Warner Mack - see artist profile

Rose Maddox - see artist discography

Lloyd Maines & The Maines Brothers Band - see artist profile

Natalie Maines "Mother" (Columbia Records, 2013)
(Produced by Ben Harper & Natalie Maines)
I don't begrudge Natalie Maines wanting to do a rock record, though this isn't really my kind of music, I do wish she and the other Dixie Chicks had gone on to make a couple more records as good as the band's post-Nashville swan song, Taking The Long Way. Still, she's the artist, and she should do what she wants. However, I was a little irritated by an interview I heard her give on NPR where she went off on this riff about how she was never that into the whole Dixie Chicks sound, and how country was never really her thing, and she never really knew that much about the style. Seriously? Your dad is steel player Lloyd Maines, your Texas uncles were all in a popular regional band together, one they took over from their dad who started it decades earlier... and you were never really that aware of country music or what it was all about? Yeah, right. I dunno... maybe she was just pulling a fast one on the fawning interviewer, or maybe she really was being incredibly disingenuous... But it seems to me that you could walk away from country music and still not completely disown it, no matter how rude all the Nashville folks were to you over the whole George W. Bush thing. Why let those people chase you away from your own roots? Anyway, here's doing a whole slick rock/pop thing, including covers of Pink Floyd and whatnot. Doesn't really work for me, but I guess a gal's gotta do what a gal's gotta do. It's way better than that Court Yard Hounds album, at any rate.

Raul Malo - see: The Mavericks

Barbara Mandrell - see artist profile

Louise Mandrell - see artist profile

Lorene Mann - see artist profile

Dean Manuel "Town And Country Piano" (Starday Records, 1962) (LP)
(Produced by Don Pierce)

Dean Manuel & The Jim Reeves Blue Boys "The Late And Great Dean Manuel" (Starday Records, 1965) (LP)
(Produced by Don Pierce)
Steel guitarist Pete Drake gets a special second-billing on this album which was a posthumous homage to pianist Dean Manuel (1934-1964) an Arkansas-born piano player who died in the same 1964 plane crash that killed superstar vocalist Jim Reeves. In addition to being Reeves's business manager, Manuel was the pianist for his band, The Blue Boys, who backed him on these tracks, with a little extra help from a largely-unnamed Starday studio crew.

Marcel "You, Me And The Windshield" (Mercury Records, 2003)
(Produced by Byron Gallimore, Julian King & Marcel)
Well, say what you will, this guy has a pretty distinctive voice. Contrivedly confessional, teeny and reedy sounding, but distinctive. I dunno if that'll be enough to elevate his patently generic, cluttered soft-rock country above the common herd, but it might be. This is mercilessly, meticulously crafted Nashville uber-pop, the gimmicky kinda stuff that sucks you in, try as you might to resist its formulae. Even so, he seems like a pretty minor player, and the longer this album goes on, the less you want to listen. Marcel, ne Marcel Francois Chagnon, is a former hockey player who grew up in Grosse Pointe, Michigan, whose career as a solo performer was fairly brief, though he also worked as a video director, as well as a fairly successful songwriter, albeit during a time that many might consider a nadir for Nashville pop: artists that recored his music include Big & Rich, Josh Gracin and Rascal Flatts, none of which is a great recommendation as far as I'm concerned.

Marcel "Believin' " (Red Stripe Plane Records, 2009)
(Produced by Mary Williams)
This appears to be a privately-released edition of Marcel's lost-in-the-shuffle Lyric Street album, which was shelved by the label in 2008.

Linda Martell "Color Me Country" (Plantation Records, 1970) (LP)
(Produced by Shelby S. Singleton Jr.)
Oh, the indignities. That one of the first female African-American country stars should have such a humiliatingly obvious album title... And that it came out on the Plantation label, no less. Anyway, coming at country from a background singing gospel and soul with her family band in South Carolina, Linda Martell (nee Thelma Bynem) is said to have been the first African-American woman to play the Grand Ole Opry... She made a few appearances on Hee Haw in the early '70s, as well, and was a pretty striking performer, with a big, bright voice and cheerful personality. She sometimes drifts into soul-vocals showboating that puts her at odds with the minimalist economy that is more often than not the hallmark of country music craftsmanship... Then again, at the time contemporary big-voiced gals like Lynn Anderson were also pushing against the demure edges of the Nashville Sound, and in retrospect if you stack Ms. Martell's vocals up against the white-soul warblings of more modern stars such as Faith Hill, Wynona Judd or Martina McBride (et.al) it's hard not to see Martell as a groundbreaking artist. I prefer her more restrained performances, but it's all pretty solid, including the top-flight musical backup. Sadly, Martell faced some unsurprising challenges as a black female country artist, ranging from racial harassment at her shows to a major conflict with her management and label: after she confronted Shelby Singleton about what she considered underpayment and lack of promotion, Martell was dropped from the label and Singleton used his influence to blacklist her in Nashville. It's kind of surprising she didn't move into a career as a mainstream pop vocals artist; she certainly had the pipes for it, though I guess she'd gotten her fill of show business after her forays into Music City. Regardless, this album certainly is fine legacy.

Brad Martin "Wings Of A Honky Tonk Angel" (Epic Records, 2002)
(Produced by Billy Joe Walker, Jr.)
Likeable but lightweight hat-act country pop with a vestigial trace of honkytonk in there... somewhere. Ohio-born Brad Martin (1973-2022) had a nice voice, though it was easy to fault his lack of grit. The mid-tempo novelty tunes are okay, though nothing really stands out; meanwhile the ballads -- "That's A Woman," etc. -- are 100% horrible. Producer Billy Joe Walker, Jr moved a rotating cast of studio pros in and out -- various steel players, electric guitarists and whatnot. There's certainly a lot worse that's come out of Nashville over the years, but truth be told, not much sticks to the ribs here. It's worth noting, though, that Martin wrote most of the tracks, including his biggest hit, "Before I Knew Better," which hit #15 on the charts. Brad Martin left the country scene pretty quickly and died quite young, though one can't help but wonder if he might have fared better if he'd come along at a better, less blah-sounding, time in country music history. This was his only album.

Daniel Lee Martin "All That I Am" (Chinmusic Records, 2003)
(Produced by Jan Stolpe & Sandy Tipping)
The first of two albums by Daniel Lee Martin (1965-2020) a Nashville second-stringer known for his work hosting a sports-and-hunting TV show and a couple of other programs. I haven't heard this album, though I kinda liked the second one... Although he had some neotrad cred, Martin had limited success as a country artist, and seems to have fallen off the rails after he fell off the radar: in 2018, he was arrested for various sex crimes with underaged girls -- I don't know the details, but it sounds like it was totally gross. Originally from Saint Petersburg, Martin back moved to Florida after his arrests in Tennessee... and then, ew, he did the exact same stuff down there. After getting arrested in Florida, Martin committed suicide, shooting himself at his Florida home. Pretty depressing, and pretty grim.

Daniel Lee Martin "On My Way To You" (Chinmusic Records, 2007)
(Produced by Jan Stolpe)
A fine, independently released set of would-be Top 40 country, from the huge wellspring of talent bubbling under the surface of the Nashville hit factory. Daniel Lee Martin (1965-2020) had the same sort of gosh-heck, down-to-earth boyish charm as Dierks Bentley, and the same willingness to go with the flow and sing mainstream material, yet still infuse it with a sense of fun and conviction... The tracks have a lot of rock-tinged guitar, but there's still plenty of twang, and nothing ever drowns in over-the-top pop (ala Tim McGraw), so by default Martin emerges as a member of the traditionalist side of contemporary country... I guess these off-the-radar releases mostly function as demo tapes and (hopefully) stepping stones to bigger and better things. Choice tracks include "That's What God Made Rivers For," "Just What You Did" and "Crazy's All They Got," as well as his earnest covers of oldies like "Take Me Home Country Roads" and "Keep You Hands To Yourself." Top Country fans who appreciate the earthier, more honest singers such as Bentley and Blaine Larsen will also want to check this guy out... Even if he doesn't make it to the top of the charts, it's still a pretty solid record, and shows how strong the independent side of Music City can be. It's a shame he turned out to be a creepy sex criminal.

