Sami Jo "It Could Have Been Me" (MGM South Records, 1974) (LP)

Sami Jo "Sami Jo" (MGM South Records, 1975) (LP)
(Produced by Jimmy Bowen)
The last album from this promising '70s singer. Sami Jo was apparently caught up in a bunch of label mergers, and despite moderate success on the charts, she wound up getting dropped in the late '70s... Maybe it's just as well, since this record was kind of awful. The first side has a bunch of overblown, heavily orchestrated countrypolitan soul songs, while Side Two veers off into country-disco territory. To be fair, Sami Jo may have been ahead of her time: she came out of the Muscle Shoals studio scene that generated a lot of white R&B and Southern Rock hits in the '70s, though her career steered towards a softer countrypolitan sound. Later on, this type of white-girl soul-sister material would top the charts in the hands of artists such as Reba McEntire, KT Oslin and Wynona Judd -- I'm not a fan, but I can see where this was coming from, and if you're into the style, this is probably a record you'd want to check out.

Ray Sanders - see artist discography

Sawyer Brown - see artist discography

John Schneider - see artist discography

Schuyler, Knobloch & Overstreet "SKO" (MTM Records, 1986)
The trio of Thom Schuyler, J. Fred Knobloch and Paul Overstreet, three successful songwriters, combined in a would-be supergroup. After recording this album, Overstreet went on to a very successful solo career...

Schuyler, Knobloch & Bickhardt "No Easy Horses" (MTM Records, 1987)
(Produced by James Stroud)
A fairly horrific pop-country outing by an odd sort of modern country supergroup... As individuals, the trio of Thom Schuyler, J. Fred Knobloch and Craig Bickhardt each had successful careers as top Nashville songwriters... Teamed together, they managed to not exactly integrate their hitmaking skills and savvy as merely overlay them atop one another: this disc is so heavily overproduced and glossy, so packed with hooks, hooks, hooks and hackneyed themes that you could almost believe that each man was assigned to make their own musical tracks for the various songs, and producer James Stroud just played each tape at the same time. There's never a quiet moment, or a particularly reflective feel to the entire album. It just feels so contrived and manipulative, so factory-made and so removed from anything gritty or emotionally direct, it's hard to get into. Nonetheless, that didn't stop them from scoring a few modest hits with this disc, most notably "Givers And Takers," which cracked the Top Ten. Also of note is "American Steel," a patriotic song that laments the decline of American industrial power.

Thom Schuyler "Brave Heart" (Capitol Records, 1983) (LP)
(Produced by David Malloy)
The debut album from songwriter Thom Schuyler, whose career was kickstarted when Kenny Rogers scored a huge hit with his cloying-but-catching "Love Will Turn You Around" in '82. Schuyler built on that success with "16th Avenue," a Nashville rumination that was a minor hit for Lacy J. Dalton in '83 (and is heard here on this album as well.) This disc is pretty smooth and prefab, bringing Kenny Rogers and Dan Seals readily to mind, and maybe just a bit of James Taylor as well. He released this album be forming the SKO trio, but had only modest success on the charts. It's mostly generic pop-country, though some of it's straight up pop, like the swooping, syrupy "Must I Cry." Not my cup of tea, but you can see how the formula would work for him.

Thom Schuyler & Craig Bickhardt "Precious Child" (Warner Brothers, 1993)
A dramatic, gospel-themed nativity album recorded with Schuyler's former SKB bandmate, Craig Bickhardt...

Thom Schuyler "Prayer Of A Desperate Man" (2008)

Brady Seals "The Truth" (Reprise Records, 1997)

Brady Seals "Brady Seals" (Warner Brothers, 1998)

Brady Seals "Thompson Street" (Image Entertainment, 2003)

Brady Seals "Play Time" (Nine North Records, 2009)
Solo album by a former member of Little Texas. The misogynistic single, "Ho Down," about a woman who drunkenly passes out while dancing at a bar, is pretty offensive.

