting record. (His trendy look: short-haired yuppie fashion plate, suitable for a GQ ad.)

Mark Wills "Permanently" (Mercury Records, 2000)
(Produced by Carson Chamberlain)
Since all the gooiest, most cloying ballads hit the charts on the last album, Wills went whole hog on this one, which is a soft-pop schmaltzfest galore, with a few pedal steel licks tacked on as window dressing. It's really, really awful, especially when those tacky electric guitar licks kick in. If you like, I dunno... Kenny Loggins or John Berry -- well, this one's for you! Didn't do so well in the charts, though, so there is some justice in the world! (Trendy look: ugly clean-cut goatee guy, but he's dressing down in jeans this time.)

Mark Wills "Loving Every Minute" (Mercury Records, 2001)
Wills gets both glitzier and grittier, opening with a synth-heavy barrage on the title track, and slapping a backbeat onto the next coupla tunes that gives him a chance to growl a little. The lyrics are abysmal, from the clunky message song, "In My Heaven," to the navel-gazing reflections of fame of "Back On Earth." If you detect a theme in those two songs, then wait'll you hear (or run in terror from...) "Universe." These cosmic musings are broken up by lame would-be common-man groovers like "I Hate Chicago," which is so jittery and forced, you actually end up wanting to hear him sing the schmaltzy stuff with the tacky, tinkly piano riffs instead. Grandiose, self-satisfied, pretentious and full of fluffy pablum... this is probably the most vacuous and least attractive of his albums, at least from a real country fan's perspective. Do yourself a favor: stay away from it. Pick up an old Alan Jackson album instead. (Fashion: he shaved, but it's still kind of a holding pattern.)

Mark Wills "And The Crowd Goes Wild" (Mercury Nashville, 2003)
Uh, jeez... I dunno. Seems pretty cheesy to me. This disc is front-loaded with tunes that seem to have been tested by on gender-balanced focus groups or something: "He's A Cowboy," which is a clumsy, wordy attempt to resuscitate country's hat-wearing past; numerous sappy power ballads, the inevitable vacation song about Mexico, etc. Wills tries to overcome the formulaic nature of his material by using an off-the-cuff, conversational singing style, but really it just helps underscore how weak and forced the songs really are. The one track I could find myself actually tapping my toes to and enjoying was "What She Sees In Me," which has a pretty good hook, both lyrically and musically. Otherwise, this was pretty irritating. (Trendy look: cutesy, precious, smiling yuppie dude, ala Dave Matthews... Is he sure he doesn't just wanna put out a Christian pop album, or something?)

Mark Wills "Live At Billy Bob's Texas" (Smith Music, 2005)

Mark Wills "Familiar Stranger" (Tenacity Records, 2008)

Mark Wills "2nd Time Around" (Tenacity Records, 2009)
Re-recorded versions of his old hits...

Mark Wills "Looking For America" (Gracie Productions, 2011)

Mark Wills "Greatest Hits" (Mercury Records, 2002)

Mark Wills "The Millennium Collection" (Mercury Records, 2004)

Mark Wills "The Definitive Collection" (Mercury Records, 2007)

Gretchen Wilson - see artist discography

Norro Wilson "Dedicated To Only You" (Smash Records, 1969) (LP)
(Produced by Jerry Kennedy)
It's kind of fun to hear folks best known as producers or arrangers trying their hand out as star performers... Norro Wilson became one of the best Nashville producers of the 1970s and '80s, but here he is early on, crooning some fine countrypolitan pop in sort of a Roy Orbison/Charlie Rich mode. He had a good robust voice, although the string-laden arrangements don't do much to help him out... I guess for the times, though, this was pretty mainstream. Still, he seems to drift into Robert Goulet territory a little too often -- I think of his own production style as being kind of twangy, and wish they'd given him a more country feel on this album. Guess next I'll have to track down his string of singles from the '70s, none of which have been gathered on an album... yet.

Stephanie Winslow "Crying" (Curb Records, 1980) (LP)

Stephanie Winslow "Dakota" (Warner Brothers, 1981) (LP)

The Winters Brothers Band "The Winters Brothers Band" (Atlantic/Atco Records, 1976) (LP)
(Produced by Joel "Taz" DiGregorio & Sam Whiteside)
Amiable, poppy Southern rock, very much in the style of the Marshall Tucker Band, softer-sounding than Skynyrd or the Allman Brothers, a little amateurish, but easy on the ears. Of course, these god ole boys, Dennis and Donnie Winters aren't to be confused with the electric blues bros, Johnny and Edgar Winter, although there is an interesting family connection to the music industry: they were apparently the sons of Nashville picker Don Winters, who spent several decades as the righthand man of country legend Marty Robbins. Don, Sr. sits in on these sessions, just singing some harmony, while Charlie Daniels plays fiddle on several songs. If you're into mellow '70s Southern rock, you'll want to give this one a whirl.