John Arthur Martinez "Spinning Our Wheels" (Jam Records, 1998)

John Arthur Martinez "On The Border" (Texas Song Records, 2001)

John Arthur Martinez "Stand Your Ground" (Jam Records, 2001)

John Arthur Martinez "Lone Starry Night" (Dualtone Records, 2004)
Austin native Martinez was a second-place runner up of the cable TV country music talent show, Country Star, the Nashville version of American Idol, and on the opening track of this new album, you can see why he made it to the top of the pile. He's likeable and confident, and with the right backup behind him, he can really carry a tune. That song is the highlight of this disc, though -- there are a couple of nice acoustic Western swing tunes not far behind, but the album soon devolves into material that has a feel that's all too familiar to folks who've heard a few of the gazillions of self-produced country records out there today. Martinez is the top of the heap when it comes to that kid of country, but he hasn't yet transcended the limitations of the style, although his bilingual lyrics and nods towards Tex-Mex culture (as on "Tonight At Fiesta") bring something new to the mix. Martinez recorded a couple of self-released albums before this -- 1999's Spinning Our Wheels and Stand You Ground, in 2001 -- and one hopes that he'll keep working at it; it'd be nice to see that the little guys can still crack into the big time.

John Arthur Martinez "John Arthur Martinez And Tejas" (Jam Records, 2006)

John Arthur Martinez "Rodeo Night" (AGR Records, 2007)

John Arthur Martinez "Purgatory Road" (Apache Ranch Records, 2009)
(Produced by Lew Curatolo)
Martinez settles into more of a philosophical singer-songwriter/rootsy mode, sounding an awful lot like Rodney Crowell on many of these tracks. Folks who like Rodney's more serious, poetical recordings might wanna give this one a try. All but two of the songs are Martinez originals; one of the two non-jAm songs was written by Walt Wilkins, the doleful "You Can't Outdrink The Truth," which is an album highlight...

John Arthur Martinez "If Stars Could Sing" (2014)

John Arthur Martinez "San Antonio Woman" (2017)

John Arthur Martinez "For The Love Of Western Swing (And Other Love Songs)" (Jam Records, 2019)

Mila Mason "That's Enough Of That" (Atlantic Records, 1996)
(Produced by Blake Mevis)
Kentuckian Mila Mason is an adequate singer, backed by fairly run-of-the-mill country-pop arrangements, roughly in the Martina McBride/Shania Twain neck of the woods. Didn't really rock my world, but there are some glimmers of ruggedness and vigor in her presentation, though mostly it's pretty glossy and generic. Nothing special, really. The title track was a Top 20 hit, as well as a career highwater mark.

Mila Mason "The Strong One" (Atlantic Records, 1998)
(Produced by Blake Mevis)

Mila Mason "Stained Glass Window" (Twinbeat Records, 2003)
(Produced by Mila Mason, Mike Clute, Mike Porter & Mike Wrucke)
This album was also released under the title Just A Peek, although I have no idea why. A bunch of the songs also came out on a shorter, self-released, self-titled album there year before. One song, "Somebody Must Love Me," a duet with songwriter Jason Grainger, was new to this version of the album.

A. J. Masters "Every Now And Then" (Bermuda Dunes Records, 1985) (LP)
(Produced by Larry Hinds, Billy Sanford)
A bicoastal cowboy, Arthur Jones Masaracchia (aka A. J. Masters, 1950-2015) was born in New York state but grew up in Southern California, eventually moving to Nashville, which became his home town... Best known as a songwriter, Masters had a slow roll-out of his career, penning some off-the-radar tunes in the 1970s, followed by a brief string of charting singles in the '80s, many of which are included on his first two albums. In the 'Nineties, Masters joined Charlie Rich's touring band and finally found wider success as a mainstream songwriter around the turn of the century, with songs recorded by acts such as Frazier River, Jennifer Hanson and The Oak Ridge Boys, and Jennifer Hanson, who recorded his "Half A Heart Tattoo." This disc is a pretty slick-sounding set, as was the next one, below.

A. J. Masters "Back Home" (Bermuda Dunes Records, 1986) (LP)
(Produced by Larry Hinds, Billy Sanford & A. J. Masters)
The second solo album by A. J. Masters... The studio musicians included Lloyd Green, Mark O'Connor, Billy Sanford, Bobby Thompson and Glenn Worf -- he also released a bunch of singles on the Bermuda Dunes label, though I'm not sure if they included any non-album tracks.

Kathy Mattea - see artist discography

Matthews, Wright & King "Power Of Love" (Columbia Records, 1992)
(Produced by Steve Buckingham & Larry Strickland)
This trio -- Raymond Matthews, Woody Wright and Tony King -- had kicked around on the margins of Music City, scoring minor hits while in a couple of obscure bands a decade or so earlier. This album was their shot at the big time, and while the commercially promising title track, "The Power Of Love," fell just short of the Country Top 40, their followup album went nowhere chartwise, so that was pretty much it for these guys. For their fans, I'm sure it was a big disappointment, and no doubt they had a bunch of diehard fans at the time... Folks nowadays who are able to track this disc down may still enjoy its easygoing sound, with soft vocals and windy melodies that bring to mind bigger hitmakers such as Ricky Skaggs and Shenandoah. Not bad.

Matthews, Wright & King "Dream Seekers" (Columbia Records, 1993)
(Produced by Randy Scruggs & Ron Reynolds)
On their second album, Matthews, Wright & King switched to a new producer, but stuck to their same basic sound. Two singles, "I Got A Love" and "One Of These Days," more of less lingered in the Back Forty, and, well, in the commercial arithmetic of Nashville, that's usually all she wrote. The trio disbanded, with Tony King returning to work as a Nashville sideman, and Woody Wright switching to the southern gospel scene.

The Mavericks - see artist discography

Mac McAnally - see artist discography

Dale McBride - see artist discography

Martina McBride - see artist discography

C. W. McCall - see artist discography

Charly McClain - see artist discography

Delbert McClinton - see artist discography

The McClymounts "Wrapped Up Good" (Universal-BSM Records, 2011)
(Produced by Adam Anders & Nathan Chapman)
This Australian trio packs a big punch, with plenty of uptempo country-pop, ranging from catchy anthems like "Kick It Up," which opens the album, to softer acoustic weepers like "He Used To Love Me" and the Fleetwood Mac-ish "Take It Back." A couple of songs seem overly formulaic, like the thudding, rock-flavored "Rock The Boat" and the glossy title track, "Wrapped Up Good," (sure to be a hit, if I don't like it...) but several others are pretty catchy. There's even a bit of swing and twang, heard on "I'm Not Done With You Just Yet" and "Cannonball," and "If You're Gonna Love Me" seems like a pretty catchy, chartable tune. I can see these gals making a dent here Stateside, particularly among fans of Gretchen Wilson and the Dixie Chicks -- we'll see what the future brings!