Dan Seals - see artist discography

Troy Seals "Now Presenting Troy Seals" (Atlantic Records, 1973) (LP)
Songwriter Troy Seals is part of the same extended family that includes fellow country stars Brady Seals, Dan Seals and their cousin Johnny Duncan... Troy never made it big as a star performer, but for several decades he was one of Nashville's most successful composers and producers, with dozens of hits recorded by major artists. This was his first full-length album, though he had released some singles in the '60s, notably with his wife, ex-rockabilly gal Jo Ann Campbell.

Troy Seals "Troy Seals" (Columbia Records, 1976) (LP)
(Produced by Billy Sherrill)
Well, he definitely was marching to the beat of a different drum... This slick-sounding album dips into what I guess you could call avant-garde bar-band music -- country compositions delivered with a slight '70s boogie-rock tinge, but more importantly with unusual but persistent forays into reggae and smooth-edged R&B, similar to the stuff Joe Stampley was recording around the same time. All but one of the songs are Troy Seals originals, many co-written with folks like Max D. Barnes and Will Jennings -- the exception is a truly awful cover of Don Gibson's "Sweet Dreams." One wonders what producer Billy Sherrill made of this session: it sure doesn't sound much like his own ornate countrypolitan style, and one suspects Sherrill pretty much just checked out and let Seals do whatever he wanted to, since this album resolutely does not fit into the style of the time. I don't like the music myself, but looking back you can definitely make the case that Seals was way ahead of his time -- this album is an aesthetic failure but some of the ideas he was working with here would come to dominate country music a couple of decades later. I think part of it is that there just wasn't the right frame of reference to make a record like this in mid-'70s Nashville, sort of like trying to build a rocketship while hanging out with Sir Isaac Newton. Or maybe I'm giving Seals too much credit -- he might not have been a visionary, but he was doing his own thing. And he was certainly more successful as a songwriter than as a performer: none of his singles ever got out of the lower rungs of the Back Forty... and you can kind of see why. Still, if you're curious about a genuinely different style of mainstream country, this is worth checking out.

Jeannie Seely - see artist discography

Dale Sellers "Christmas Guitars" (Gusto/Power Pak Records, 19--?) (LP)
(Produced by Tommy Hill-?)
A holiday set from one of the most prolific Nashville studio musicians of the 1970s... Most of the songs are from non-country sources, though one track, Lassaye Homes's "Christmas In My Hometown" was originally recorded by Charley Pride, and later covered by Randy Travis and several other artists. Not sure of the date on this one, but I'd guess somewhere around 1973-74, based on the other Power Pak albums advertised on the back cover.

Jason Sellers "I'm Your Man" (BNA Records, 1997)
A perky yet fairly unremarkable, generic commercial country album from a Texas songwriting prodigy. Jason Sellers was married to Lee Ann Womack up until the time this disc came out... Unfortunately, her distinctive, charismatic style didn't quite rub off on him, and his own albums tanked out. He did find considerable success, however, as a songwriter, placing tunes with stars such as Jason Aldean, Kenny Chesney and Reba McEntire. Nice work if you can get it!

Jason Sellers "A Matter Of Time" (BNA Records, 1999)

Whitey Shafer - see artist discography

Kevin Sharp "You Can Count On Me" (North Star Records, 1995)
(Produced by Kevin Sharp, Eric Bunch, Roger Hoffman & Steve Sitton)
Originally an outside indie artist, singer Kevin Sharp (1970-2014) recorded his first album over a long period of time at three different studios in Sacramento, near his hometown of Redding, California. The sessions involved three separate sets of musicians, mostly folks who are unfamiliar to me. The basic instrumentation involved bass, drums, guitar and keyboards, with no "country" instruments such as banjo, fiddle or pedal steel in the mix. This disc functioned as his demo tape, and Sharp was able to make the leap into the Nashville scene the following year. The album also featured a bunch of original material, all written by co-producers Eric Bunch and Steve Sitton, with two tracks that feature lyrics from Sharp; neither Bunch or Sitton seem to have followed Sharp to Nashville. Sharp was a survivor of childhood bone cancer, and permanently lost his hair as a result of chemotherapy. He became a spokesperson for the Make-A-Wish Foundation, which connected him to a record producer, David Foster, who in turn helped Sharp break into Nashville.