Drew Womack "Drew Womack" (Smith's Music, 2004)
A solo album from the former lead singer and main songwriter for the Sons Of The Desert...

Lee Ann Womack - see artist discography

Steve Woods & The Slingshot Band "Highway Bound" (Mercury Records, 1981) (LP)
(Produced by Larry Butler & Billy Sherrill)
A pretty dull album that never came close to the charts, although I'm not sure why -- it's not that different than other stuff that did well at the time. Sort of a Johnny Lee-meets-The Oak Ridge Boys vibe here, with uninspired though competent backing by a band that included fiddler/guitarist Steve Hill, a talented veteran of the Texas twang scene who later went on to work with Chris Hillman and the Desert Rose Band. This album's a dud, though, mostly because of the singer. My guess is once they had it in the can and realized it was a stiff, the label just 86-ed the promotions and let it die a quiet death. If you really, really are into the mellower end of the early '80s country sound, you could check this out, but there's certainly better stuff out there.

Sheb Wooley - see artist discography

Darryl Worley "Hard Rain Don't Last" (Dreamworks Records, 2000)
(Produced by Frank Rogers & James Stroud)

Darryl Worley "I Miss My Friend" (Dreamworks Records, 2002)
(Produced by Frank Rogers & James Stroud)

Darryl Worley "Have You Forgotten?" (Dreamworks Records, 2003)
(Produced by Frank Rogers & James Stroud)
Top Country hunk Darryl Worley gets points for his social conscience, and for his clever timing, rushing this stirring, patriotic pro-war dirge out onto the market quick enough to hit the top of the Billboard charts, even as the bombs were still falling in Iraq. But while his heart seems to be in the right place, he falls a little short in terms of really understanding the war, embracing the faulty reasoning that linked the September 11th bombings to the rickety regime of Saddam Hussain. Worley begins by singing, "I hear people saying we don't need this war," (True.) and goes on to recount the sorrows of September 11th, concluding, "...And you tell me not to worry about Bin Laden..." Well, wait a minute. False. In fact, all the people I talked to who were against (or wary of) invading Iraq never said boo about not wanting to nail Osama Bin Laden -- instead they pointed out that Bin Laden and Saddam Hussain had very little in common, and indeed had hated one another for many years. Bin Laden is a religious fanatic who despises non-religious, secular Arabs like Saddam Hussain, and I'm pretty sure the feeling was mutual. If anything, most people who were critical of the war complained that the $100 billion we just spent to buy ourselves a really big, really violent West Bank of our own could have been better spent actually combatting terrorism, rather than provoking it, and that we could have used the money to help local and state governments pay for the massive domestic security costs involved in making sure September 11th never happens again. But I guess that would be a difficult sentiment to express in a four-minute pop single. Otherwise, this disc is pretty good. It's mostly cobbled together from Worley's last two albums, Hard Rain Don't Last and I Miss My Friend, which are both fine examples of reasonably vigorous, reasonably traditional country. Worley's a good singer, with a nice mix of sensitivity and machismo, and he's got real country roots. With four new songs, this is a pretty decent best-of, with a few extra goodies to make fans happy. I think Worley's wrong about the war, but he's sure right about his rhythms.

Darryl Worley "Darryl Worley" (Dreamworks Records, 2004)
(Produced by Frank Rogers)
Hey, who am I to argue with success? Obviously, Worley dips liberally into the commercial end of things, but he also has a really great voice, and when he plays real country music (for example, check out "If I Could Tell The Truth"), he's top-rate. Heck, even on corny modern tearjerkers like "If Something Should Happen," where a guy about to have surgery for cancer and asks his best friend to check up on his wife and kids, Worley just sounds so darn sincere that he makes it work. He's good. The album is solid. It's completely corny, but it's good. This is Nashville the way it oughta be. Oh, yeah, the political thing... Well, he kind of mentions the state of the world on "Awful Beautiful Life" (the album's first single), but he swiftly deflects towards religion, and the bluntly titled "Wake Up America" turns out to be about drug abuse, not Al Qaeda... So I guess that whole out of sight, out of mind thing seems to be the operative word here. At least Worley hasn't pegged himself as a flag-waving one-trick pony, which is fine by me, since he's much more enjoyable as a damn fine, straight-up country singer. Recommended!