Brian McComas "Brian McComas" (Lyric Street Records, 2003)
(Produced by Leigh Reynolds & Leon Medica)
I dunno why, maybe I was just in an irresponsibly good mood, but for whatever reason, I liked this album a lot. Beyond the relentlessly formulaic, pop-drenched single, "99.9% Sure," it turns out that this McComas fellow is actually one of the best traditionally-oriented singers in Nashville today. Yeah, this album is full of smooth, high-gloss production, but it's also got one song after another that seems destined for major radio airplay. Most surprising of all are McComas's understated, no nonsense vocals -- although he cites poppy Paul Overstreet as one of his early inspirations, there's also a pleasant hint of Merle Haggard's curling growl that comes out from time to time, and for the most part, the songs on this album are equally plain, and un-high-falutin'. The disc drags on a couple of tunes, notably the obligatory "issue" song: "Sixteen Again" (which deals with drunk driving) and the songs with more high-tech arrangements, such as "Never Meant A Thing," or syrupy ballads like "I'll Always Be There For You." But if he can knock out a few more simple heartsongs like "You'd Have Never Said Goodbye," I'll stick with this guy. There may be hope for Nashville after all!

Brian McComas "Back Up Again" (Katapult Records, 2006)
(Produced by Brian McComas & Derek Bason)
Well, you know what they say: if that old fart, DJ Joe Sixpack (me) likes a Top Country artist, their career is doomed. So, after a brief fling in Nashville, on one of the creatively most questionable labels during one of the creatively most questionable eras in country music history, Brian McComas was dropped (despite racking up a Top Ten hit) and went indie after that. Katapult Records seems to have been his own private label, so I guess the fact that one of this album's singles, "Good, Good Lovin'," made it into the charts at all is something of an accomplishment. But if you're stuck in the back forty, you're stuck in the back forty, and he went even more-indie after this. Worth noting: the studio band included steel player Dan Dugmore, and Biff Watson playing acoustic guitar.

Brian McComas "The Fighter" (9th Note Creative Records, 2013)
Oh, hey: I think I forgot to mention that Brian McComas was from Maryland, which is a little unusual for a country artist. Bethesda, I think. Anyway, this was his third album -- I haven't heard it, but maybe some day I'll track it down and check it out. Apparently he later joined some rock-flavored band called The Desert City Ramblers, and they put out an album, circa 2020, which I also have not seen at my local Record Hut.

Jeremy McComb "My Side Of Town" (Parallel Records, 2008)
(Produced by Paul T. Riddle)
A good set of independently produced commercial country... Born in Idaho, McComb took a shot at Nashville, and had some success as a songwriter, but couldn't make much headway as a solo artist, and eventually decided to create his own career elsewhere. I dunno his whole story, but I'm willing to bet he's related to some old-school Idaho bar-band country musician or another.

Jeremy McComb "Leap... And The Net Will Appear" (McComb Over Records, 2011)
(Produced by Jeremy McComb, Tim Lawtner & Rusty Milner)
Independently released but very plausibly commercial, this six-song set should have served as a good demo disc for McComb's budding Nashville career... It had the right formulaic mix of relentless rhythmic buildups, bright, rock-tinged power chords and intertwined tinkly piano and twangy guitar... I mean, really, this sounds like stuff you'd hear on the radio day in and day out, perfectly crafted and hitting all the marks. Of course, McComb's been around the block and had the brass ring dangled in front of him before (his previous album, My Side of Town, was semi-major label, but didn't go anywhere, hence the self-released EP...) and plus also, I kind of liked him, so of course he was doomed. (See: Brian McComas, above.) Anyway, the guy is tenacious, and despite Nashville's lack of interest, he's been plugging away for years, and by 2024 he had self-released a string of indie albums (digital only, I think) and was still touring throughout his home state of Idaho and elsewhere up North, as well as extensive tours in Europe. Good for him.

Dan McCorison "Dan McCorison" (MCA Records, 1977) (LP)
(Produced by Chris Hillman)
The first solo album and biggest commercial success for singer-songwriter Dan McCorison, who came out of Colorado's booming indie-billy country scene, having previously played in the popular hippie twang band, Dusty Drapes & The Dusters. This album was recorded with help from producer Chris Hillman, who brought in plenty of top LA country talent, including guitarist James Burton and Emory Gordy, Bernie Leadon and steel player Al Perkins. The record was promoted as a mainstream country album, though the single, "That's The Way My Woman Loves Me," barely cracked into the Billboard Country Top 100. Still, McCorison was able to get work as a session player in LA, and was part of Al Perkins' usual suspects crew. He's also self-released several indie albums over the years.

Charlie McCoy - see artist discography

Neal McCoy - see artist discography

Mindy McCready - see artist discography

Scotty McCreery "Clear As Day" (Mercury Nashville/19 Recordings, 2011)
(Produced by Mark Bright)
Yet another American Idol-spawned country star, Scotty McCreery won Season 10 of the show, whenever that was, and thus launched his career. A bit baby-faced and boy-band looking, McCreery nonetheless had a big, deep baritone well suited to Trace Adkins-style manly-man country.

Scotty McCreery "Christmas With Scotty McCreery" (Mercury Nashville, 2012)
(Produced by Mark Bright)
The deep-voiced Mr. McCreery also plays it safe with a set of Christmastime standards; the nice thing here, though, is that he also keeps it country. There's twang in his voice and a healthy bit of bluesy country as well... If you enjoyed Joe Nichols' or Alan Jackson's holiday albums, you'll probably dig this one too. Recommended!

Scotty McCreery "See You Tonight" (Interscope Records, 2013)
(Produced by Frank Rogers & Mark Bright)

Scotty McCreery "Seasons Change" (Triple Tigers Records, 2018)
(Produced by Aaron Eshuis, Frank Rogers & Derek Wells)

Scotty McCreery "Same Truck" (Triple Tigers Records, 2021)
(Produced by Aaron Eshuis, Frank Rogers & Derek Wells)

Scotty McCreery "Rise And Fall" (Triple Tigers Records, 2024)
(Produced by Aaron Eshuis, Frank Rogers & Derek Wells)

Mel McDaniel - see artist discography

Ronnie McDowell - see artist discography

Pake McEntire "The Rodeo Man" (O Cross Records, 1980) (LP)

Pake McEntire "Too Old To Grow Up Now" (RCA Records, 1986)
(Produced by Mark Wright)
Why, yes, that is Reba's brother, and yes, he did have several hits at the time. Near as I can figure most of these songs were released as singles first, and the LP came later, after he hit the charts. Now here's the kicker: Pake (short for "Pecos") was actually pretty good! This is nice melodic, upbeat, guitar-based country pop, with one swell steel-drenched weeper, "Heart Vs. Heart," that closes the album out. (A duet with Reba, as well? Not sure... it doesn't sound like her and there's no credit on the song, but she does sing on this disc...) Anyway, this is an enjoyable record -- even if there are only eight songs on it -- and McEntire's lighthearted, affable persona makes it clear this project was built on talent, not nepotism... In fact, I'd almost say if Pake wasn't related to Reba, he might have had a longer and much more successful career.

Pake McEntire "My Whole World" (RCA Records, 1988) (LP)

Pake McEntire "And They Danced" (O Cross Records, 2003)

Pake McEntire "Your Favorites And Mine" (O Cross Records, 2005)

Pake McEntire "Singin' Fiddlin' Cowboy" (O Cross Records, 2007)

Pake McEntire "The Other Side Of Me" (2008)

Reba McEntire - see artist discography

Parker McGee "Parker McGee" (Atlantic Records, 1976) (LP)
(Produced by Kyle Lehning)
Consider this one a warning, rather than a recommendation... Although recorded in the Nashville orbit, with Music City session players such as Doyle Grisham, Kyle Lehning and Bobby Thompson sitting in, this is '70s soft-pop in the extreme, of a Dan Seals/Paul Davis variety. Airy, gooey, sappy, synthy and soft-headed -- just the kind of "lost gem" fans of 'Seventies AOR might be looking for, but if like myself you saw the country talent in the liner notes and thought it might be worth a whirl, don't bother. Very little twang here, just a couple of tracks on Side Two with some wispy pedal steel, but mostly just '70s style soft pop.