Kevin Sharp "Measure Of A Man" (Asylum Records, 1996)
(Produced by Chris Farren)
His Nashville debut yielded a Number One hit, "Nobody Knows," which topped the charts for a month, and two more singles that cracked the Top Ten. However, as with many one-hit wonders, Sharp slid out of the Top 40, and became more of an indie artist, as well as a motivational speaker and writer. He was a longtime spokesperson for Make-A-Wish, even as he struggled with health complications that sometimes sidelined his music career. Kevin Sharp died young, from complications caused by stomach surgery in 2014.

Kevin Sharp "Love Is" (Asylum Records, 1998)
(Produced by Chris Farren & David Foster)

Kevin Sharp "Make A Wish" (Cupit Records, 2005)
(Produced by Jerry Cupit)

Sunday Sharpe "I'm Having Your Baby" (United Artists, 1975) (LP)
(Produced by Larry Butler, Johnny Slate & Larry Henley)
The lone LP by singer Sunday Sharpe, a distant also-ran in the Top Forty field who also released a handful of singles up through '77, and performed regularly on the Hee-Haw TV show. She fell just short of the Top Ten with the lead single from this album, an answer song/cover of Paul Anka's "She's Having My Baby," delivered from a woman's perspective, but no less creepy as a result... Sharpe was a bright, poppy vocalist, with a girl-groupish style similar to that of Skeeter Davis and Brenda Lee, and finds comfortable accompaniment by the (uncredited) studio pros, as well as the string arrangements by Bill Justis. She covers other pop-oriented songs such as Anka's "Put Your Head on My Shoulder," and "Mr. Songwriter," from the Tommy Boyce catalogue, though on Side Two she settles into a more country-sounding mode, where she proves herself an adequate, Donna Fargo-ish mid-'70s ballad singer. Of note among her twangier tunes is one by Linda Hargrove ("I Never Loved Anyone More") and one song that she wrote herself, "It's A Beautiful Night For Love." Nothing earthshaking, but if you enjoy this era of Nashville pop -- in between the trad and neotrad eras -- this album fits right in.

Billy Joe Shaver - see artist discography

SheDaisy "The Whole Shebang" (Lyric Street Records, 1999)
A second-string country-pop band that came up during Nashville's pre- and post-Millennial flirtation with the glitzy production of the "boy band"/Brittney era. These gals were marketed as "country" almost by default, and derided as Dixie Chicks wannabees. Like many of their contemporaries, they dip into soul-style vocals and cluttered, overly-complicated pop arrangements. Nonetheless, the band's bright sound and earnest presentation -- as well as their wholesome image, a product of their Mormon upbringing -- won them a sizeable and devoted fan base. I'm sure there are folks who dig their sound, though for the most part it doesn't do much for me.

SheDaisy "Brand New Year" (Lyric Street Records, 2000)
A holiday album, with pretty much the same high-gloss production approach as their secular records. For more Christmas music, see my Hillbilly Holiday section.)

SheDaisy "Knock On The Sky" (Lyric Street Records, 2002)

SheDaisy "Sweet Right Here" (Lyric Street Records, 2004)
(Produced by Dan Huff & SheDaisy)
I read somewhere about how this disc marked a turn towards a more "country" sound, away from the perky teenie-bopper pop of their earlier albums... Dunno so much about the "more country" part of that equation, but this is certainly a more mature-sounding album, with the 'Daisy gals tackling social issues and reflecting on their life in the Nashville biz. Musically, this didn't wow me -- not my cup of tea -- but I was intrigued by the lyrical content. Some of it's the same old prefab profundity that's seeped into mainstream country, but some of it stands out as more personal and heartfelt. In particular, I was intrigued by their willingness to take a playful poke at their own core audience -- Christian evangelicals -- in the song "Love Goes On," wherein they roll their eyes at a nosy, Bible-thumping neighbor: "...Mrs. Jones next door is still extreme/Goes on and on about the Bible/What comes around still goes around..." It's not, like, the heaviest social satire ever, but given the current level of spiritual pushiness in this country, it's refreshing for a band known in part as religious role models to acknowledge a little give and take, and to let us know they don't go for the super-uptight, dogmatic version of Christianity. Fans who have been following this band over the last few years should like this album a lot -- it's very "pop," but it's also a record than feels like we're watching the artists growing up, right before our eyes. More power to' em.