Marion Worth "Greatest Hits" (Columbia Records, 1963) (LP)

Marion Worth & George Morgan "Slippin' Around" (Columbia Records, 1964) (LP)

Marion Worth "Sings Marty Robbins" (Columbia Records, 1965) (LP)

Marion Worth "A Woman Needs Love" (Decca Records, 1968) (LP)

Bobby Wright "Here I Go Again" (Decca Records, 1971) (LP)
The son of country superstar Kitty Wells and hillbilly star Johnny Wright (of the Johnny & Jack duo) Bobby Wright appeared onstage with his folks while still a little kid, but as a young man he struck out on his own as an actor in Hollywood. From 1962-66, Wright had a steady role on the McHale's Navy TV show though he also continued to perform with his folks and eventually moved back to Nashville to be part of their road show. Although he released a long string of solo singles, this was his only full-length album, yielding a Top 20 hit with the title track, a small nugget of sweeping, ornate countrypolitan-pop splendor. He was unable to sustain this success, and although several singles came out over the next few years, eventually Wright gave up on the limelight, dropping off the charts and out of sight by decade's end. For fans of gooey, lavish countrypolitan twang, this disc might be a real find.

Chely Wright - see artist discography

Curtis Wright "Curtis Wright" (Capitol Records, 1992)
The lone solo album by songwriter Curtis Wright, who started out in the Super Grit Cowboy Band in the '70s then joined Vern Gosdin's band during the '80s. This album generated two singles, though both failed to crack into the Top 40, and Wright formed a partnership with Robert Ellis Orrall, releasing one album as a duo before Wright took an offer to join the band Shenandoah.

Michelle Wright "Do Right By Me" (Savannah Records, 1988)

Michelle Wright "Michelle Wright" (Arista Records, 1990)
A so-so album from a Canadian artist who seems pulled in several directions -- soft country-pop (with a slight traditionalist/rockabilly undercurrent on a few tunes), along with bluesy-torchy vocals, ala k.d. lang... She seems like an artist who could've caught fire, given the right musical backing, but as is, this album feels a bit flat.

Michelle Wright "Now And Then" (Arista Records, 1992)

Michelle Wright "The Reasons Why" (Arista Records, 19--?)

Michelle Wright "For Me It's You" (Arista Records, 1996)

Michelle Wright "Shut Up And Kiss Me" (2004)

Michelle Wright "A Wright Christmas" (Icon Records, 2007)

Michelle Wright "Everything And More" (2008)

Michelle Wright "Greatest Hits" (Arista Records, 2000)

Ruby Wright "Dern Ya!" (Kapp Records, 1966) (LP)
The daughter of Kitty Wells and hillbilly star Johnny Wright, Ruby Wright (1939-2009) followed her folks into the music business in the early 'Fifties, working for a while in a short-lived pop-billy trio with Anita Carter of the Carter Family. Ruby scored a surprise Top Twenty solo hit with "Dern Ya," an indie single which was an answer to Riger Miller's "Dang Me," and this album piggybacks on the success of that single, but like her brother Bobby, Ruby Wright found country music a hard nut to crack and proved to be more or less a one hit wonder. Nonetheless this album yields a few more noteworthy novelty numbers such as "Billy Broke My Heart At Walgreens," and I suppose someday Bear Family or some other well-meaning anthologists could put together a collection of her work that would include her earlier work from the '50s and later recordings from the '70s.

The Wrights "Down This Road" (RCA/Sony-BMG, 2005)
(Produced by Keith Stegall & John Kelton)
A memorable debut album of sweet, well-crafted country duets by this husband-wife songwriting team, Adam and Shannon Wright. The Wrights were introduced to country fans earlier in the year when they sang on Alan Jackson's What I Do album, where they contributed musical backup as well as two new songs... Adam Wright does just happen to be Jackson's nephew, and Uncle Alan does just happen to make an appearance on this album as well, but one listen to this disc and you'll know that they got here based on their talent, not anything else. This is a really striking record for a modern commercial country release -- it's got a softness and sincerity that's really quite refreshing. The Wright's never sound like they're straining to find a hit, or trying out whatever styles or gimmicks they can think of to see what might stick. They have a nice, simple sound and they stay with it, giving them a distinctive presence amid all the pop-soul crossovers of recent years. Also, the production is smooth and assured, and pleasantly restrained, given how over-the-top the Nashville studio cats have gotten. This is a classy record, a well-measured piece of craftsmanship that never blunders into by-the-numbers commercial formulae... If you enjoy Barry and Holly Tashian's records or the mellower stuff by Buddy and Julie Miller, then you may find kindred spirits here... Check it out!