Tim McGraw - see artist discography

Mark McGuinn "Mark McGuinn" (VFR Records, 2001)
(Produced by Mark McGuinn & Shane Decker)

Mark McGuinn "One Man's Crazy" (Blue Flamingo Records, 2005)
(Produced by Mark McGuinn, Jim Foster & Don Kerce)
An odd release... This is the follow-up to McGuinn's self-titled debut, an indie album that yielded an unexpected Country chart-topping single. McGuinn's clearly trying to make it as a Nashville songsmith -- this disc is packed with musical formulae and gimmicky songs. The best of these is perhaps "115 Pounds," in which the narrator's health problems are all explained by his having lost his girlfriend (the 115 pounds in question...) The thing about McGuinn's bid for country stardom is that he's such a square peg -- he's a beret-wearing hipster with a so-so voice... But you can see why it might work. I guess the best way to look at this album is as a songwriter's calling card; be interesting to see how many of these songs wind up on other people's albums someday...

McHayes "Lessons In Lonely" (Universal South Records, 2003) (Unreleased)
An unreleased album from a short-lived duo formed by two 1990s top country veterans. The McHayes band name was a concatenation of the last names of singer-guitarist Wade Hayes and fiddler-vocalist Mark McClurg -- McHayes had a pretty successful run as a solo artist, but was slipping off the charts by the time the early '00s rolled around, while McClurg spent the 'Nineties as a member of Alan Jackson's backing band, the Strayhorns. Together they racked up a minor hit with their first single, "It Doesn't Mean I Don't Love You," which peaked at #41, which led to them cutting this album, which had kind of a neotrad edge. The echoes of western swing and Buck Owens-style West Coast country give these guys a bit of traditionally-oriented, alt-country street cred, but the rumbly-voiced bass-heavy love ballads sure were pretty drippy and Nashville. This disc is alright, though, particularly for a band who hit the contemporary country charts... it's not amazing, but there's certainly lots worse. (Note: apparently this album was shelved after a couple of singles were floated on the country charts, so it was never really released... Oh, well.)

Madison McKenzie "A Part Of Me" (MadiMMusic, 2013)
(Produced by Bob Bullock)
It was inevitable that an artist as singular and as successful as Taylor Swift would breed a few imitators, and newcomer Madison McKenzie, a sweet-voiced gal from Illinois, is surely one of the top contenders in this new wave of country confessionalists. Like Swift, she pens songs that sound like a young girl's diary entries, full of half-spoken lyrics and ramblings about love, infatuation and mild recriminations, a distillation of teenage solipsism, buoyed by insistent pop-country arrangements. She also has a nice, naifish voice, the picture of plain-spoken sincerity and youthful self-assurance, sounding like Swift did on her first album, though perhaps with more of a conventional verse-chorus-verse feel. She's paired up with veteran producer Bob Bullock, an industry pro who's worked with stars such as Reba McEntire and Shania Twain, who provides McKenzie with a slick modern Nashville sound, not terribly original, but it fits in nicely with the times. I'm not sure if there's room in the charts for two Taylors, but this gal has a good voice and may find success as she finds her own individual voice. Still, if you're into the style, this could be worth checking out.

Terry McMillan "I Saw The Light" (Leaning Chimney Records, 1985) (EP)
(Produced by John D. Loudermilk & Terry McMillan)

Terry McMillan "I've Got A Feeling" (Step One Records, 1993)
Harmonica player Terry McMillan was a key member of Eddy Raven's early '70s band, and became a popular session player for the rest of the decade... He had one low-charting single in 1982 that preceded this solo album, but this album failed to chart, as did his gospel album a few years later.

Terry McMillan "Somebody's Coming" (Giant Records, 1997)
(Produced by Terry McMillan, Julian King & James Stroud)
A gospel country album...

Scott McQuaig "Scott McQuaig" (Capitol Records, 1990)
(Produced by Scott McQuaig & Jimmy Bowen)
The lone album from this hat act hopeful from Meridian, Mississippi... McQuaig cut two singles which fell slightly short of the Top 40 in 1989, but that was successful enough to lead to this full album... Though, apparently due to the cruel math of Nashville, that was all she wrote.

Scott McQuaig "I'm Still Falling" (Self-released, 2012)
...well, not quite! Mr. McQuaig wrote to inform me he's gone back to recording, and put out this indie album, which apparently has a hefty dose of twang that may please his old fans. I think he may have self-released some other stuff after this as well.

Jason Meadows "100% Cowboy" (Baccerstick Records, 2007)
(Produced by Nicky Pellegrino)
The debut album from a second-place runner up on the Nashville Star TV talent show, Oklahoma-born Jason Meadows... Predictably, there's a lot of Nashville formula at play here... There's plenty of shameless, goofy, macho-man pandering on here, from the rednecky title track to the Southern rock-ish follow-up, "Country As A Dirt Clod." Sometimes he hits the mark -- those songs are about on par with what Montgomery Gentry and dudes like that are making these days, and the sappy divorced-daddy weeper "18 Video Tapes" could be a credible radio hit as well (Daddy, who has to go away now, makes a bunch of videotaped life-lessons to tell his son how to be a man and play baseball well... Sniffle.) Meadows is less sure on the non-novelty numbers, though: the romantic ballad, "Fever," is an album low point, likewise the lackluster "Farm Girl." Meadows does a good imitation of George Strait on "San Antone Alone," but when he has to go down below the surface, the emotional core doesn't really seem to be there. He makes all the right moves, but whether he'll move country fans is still an open question. worth checking out, I guess, but you might as well just wait for Toby Keith to put out a new album.

Jason Meadows "You Ain't Never Been To Texas" (Rosalito Records, 2010)
(Produced by Jamey Perrenot & Robbie Wilson)
As far as I can tell, Jason Meadows was the only artist ever signed to Baccerstick Records, and no doubt the indie label's lack of promotional pull was part of the reason his singles failed to chart. Regardless, Meadows hung around Nashville for a while, recording this seven-song followup a few years later. Not sure if he has any other indie records out there, though I wouldn't be surprised if that was the case.

Ken Mellons "Ken Mellons" (Epic Records, 1994)
(Produced by Jerry Cupit)
Ya wanna know why you never hear from Ken Mellons anymore? Well, it's because he was too dang country for country, a Tennessee native who never really went Nashville, Mellons sounded an awful lot, on one song or another, like John Anderson, George Jones or Hank, Jr... Plenty of twang in the music, too, with sorrowful pedal steel, thumping drums, plinking piano fiddle, and tons of chicken pickin' guitar... But hey, where are all the wimpy keyboards and goopy, gelatinous power ballads?? How the heck do you expect to have a hit when you sound like this? Actually, Mellons did pretty well with this disc -- the true-country anthem, "Jukebox Junkie," hit the Top Ten, though nothing else he did came even close. To his credit, Mellons didn't try to have a hit playing music he didn't believe in, and for folks who appreciate a good, old-fashioned honkytonk weeper, this is a pretty good album. Check it out!

Ken Mellons "Where Forever Begins" (Epic Records, 1995)
(Produced by Jerry Cupit)
Another fine, first-class, rompy-stompy modern honkytonk album, with plenty of pedal steel and some nice, wicked picking that keeps things lively from start to finish... Even on the slow numbers, Mellons shows his roots, and this is a surprisingly strong record, considering where and when it was recorded. He still sounds like John Anderson, and he still tips his hat towards ole' George Jones. Jones returns the favor with a cameo duet on the pun-laden, whiskey-soaked "He'll Never Be A Lawyer" (which in the 1970s would have been subtitled "Because He Can Never Pass The Bar...") What can I say? This guy was pretty fun... If you like things twangy, his records are certainly worth tracking down.