SheDaisy "Fortune Teller's Melody" (Lyric Street Records, 2006)

SheDaisy "The Best Of SheDaisy" (Lyric Street Records, 2008)

David Shelby "I Came To Play" (David Shelby, 2007)

David Shelby "Rust Belt Cowboy" (Highway South Records, 2013)
Wannabee Top-40 tough-dude country... He's about as subtle as a bag of bricks, and full of all the musical cliches you'd expect, including glossy Big & Rich-ish pop-rock production. Not my cuppa tea, but I could imagine this guy breaking through in Nashville. I mean, why not?

Blake Shelton "Blake Shelton" (Warner Brothers, 2001)
(Produced by Bobby Braddock)
Hailed as a honkytonk throwback, Oklahoma's Blake Shelton is easily one of the weakest singers to come down the pike in a while... Well, to be fair, the real problem is with the material, and the overreaching, multi-layered crossover arrangements... At least this disc, which was his debut, has a streak of Southern rockiness that excuses some of the excess, but for my money, this is an example of Nashville's overboard obsession with hi-tech production. The centerpiece was a ballad called "Austin," which was an okay tune centering on the outgoing phone message of a man with a broken heart, and "Ol' Red," a slow-moving redneck prison tune... Neither song did much for me, but they did fling Shelton into the upper reaches of the Country charts, and along with the glossier efforts on this album, they pretty much let you know what to expect from this hat act dude. Very much of it's time; it's pretty ironic that he preaches the gospel of "real country music" on "Same Old Song," a remarkably leaden tune that does little to make up for all the fancy-schmancy studio work on the rest of the album...

Blake Shelton "The Dreamer" (Warner Brothers, 2003)
Shelton blows any hard-country cred he might have had with this totally over-the-top, frightfully overproduced, hi-tech musical morass.. The opening single, "Heavy Liftin'," was a silly stab at showy macho posturing, while "The Baby" was a fairly effective, completely shameless weeper about a guy who was Momma's favorite dealing with losing her (when she gets sick, he races back home to be at her side, but is, sniffle, too late...) From there he goes into a series of misfires -- "Asphalt Cowboy" is so generic it hardly makes a dent in your brain; most of the other songs are pretty negligible... The keyboards, fake sounding drums, and electronica-tinged production are all terrible mismatches for his modest vocal talents... He does alright on a simple country twang tune like "Georgia In A Jug," but on other tracks, where he tries his hand at swooping vocal acrobatics... well, it's just kind of embarrassing. This is pretty skippable.

Blake Shelton "Barn & Grill" (Warner Brothers, 2004)
(Produced by Bobby Braddock)
This disc opens with "Some Beach," an unbeat, semi-risque ditty about the aggravations of modern life (and the need to escape to "some beach, somewhere...") It's a likeable novelty tune, and several tracks on here echo it's no-frills, good ol' boy honkytonk vibe... There are also some drippy slow songs on here that reveal Shelton's weak spots as a vocalist, but when he keeps things simple, he does just fine. Nice to hear all that pedal steel in there as well. Not bad.

Blake Shelton "Pure BS (Deluxe Edition)" (Warner Brothers, 2007)
Hey, he said it, not me.

Blake Shelton "Startin' Fires" (Warner Brothers, 2008)
Give the fella credit -- for a guy with a fairly limited voice, Blake Shelton has built up one heck of a career. This disc has some fun numbers, particularly the album's environmentally-themed opener, "Green," which posits that country folk were "green before green was a thing", playing acoustic guitars, growing their food, etc. (We'll leave aside the whole propane tanks in the back yard and broken trucks in the front stereotypes -- this is a funny song, so we'll leave it at that...) Generally speaking, Shelton best hits the mark on upbeat, rowdy numbers, including the bluesy hillbilly funk of "Never Lovin' You" or even a by-the-numbers blue-collar anthem like "Working Strong." Where he falls flat is on overwrought power ballads such as "She Wouldn't Be Gone" and "I'll Just Hold On" -- no doubt these are his bread-an-butter on commercial radio, but for this crusty old country fan, Shelton's voice just doesn't carry this material. Still, I'd give the rougher tunes a spin -- they'll turn up a smile or two for sure.