The Wrights "The Wrights" (Alan's Country Records, 2007)
(Produced by Keith Stegall & John Kelton)
Bee-yoo-ti-ful. The husband-wife team of Adam and Shannon Wright burst on the Nashville scene a couple of years ago with their major label debut, Down This Road, a wonderful set of melody-twang-and-harmony drenched commercial country that seemed just too good to be true. Maybe it was, since this new EP is and indie release (like a lot of the best country coming from Nashville these days...) Regardless of whatever's happening between them and the majors, the Wrights sure do sound good. This disc opens on a high note, with "Rewind," a soaring harmony tune written by Shawn Camp, produced in a lavish style that recalls Billy Sherrill's best years... Indeed, the Wrights are resurrecting a much-neglected tradition of country duet singing that had its heyday back when Sherrill was working with George Jones and Tammy Wynette -- it's a sound that's fallen by the wayside in recent years, and you'll wonder why when you hear these two croon one great tune after another, including originals like the twangy "Do You Still" and catchy hits-in-the-making like "Planting Flowers" and "You're The Kind Of Trouble." Guitarist Paul Kennerley plays throughout and also wrote or co-wrote several of the songs; veteran producer Keith Stegall exhibits his tried-and-true, irresistible blend of twang'n'pop, which fits these kids like a glove. If you like real, true, sweet country pop, the kind of stuff you can crank up loud and sing along to, then check this album out. It's a treat. (For more info, check out www.thewrightsmusic.com )

The Wrights "Red And Yellow, Blue And Green" (Tour Records, 2010)
The husband and wife duo of Adam and Shannon Wright have gone full-bore indie on this new album, which they've released on their own, and which featured more of a rock vibe than their earlier releases. Sure, there's some twang, and more of their Everly-esque harmonies, but they're also indulging in some moody, noodly indie-rock ambiance, singing alongside a vintage-sounding keyboard with an exploratory vibe that may baffle a few fans who know them better from their Nashville and nearly-Nashville country work. It's kinda cool, but definitely a different direction, although their roots are still showing here as well. If you loved their earlier work, you'll wanna check this out as well.

Sonny Wright "I Love You Loretta Lynn" (Kapp Records, 1969) (LP)
(Produced by Walter Haynes)
Interestingly enough, although the debut album of country second-stringer Sonny Wright was a Loretta Lynn tribute album, and while he toured in her band and professed his affections for Loretta, in reality Wright married her little sister, singer Peggy Sue. Overall, this is a pretty lackluster album, with sleepy arrangements and cover versions that are mostly pretty close to the originals, with a couple of gender-flipped remakes such as "Blue Kentucky Boy" and "Your Chief's On The Warpath Tonight." That one, like the album's opener, "I Come Home A-Drinkin'," takes a fairly mean-spirited slant on the whole war-of-the-sexes theme -- hearing some dude complain about how his woman won't put out when he comes home hammered doesn't quite have the same charm as the feminist theme of the original hit. The title track is okay, but again, kind of snoozy. Nothing charted from this album... not too hard to see why. Loretta wrote some nice, supportive liner notes.

Sonny Wright & Peggy Sue "Gently Hold Me" (Big R Records, 1981) (LP)

Sonny Wright & Peggy Sue "One Side Of Peggy Sue/One Side Of Sonny Wright" (Circle Records/Country International, 1982)

Tom Wurth "Love Songs And Lullabyes For Daddy's Little Dreamer" (Jaba Records, 1996)

Tom Wurth "T.W." (Aspirion Records, 2006)
(Produced by Bart Butler & John Ford Coley)
An appealing Top Forty-ish album with a nice, bluesy, bar-band undercurrent. Hailing from Iowa, Wurth gained a foothold in Nashville as a songwriter -- his sentimental, I'll-always-be-here-for-you ballad, "If The Road Runs Out," was recorded by Ty Herndon, and it sounds pretty nice here, too. Wurth includes some pretty twangy stuff on here, like the chicken-pickin' "Bread On The Table," along with plenty of big-hook, poppier numbers that sound pretty much in line with the rest of the contemporary Music City sound. Most of the songs on here are from other writers, but he sings 'em with conviction, along with a handful of his own compositions. Worth checking out, if you're into the indie-ish side of the Top Country scene, but still enjoy modern-day, formulaic Nashville country-pop.

Tom Wurth "If The Road Runs Out" (Echelon Records, 2009)
Worth remade his 2006 album -- juggling the setlist, repeating the best songs, and adding some new ones, including "Almost Died Today," an apparently autobiographical song about his experiences in near-fatal car crashes, in which he reflects on the fragility and value of life. All in all, another strong offering from a guy who couldn't quite crack into Nashville, but comes awfully close... Definitely worth a spin if you're a "top country" fan.

Tom Wurth "Midnight Rain" (TaDa Records, 2012)

Tammy Wynette - see artist discography

Wynonna - see The Judds

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Hick Music Index

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