Ken Mellons "The Best Of Ken Mellons" (Curb Records, 2001)
(Produced by Jerry Cupit)
Strangely enough, this is not actually a best-of set drawing from his Epic albums... It has "Jukebox Junkie" on it, but the other songs are new material. Same producer, though, and the same general vibe, just a different label, a few years down the line. Go figure.

Ken Mellons "Sweet" (Emergent/Home Records, 2004)

Ken Mellons "Sweet" (Jukebox Junkie, Incorporated, 2010)
(Produced by Ken Mellons & Joe Caverlee)

Tim Mensy / Tim Menzies - see artist discography

The Mercey Brothers - see artist discography

Jo Dee Messina - see artist discography

Dick Miles "The Last Goodbye" (Capitol Records, 1968) (LP)
(Produced by Kelso Herston)
Wow... Well, if you like good, old-fashioned, cheerfully morbid cornball country recitation songs, then this album is for you. Dick Miles had a few modest successes as a songwriter before cutting his own lone hit, "The Last Goodbye," a recitation song that hit #17 and led to this album getting made. He delves deep into the recitation genre, with several car-accident narratives, one about a mother's tough-love ("The Touch Of Her Hand," which includes getting spanked with a belt as well as an approving pat on the head) and "The Runt," a real doozy about how a little kid who escapes a lifetime of bullying by running out into traffic, "My Last Two Tens," about a homeless man who leaves a $20 tip for the poor guy who has to dig his grave for him, and "Cap'n," a weeper about a brave, loyal dog who saves a man's son by pushing the child out of the way of an oncoming truck... The track even includes voiceovers by a kid calling the dog's name. And, oh boy, does God get mentioned a lot! The Vietnam War also gets a mention in "The Troubles My Little Boy Had," adding a little historical relevance to this super-corny corn-fest. Red Sovine would be proud.

Dean Miller "Dean Miller" (Capitol Nashville, 1997) (LP)
(Produced by Gregg Brown)
This fella was, indeed, the son of 1960's novelty star Roger Miller though he took a much less reserved approach to the country sound than his dear, old dad, who passed away in 1992, a few years before Roger Dean Miller Jr. embarked on his own country career. Actually this first album is relatively laid back, a pretty straightforward set of generic 'Nineties neotrad, plenty of uptempo material with hyper-professionalized twang, and more than a few tunes that go a little overboard into full cheesiville. I wouldn't say I was particularly wowed by the songwriting -- like his dad, he seems content to unapologetically serve up trite, surface-level material, though he lacks Roger Miller's lyrical concision, his self-effacing humor, or his outside-the-box originality. The best songs on here don't sound bad, but they also don't sound in any way unique. If you enjoyed artists like, I dunno, Jeff Chance or Dean Campbell, this might appeal to you as well, though those other dudes were superior models. Of course, the longer he kept at it, the less subtle be became, and Miller's later albums are pretty blaring and suffused with phony machismo and loud rock guitars. By and large his forays into the solo spotlight weren't commercially successful -- indeed, a 2002 followup recorded for Universal Records got shelved by the label -- but he did have some success as a songwriter, co-composing tunes that were recorded by the likes of Terri Clark, Trace Adkins and Brett James, and he later slid into a studio booth role as a producer. This first album has some okay stuff on it; if you wanted to give Miller a fair shot, this is where I'd start.

Dean Miller "Platinum" (Koch Records, 2005) (LP)
(Produced by Dean Miller)

Dean Miller " 'Til You Stop Getting Up" (Off The Wall Music, 2013) (LP)
(Produced by Dean Miller & Brian Eckert)

Jody Miller - see artist discography

Mary K. Miller "Mary K. Miller" (Inergi Records, 197--?) (LP)
(Produced by Vincent D. Kickerillo, Don Costa, Ron Reynolds & Joe Robb)

Mary K. Miller "Handcuffed To A Heartache" (Inergi Records, 1978) (LP)
(Produced by Vincent D. Kickerillo, Jerry Barnes & Charlie Tallent)
Independent country music from Texas, from a gal who had recorded in the early 'Seventies as Mary Miller, and who released a long string of singles on the Houston-based Inergi label. Inergi Records was a side project of her husband, Vincent D. Kickerillo, a prosperous real estate developer and banker who bought over twenty thousand lots and built nearly as many houses over the course of several decades. Most of the Inergi releases were by Mary K. Miller with a couple of singles by other local singers, as well as a highly sought-after "solo" album by the TCB Band -- James Burton, Emory Gordy (bass and guitar), Glen D. Hardin (piano), Jerry Scheff (bass) and Ronnie Tutt on drums -- who had been Elvis Presley's backing group and later formed the core of Emmylou Harris' Hot Band. This disc seems to have been recorded in separate sessions in Nashville and Hollywood, with Tallent and Barnes as the respective engineers, and features a lot of original songs, presumably provided by aspiring Houston locals. Mrs. Kickerillo also recorded under her married name, including a 1986 pop album that featured three duets with Paul Anka. The TCB Band also cut a full album for the Inergi label, presumably at the same time as this one, though apparently it was never officially released and became a sort of collector-nerd holy grail for Elvis fans.

Ned Miller "From A Jack To A King" (Fabor Records, 1963) (LP)
(Produced by Fabor Robinson)
Like of the many regional artists discovered by indie producer Fabor Robinson, Ned Miller (1925-2016) first scored a hit single, then was farmed out to a major label after establishing himself as a nationally-known star. Miller was a Utah native who initially broke through as a 1950's songwriter, notably penning "Dark Moon" for Bonnie Guitar and "I Don't Believe I'll Fall In Love Today," which former rockabilly singer Warren Storm took to the country Top Five in 1960. Miller's own path to solo fame was a bit rocky, but he emerged from the highly segmented, small-scale world of the 'Fifties country scene into the increasingly professionalized music industry when his 1963 single "From A Jack To A King" became a huge crossover hit, peaking at #2 on the Country charts, and #6 in Pop, while also topping the charts in Canada and the UK. Miller then landed a deal with Capitol Records, and while he never quite matched his initial success, he remained a well-known back-bencher for the rest of the decade. Like many of the more sedate country stars of the "Nashville Sound" era, Miller gradually fell off the radar as tastes changed and released his last mainstream album in 1970, as the glitzy countrypolitan sound took over the airwaves. Miller also suffered from intense stage fright, and preferred not to tour in support of his records, finally opting to retire from show business and live a more relaxing life.

Ned Miller "The Songs Of Ned Miller" (Capitol Records, 1965) (LP)
(Produced by Ken Nelson)

Ned Miller "The Best Of Ned Miller" (Capitol Records, 1965) (LP)
(Produced by Marvin Hughes & Ken Nelson)

Ned Miller "Teardrop Lane" (Capitol Records, 1967) (LP)
(Produced by Ken Nelson)

Ned Miller "In The Name Of Love" (Capitol Records, 1968) (LP)
(Produced by Ken Nelson)

Ned Miller "Ned Miller's Back" (Republic Records, 1970) (LP)
(Produced by Billy Liebert)

Ned Miller "From A Jack To A King" (Bear Family Records, 1996)
Once again, Bear Family for the win! Another generously programmed, lovingly assembled career retrospective from this pioneering reissue label out of Germany. This samples liberally from his early recordings on the Fabor label, as well as his Capitol years and includes Miller's best-known hits -- "From A Jack To A King," of course, but also "Invisible Tears," "Do What You Do Do Well," and his own rendition of "Dark Moon." Along with the groovy music, you also get Bear Family's trademark scholarship and additional archival material, including old photos, and discographical information. Worth hunting down.