Blake Shelton "Hillbilly Bone" (EP) (Warner Brothers, 2010)

Blake Shelton "All About Tonight" (EP) (Warner Brothers, 2010)
This 6-song EP shows Shelton's strong suits, leaning mainly on robust, uptempo tunes, with a couple of wispy ballads as well. The steel-drenched, windswept "Who Are You When I'm Not Looking" is one of the nicer slow ones he's done; this also features "Draggin' The River," a raucous duet with Miranda Lambert that'll turn a few ears for sure. The production style is familiar -- not much new there -- but the songs and performances are all pretty solid. Wonder if they'll expand this into a full-length anytime soon...

Blake Shelton "Cheers It's Christmas" (Warner Brothers, 2012)
A big, hammy, popped-up holiday set, with a slew of duets, featuring guests such as Kelly Clarkson, Miranda Lambert, Reba McEntire, the gals from Pistol Annies and Shelton's TV co-host, pop vocalist Michael Buble. And he even sings a song with his mother, Dorothy Shackleford... what a nice boy! Mildly over-the-top, but in the way fans of Christmas music revel in. Pretty solid; mostly standards, but also some newer tunes that will freshen up the holiday music repertoire.

Blake Shelton "Based On A True Story..." (Warner Brothers, 2013)
(Produced by Scott Hendricks)
With his role on TV's The Voice talent show, Top 40's Blake Shelton has entered into a different category of country star, busting out of the Nashville ghetto and into TV-commercial celebrity. I'm not sure how much that has changed his music -- if at all -- but this album seems pretty typical for Shelton -- formulaic songs and slick, predictable arrangements framing his robust but modest vocals, your basic Nashville Top 40 sound. What was most striking to me was the language on the album's opening track, "The Boys 'Round Here," where he loudly proclaims how he and the good ol' boys he runs with "don't take no s---!!" which kind of took me by surprise since I'm of a generation that doesn't expect unvarnished profanities in top country albums. Also, it's the second time this week I've heard the s-word on a Top 40 country album... In a similar vibe, Shelton brags about flipping the bird on "I've Still Got A Finger," and talks tough on all the rompy-stompy dude songs. I guess vulgar is "in" in Nashville these days, with Music City going all HBO all of a sudden. I'm not a big prude or anything, but I don't think this is a good development. I think the new trend is a way for country dudes to up the ante on the macho, tough-guy songs but if this language is on an album by a super-mainstream artist, it's way more likely to be heard by little kids. Anyway, it's kinda lame, and I'd rather hear my cuss words on punk records, where it makes more sense stylistically. Balancing all the crude-dude tunes are sensitive-guys power ballads, which are mostly okay, although you really have to be part of the right demographic ("chicks") to get into these ones -- they are pitched directly at what Nashville sees as a feminine audience, and are mostly way too gooey for most guys to get into. Apparently, we only like songs about trucks and beer and "small towns" (a phrase that appears so frequently on this album that I'm willing to guess there's a drinking game involved -- toss back a shot every time you hear it) but God forbid we ever want to hear something romantic. I dunno... I'm sure the formula works, but do you really have to take it so far? Rarely has an album been so plainly sculpted with playlists and iPods in mind: one set for the girls, one for the boys, and not much in the middle.