Roger Miller - see artist discography

Ronnie Milsap - see artist discography

Billy Mize - see artist discography

Katy Moffatt - see artist discography

Ashley Monroe "Like A Rose" (Warner Nashville, 2013)
(Produced by Vince Gill)
This album's a neotrad dream: great stuff. Ms. Monroe is the most Dolly-licious gal to make it in the Nashville mainstream since Elizabeth Cook a few years back. This set is resolutely Parton-esque, and every bit as rich and rewarding as you'd hope it would be. There are plenty of twangy ballads, as well as a few novelty songs with surprising bite, such as "Weed Instead Of Roses" -- another gem is the Blake Shelton duet, "You Ain't Dolly (And You Ain't Porter)," which harkens back to the glory days when Porter and Dolly recorded one great record after another. Monroe comes from the alt-y side of the street, having collaborated with songsmith Guy Clark and was a member of the rollicking Pistol Annies trio. I sure hope her solo debut does well, because country radio sure needs a shot of real country soul, and this gal's got it. Fans of (old) Dolly Parton or (new) Joey + Rory will definitely want to check this out!

Montgomery Gentry "Tattoos And Scars" (Columbia Records, 1999)
(Produced by Joe Scaife)
The first album by the Kentucky country duo of Eddie Montgomery and Troy Gentry (1967-2017) the younger brother of 1990's solo star John Michael Montgomery. They both played in local bands with John Michael before he made it big in Nashville, following in his footsteps nearly a decade later. Although this album wasn't quite a chart-topper, it had several solid chart entries, and as they gathered steam, the duo became one of the most reliable commercial country acts of the 2000s, injecting a little bit of southern rock machismo into the charts. The song "Lonely And Gone" was this album's top entry, peaking at #5, with four other tunes making it into the Top 40.

Montgomery Gentry "Carrying On" (Columbia Records, 2001)
(Produced by Jon Scaife & Anthony Martin)
Here's one for the Confederate flag crowd... It took me a while to catch on that this was the name of a duo and not one guy... These beefy good old boys have a sizable Southern Rock streak to 'em... Very poppy, and full of soft-macho posturing, with a profound philosophical dilemma: straighten up my life, or hang out with the fellas down at the bar? Nothing that blew me away here, really, but they do manage to rhyme "drink" and "think" in two separate songs... which is quite an accomplishment, when you stop to think about it.

Montgomery Gentry "My Town" (Columbia Records, 2002)
For those who find Hank, Jr. too incoherent, or Lynyrd Skynyrd too literate, there's always Montgomery Gentry, keeping the world safe for refried southern rock. Once again, the lyrics are pretty weak; the appeal here is really in their rompin', stompin' good ole boy image. This will only work for you if that's what you're searching for.

Montgomery Gentry "You Do Your Thing" (Columbia Records, 2004)
Skillfully produced, softened-up Southern-rockin', electric-geetar country, with an odd mix of anthemic, swaggering machoisms and rather bleak, bummerific lyrics (lots of stuff about feeling the back of daddy's hand, watching the tailpipe of your ex's car, the joys of twelve step programs, etc.). While I'm not really that much in on their musical wavelength (I'd personally go for Humble Pie or the Black Crowes, if I wanted a fix of soaring "Freebird" style guitars...) but I can certainly see the appeal. At least they aren't playing some shiny, sanitized, smiley face yuppie fluff -- their lyrics acknowledge life's hard side and its gritty disappointments, subject matter that's largely been scrubbed off of the squeaky-clean face of modern, navel-gazing Nashville pop. So even with their over-the-top aspects, I suppose MG should be praised for trying, in their own way, to keep things real. One of the album's softer numbers, "I Ain't Got It All That Bad," with guest vocals by Hank Williams Jr, is actually a pretty moving, reflective song, as is the tune that follows, "Talking To My Angel." After the blare and bombast of all the songs that came before them, those two tunes stand out like little gems. Anyway, this disc ain't bad -- worth checking out, for sure.

Montgomery Gentry "Some People Change" (Columbia Records, 2006)

Montgomery Gentry "Back When I Knew It All" (Columbia Records, 2008)

Montgomery Gentry "Something To Be Proud Of: The Best Of 1999-2005" (Columbia Records, 2005)

Montgomery Gentry "For Our Heroes" (Cracker Barrel Records, 2009)

Montgomery Gentry "Hits And More: Life Beside A Gravel Road" (Columbia Records, 2010)

Montgomery Gentry "Rebels On The Run" (Average Joe's Records, 2011)

Montgomery Gentry "Folks Like Us" (Blaster Records, 2015)

Montgomery Gentry "Here's To You" (Average Joe's Entertainment, 2018)

Montgomery Gentry "Twenty Years Of Hits" (Average Joe's Entertainment, 2018)

Montgomery Gentry "Outskirts" (Average Joe's Entertainment, 2019)

John Michael Montgomery - see artist discography

Melba Montgomery - see artist discography

Justin Moore "Justin Moore" (Valory Music, 2009)
(Produced by Jason Kyle & Jeremy Stover)
I worked my way backwards to this debut album by Arkansas-born southern rock/honkytonker Justin Moore after hearing his second album, Outlaws Like Me, which I kind of liked... And man was I disappointed. This album has a very shrill, piercing rock-guitar edge, and is remorselessly packed with one bad, stereotype-filled song after another, with hundreds of loud, irritating, unimaginative guitar riffs. It's literally painful to listen to, made to be cranked up loud but definitely not worth the damage to your eardrums. The songs are all uninspired exercises in prefab, phony-baloney, hard-partying, tough-guy machismo -- nothing you haven't already heard in a million other factory-produced Nashville country songs. Besides being cliched, it's also repetitive within the album itself, with more than one song that uses the Charlie Daniels-ish trope of a callus-fingered guy "workin' hard for little pay," etc., etc., etc. I'm not saying these jobs don't exist -- I've dug my fair share of ditches and poured plenty of concrete back in the day -- but the fact that two different songs on this album repeat the exact same lyric does make it seem like they were just painting by numbers, using the same old cliches so they could get something played on the radio. Especially when taken along with all the other lame, by-the-numbers lyrics about small towns, trucks, grandparents and hot chicks tossing back shots and waiting for Mr. Studly Singer to hit on them... all delivered with the same relentless, thumping downbeat and treble-heavy twang. The unfortunate influence of the then-popular Big & Rich duo is all too apparent, especially with the stratospheric level of stupidity in songs like the raunchy, rappish "Back That Thing Up" or the self-explanatory meatheadedness of "I Could Kick Your Ass," as well as the album's worst number, "Hank It," which at first seems like a nod to country music tradition, but turns out to be just another vapid sex song, where the title phrase gets rhymed with "crank it" and "spank it." What's amazing is that Justin Moore pulled himself together and made better records after such as dismal debut; usually it works the other way around.

Justin Moore "Outlaws Like Me" (Valory Music, 2011)
(Produced by Jeremy Stover)
A strong set of Nashville-country bad-boy "outlaw" songs. While acts like Montgomery Gentry will toss in a redneck honkytonk number or two just to keep things real, Justin Moore recorded a whole album of hard-drinkin', hard-lovin', gun-totin', truck-drivin', guitar-heavy twang tunes, and he sings them with a gusto and sense of playfulness that brings Brad Paisley to mind: he might be posturing, but he makes it sound fun. After a while the Paisley vibe gives way to more of a Charlie Daniels feel (particularly in the vocals), and while this album has momentum, Moore might want to switch it up a bit and try some new sounds in the future, to keep things fresh. Highlights here include the sentimental "If Heaven Wasn't So Far Away," where he dreams about visiting loved ones who have passed away as though it were a day trip to Florida (and saying "hey there" to Hank Williams and Janis Joplin while he's in the neighborhood...) It's an effective novelty-gospel number, although one of the ideas -- seeing his cousin John who was "left behind in Viet Nam" -- rings a little false: it seems unlikely that the twenty-something Justin Moore would have have any memory of a guy who died in a war that ended over thirty-five years ago. Historical nitpicking aside, this is a good record for the style... Mr. Moore sounds more gritty and authentic than a lot of chart-toppers who wave the flag or toss in a tough-guy tune just to balance their demographics. This ain't Waylon or Willie outlaw, but for modern-day Nashville, it ain't bad.

Justin Moore "Off The Beaten Path" (Valory Music, 2013)
(Produced by Jeremy Stover)

Justin Moore "Kinda Don't Care" (Valory Music, 2016)
(Produced by Jeremy Stover, Scott Borchetta & Julian Raymond)

Justin Moore "Late Nights And Longnecks" (Valory Music, 2019)
(Produced by Scott Borchetta & Julian King)

Justin Moore "Live At The Ryman" (Valory Music, 2020)

Justin Moore "Straight Outta The Country" (Valory Music, 2021)
(Produced by Scott Borchetta & Julian King)

Justin Moore "Stray Dog" (Valory Music, 2023)
(Produced by Jeremy Stover & Scott Borchetta)

Kip Moore "Up All Night" (MCA Nashville, 2012)
(Produced by Brett James)
The debut album from Georgia's Kip Moore, who entered Nashville's orbit as kind of a John Mellencamp/John Haitt roots-rock troubadour, and came out swinging, scoring a #1 hit right out of the gate with "Somethin' 'Bout A Truck," followed by two Top Ten hits, "Beer Money" and "Hey Pretty Girl." This album was certainly mellower and more circumspect than a lot of contemporary country stuff... Lots of shimmery, echoing guitars and mid-tempo ballads, that kind of thing. If you like country Top 40 but would like a little change of pace, this could be a good option. This was Moore's most successful album, though he's proved a durable if low-key presence in the modern country scene. He's also done well as a songwriter: Thompson Square covered two of his songs on their debut, among others.

Kip Moore "Wild Ones" (MCA Nashville, 2015)

Kip Moore "Slowheart" (MCA Nashville, 2017)

Kip Moore "Room To Spare" (MCA Nashville, 2018)

Kip Moore "Wild World" (MCA Nashville, 2020)

Kip Moore "Damn Love" (MCA Nashville, 2023)

Lathan Moore "Love In Your Life" (Blue Steel Records, 2010)
(Produced by Rick Holt & Norro Wilson)
Independently produced would-be Top Forty twang... Moore has a robust, good-ole-boy type voice, reminiscent of any number of country dudes in recent years... He sings rompy-stompy thumpers and ballads, too, touches on some of the usual topics -- drinkin' and losin', small-town America, honoring the military, etc. -- and although he's not totally distinctive, he's likable. One thing in his favor is that this is an indie album, so there isn't that whole mega-budget, ginormous Tim McGraw-style production sound; for all the obvious Top 40 aspirations, this album has kind of a back-to-basics, retro feel, more 1990 than 2010, and depending on your point of view, that could be a pretty good thing. (Postscript: alas, this seems to have been Moore's only album... too country for Nashville, it seems.)

Allison Moorer - see artist discography

Craig Morgan "Craig Morgan" (Atlantic Records, 2000)
(Produced by Buddy Cannon & Norro Wilson)
After finishing his military service, Tennessee native Craig Morgan tried his luck in Nashville, and quickly landed a gig cutting demos -- a job which, as it sometimes does, got him noticed by the right people, and actually resulted in a major label contract. This is his first album, a self-titled set that proved to be a modest start with three minor hits, the biggest of which was the song ""Something To Write Home About," which peaked at #38. But being a military veteran country singer in post-9/11 America wasn't the worst career move possible. Morgan only scored one chart-topper in his career, but he proved to be a reliable commercial country stalwart, and this is where it all began.

Craig Morgan "I Love It" (Broken Bow Records, 2002)
(Produced by Craig Morgan, D. Scott Miller & Phil O'Donnell)
Nice voice, unremarkable album. I guess you could consider Morgan as an amiable post-millennial equivalent of capable second-stringers like Del Reeves or Bobby X. Lewis. He doesn't suck, but he certainly won't blow you away.

Craig Morgan "Little Bit Of Life" (Broken Bow Records, 2006)
(Produced by Craig Morgan, Phil O'Donnell & Keith Stegall)
Like Hank Williams, Jr., Aaron Tippin or Travis Tritt, Craig Morgan has an amazing capacity to latch onto some of the most shamelessly pandering, in-your-face, everyman/redneck dude novelty material, and sing it like it was gospel verse. This disc is packed with so-called high concept hits, from "Tough" (about a man's wife who keeps her chin up while dying of cancer) and "Sweet Old Fashioned Goodness" (where smalltown life is the answer to all the problems caused by "bureaucrats, diplomats and scientists") to "The Ballad Of Mr. Jenkins" (where the beer-pouring narrator sticks up for a nasty old redneck drunk who turns out to have more depth than we might imagine... and who also turns out to be the bartender's daddy's ghost!) and "International Harvester," an over-the-top, super-silly anthem, pitting some mythical, macho John Deere-driving backwoods rebel against all them uppity, pushy cityfolk who wander off the Interstate. Then, of course, there's the catchphrase-heavy swagger of the title track, a goofy let's-party tune that'll probably cruise up the charts the same way as his '05 hit, "Redneck Yacht Club." If you don't take it all too seriously, I guess it's kinda funny... But it's the folks who do take it seriously that ya kinda gotta wonder about. Anyway, this is well-crafted material from the Nashville hit factory, and I'm sure it'll grab the ears it's looking to grab. Nothing super-memorable from my point of view, though.

Craig Morgan "That's Why" (BNA Records, 2008)

Craig Morgan "Greatest Hits" (Broken Bow Records, 2008)

Craig Morgan "This Ole Boy" (Black River Entertainment, 2012)

Craig Morgan "The Journey (Livin' Hits)" (Black River Entertainment, 2013)

Craig Morgan "A Whole Lot More to Me" (Black River Entertainment, 2016)

Craig Morgan "God, Family, Country" (2020)
Oops! ...he left out Mama, prison and trucks.

George Morgan - see artist discography

Lorrie Morgan - see artist discography

Gary Morris - see artist discography

Morrison-Williams "Morrison-Williams" (Palo Duro Records, 2005)
No, not Jim and Hank, but rather Shayne Morrison and Clint Williams, two Texas fellas who were previously in the band Perfect Stranger, which had a Top Ten hit with "You Have The Right To Remain Silent," back in 1995... Morrison was a founding member of that band, while Williams joined a few years later, and their creative partnership has continued over the years. I always kinda liked Perfect Stranger -- the band never seemed too stuffy or pretentious -- but I have to admit I found this album to be a little grating. Too much reliance on tin-toned, heroic electric guitar leads, and too much of a rock'n'roll feel for me... Then again, maybe it's just 'cause I was listening to the record before I'd had my morning cup of coffee... Anyway, even though this disc didn't wow me, I think that longtime fans of Perfect Stranger will not be disappointed... It's got the same classic country-rock sound as their albums, just a bit less of a twangy country feel, which is probably just fine for some of y'all... Worth checking out if you liked these guys the first time around.

Johnny & Jonie Mosby - see artist discography

Dude Mowrey "Honky Tonk" (Capitol Records, 1991)
(Produced by Dude Mowrey & Jimmy Bowen)
Like a lot of Nashville hopefuls, Florida-born Daniel "Dude" Mowrey had a long, slow ramp-up to his Top Forty career. Originally from Fort Lauderdale, Mowrey recorded his first single, "Hello Houston," way back in 1984(!) but didn't get his major label break until the neo-trad wave of the early 1990s. Along the way he became a protege of fellow Floridian and honkytonk icon Mel Tillis who acted as his manager and helped the teenager land a deal with Capitol... This album includes a revival of a Mel Tillis oldie but good, "Honky Tonk Song," which was recorded by Tillis's own patron, Webb Pierce, many moons earlier.

Dude Mowrey "Dude Mowrey" (Arista Records, 1993)
(Produced by Michael Clute & Tim DuBois)
Reasonably twangy material, with adequate though slightly underwhelming vocals. I mean, he's got nice country timbre, a little deep and rumbly, mixed with a little nasal twang, and a sight hint of Merle Haggard in there somewhere, maybe mixed with a bit of George Strait. The real problem seems to be with the material, which isn't all that distinctive, but again, sounds adequate and pleasantly neotrad, at least other than the emotive ballads, which of course are terrible. Nothing really leaps out, but this is okay.

Dee Mullins "The Continuing Story" (Plantation Records, 1969) (LP)
(Produced by Shelby Singleton)
If you like bouncy country novelty songs, corny recitations and goofy Vietnam War-era topical songs, this one's got 'em all! The epitome of scattershot, see-what-sticks novelty-songization, this disc includes gems such as "I Am The Grass" (a first-person narrative, sung from the perspective of the lawn covering a cemetery plot); "The Continuing Story Of The Harper Halley PTA" (yes, indeed, a sequel to Jeannie C. Riley's hit, recorded for the same label); "War Baby," a semi-muddled song tying the benefits of the post-WW2 GI Bill to the patriotic efforts in Viet Nam, and "The Big Man," about a guy who was so full of himself he challenged God to prove who was stronger, with predictable results. Watch out for that lightning bolt! There are also a couple of melodramatic cheating songs about small towns and big rumors, all of it worthy of Porter Wagoner at his corniest and most over-the-top. The album's highlight might be "Beers," an endearing, nostalgic Tom T. Hall song about teenage drinking, which has the odd quality that no one suffers or is punished for enabling the underage boozing -- not the kids (who grow up okay, no car crashes or tragic DUIs) or the liquor store owners, who are praised for kindly turning a blind eye and letting the kids have their fun... Mullins, whose vocals remind me of Wynn Stewart, only recorded this one album and a few random singles. He didn't go very far, racking up a few singles in the Back Forty, but this record is certainly a classic of sorts... Country kitsch all the way!

Michael Martin Murphey - see artist discography

David Lee Murphy "Out With A Bang" (MCA Records, 1994)
(Produced by Tony Brown)
The debut album by this Illinois-born country rocker features an amiable, toned-down Southern rock sound, not unlike Marty Stuart's neo-billy offerings, although Murphy is clearly a much better singer than Stuart. This disc includes his biggest hit, the chart-topping "Dust On The Bottle," an uptempo tune which cleverly turns the old "dust on the Bible" lyric on its head. Murphy's good-natured bad-ole-boy lyrics have a naughty little whiff of rowdiness, though the album itself is pretty restrained. Doesn't bowl me over, but it's fun enough, and more soulful than much of what Nashville has to offer.

David Lee Murphy "Gettin' Out The Good Stuff" (MCA Records, 1996)
(Produced by Tony Brown)
This one's a keeper, a solid album from start to finish. Murphy plays things just right on both the hard-edged material and on the softer side. He fronts as an outlaw, but doesn't go overboard with it, sounding a lot like early-vintage Steve Earle. The weakest song on the album is the rock-tinged title track, but on the subtler "Born That Way," he sounds like a free spirit without seeming like a poseur... The non-outlaw songs are even better: the rueful, windswept "Breakfast In Birmingham" is a real doozy of a sad song. A very strong record, definitely worth checking out.

David Lee Murphy "We Can't All Be Angels" (MCA Records, 1997)
(Produced by Tony Brown & David Lee Murphy)
Bouncy, cheerful, brightly produced, rock-tinged country... not bad for the commercial side of the street. Here he seems to take his cues from Rodney Crowell or Marty Stuart, in their more rockabilly/Texas shuffle moments. Quite pleasant and inoffensive; easy on the ears. Not bad.

David Lee Murphy "Trying To Get There" (Audium Records, 2004)
(Produced by David Lee Murphy & Kim Tribble)
This opens with a clattersome blast of Southern-tinged roots-rock, replete with whiffs of John Cougar Mellencamp, Bryan Adams and The Black Crowes... It's not my cup of tea -- a little too loud, cluttered, and busy-sounding, and the songs are kind of on the wordy side... But I can see the appeal. Then Murphy gets more conventional, with some slower, nostalgia-drenched, formulaic country tunes, such as the album's title track, stuff that may be more radio-friendly and accessible to the non-macho soft-country crowd. I'm still not wild about his voice, but fans will be pleased to hear him back in action again. Country name-dropping tune: "Ghost In The Jukebox" name-checks Hank, Lefty and George Jones. Too bad the song itself is so rock-oriented. Egregious, naked swipe of someone else's idea: "Mama's Last," which is pretty much just "Mama Tried" with a sloppy facelift. Whatever.

David Lee Murphy "No Zip Code" (Blue Chair Records, 2018)
(Produced by Tony Brown & David Lee Murphy)

Kacey Musgraves "Same Trailer, Different Park" (In The Black Records, 2013)
(Produced by Kacey Musgraves, Luke Laine & Shane McAnally)
This winsome, brash Texas lassie has gotten a lot of attention for being a new Top Country bad-girl, ruffling the sensibilities of many mainstream country fans, particularly with her Top Ten single, "Merry Go Round," which is an acerbic jab at small-town life... Usually, modern-day Nashville offers a rose-colored, super-mythologized version of small-town America, where guys spend their teen years driving around the backroads in their pickups, hanging out with their buds and wooing their high-school sweethearts, but Musgraves takes a more critical, real-world approach, talking about people with sad marriages and broken dreams. It's not quite the standard formula, and some folks saw it as a direct attack on the Nashville establishment. I'm not sure I'd go that far -- maybe people are taking this stuff too seriously -- but I think it's interesting that Musgraves is being considered so mainstream and so "country" to begin with... She sounds more like a contemporary folkie to me, a topical and contemplative lyricist, roughly in the Carrie Rodriguez or Todd Snider mode, although with bigger, more ornate production. While she does turn some nice lyrical phrases, there's a precocious, high-schoolish/collegiate cleverness to her work and I have to confess that while I find the Nashville-manufactured small-town myth to be noxious, I also find her satirization of Middle America to be a little too obvious, the sort of stuff that forlorn teenagers waiting to move out of their parents' houses scribble away in notebooks or post online... I mean, Malvina Reynolds already skewered the 'burbs fifty years ago and though I still enjoy "Little Boxes" as a protest song, now that I'm all grown up I can see that the critique has its limitations; I guess I just don't like looking down on average people just for being average, especially seeing as how I am one myself. Still, Musgraves has a delightfully fresh presence, at least in the context of modern Nashville country: Music City needs some new blood and some fresh ideas, and this gal seems well poised to provide a little bit of both. Definitely worth checking out -- I'm curious to see where she goes from here.

Weldon Myrick - see artist discography

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