Blake Shelton "Bringing Back The Sunshine" (Warner Brothers, 2014)

Ricky Van Shelton - see artist discography

Shenandoah - see artist discography

Ashton Shepherd "Sounds So Good" (MCA-Nashville, 2008)
(Produced by Buddy Cannon)
She's been hailed as the next big thing in neo-traditional country, and newcomer Ashton Shepard sure does deliver a fine set of steel-drenched lovin'-and-partyin', have your beer and cry in it too kinda country. It's a powerful mix of honkytonk and countrypolitan, reminiscent in many ways of the glory years of Billy Sherrill and George Jones. Comparisons to Gretchen Wilson are inevitable as well: although Shepard is a little less balls-out, AC-DC tattoo-ish about it, she still makes it a point to fight for her right to party (on songs like "I Ain't Dead Yet") but she comes off less like a biker chick and more like a smart college kid who likes to cut loose on the weekend. Never mind that a couple of songs are virtual repeats of one another ("I Ain't Dead Yet" and "Not Right Now" share almost identical themes and lyrical motifs...) What's key here is the power of Shepard's voice and the clarity of her vision. She wrote or co-wrote almost all the songs on here, and like her fellow twang-top forty teen prodigy, Taylor Swift, Shepard really seems to get -- and to love -- what is great about real deal, twangy old-school country. This is an impressive debut, and like many of this decade's crop of powerful young female country stars, I'm looking forward to seeing where she goes from here, and hope that the industry will allow her a long enough career for her to continue growing into her considerable talent. Check it out.

Ashton Shepherd "Where Country Grows" (MCA Nashville, 2011)
(Produced by Buddy Cannon)
Hmmm. Bummer. I really liked the simplicity of Shepard's first album, the whole back-to-basics, girl-next-door rural vibe. This follow-up, though, seems really self-conscious, overly stylized and bombastic. There's plenty of twang, but it's on top of bigger, slicker, less soulful modern production, and it sounds like an affectation, whereas before she seemed twangy by nature. It happens to a lot of artists: you get some success, followed by some show-biz advice, and then you lose your bearings. Of course, it might sell a bazillion copies; I'm often on the "wrong" side of this argument. But for my money, a gal who sounded potent and sincere a couple of years ago now sounds like a parody of what she once stood for. Oh, well. I'll check back in a couple of years and see what album #3 sounds like.

Jean Shepard - see artist discography

T. G. Sheppard - see artist discography

Billy Sherrill Singers "Top Pop Country" (Columbia Records, 1969) (LP)

Billy Sherrill "The Best Of Billy Sherrill" (Epic Records, 1974) (LP)
Instrumental versions of hit songs orchestrated by the king of the countrypolitan sound... This is about what you'd expect, though for those of you who think it would be unbearably cheesy... We-e-el-l-l-l-llll... It's actually not that bad. Not super-amazing... but also not horrendous.

The Shooters "The Shooters" (Epic Records, 1987) (LP)
(Produced by Walt Aldridge)
Stunningly bland pop-country from a short-lived band from Alabama, the Shooters grazed the lower rungs of the Top 40 with a quick series of singles, and two albums of workmanlike country-pop, a sleek mix of harmony-rich, somewhat too-smooth material with a familiar, comfortable sound. Some songs are in a group-vocals, Shenandoah-esque style, though there are misfires like the distinctly un-country soft-rock of "Tell It To Your Teddy Bear." Personally I find the glossy production a bit sluggish and sterile, and they drift too easily into gooey mainstream '80s pop or the Dan Fogelberg/Dan Seals variety. But for many fans of '80s country, these guys might be a pleasant surprise, a now-obscure band that matched many bigger stars in their scope and talent. Bandmember Walt Aldridge had previous success as an early '80s songwriter; eventually becoming better known as a record producer, which he does here as well...

The Shooters "Solid As A Rock" (Epic Records, 1989)
(Produced by Walt Aldridge)
This album provided them with their biggest hit, a tune called "Borderline," which fell just short of the Top Ten. After the Shooters broke up, bass player Gary Baker concentrated on songwriting, releasing an album with his musicmaking buddy Frank Myers, penning several big hits such as "I Swear," a chart-topper for John Michael Montgomery that also briefly crossed over into the Pop charts.

The Shoppe "Tryin' To Get It Straight" (Rainbow Sound Records, 1980) (LP)

The Shoppe "The Shoppe" (MTM Records, 1985) (LP)
(Produced by Fred Foster)
A fairly bland pop-country album from a Texas band that had a remarkable run as indie artists before recording this major label-ish effort. It sounds a lot like the Oak Ridge Boys or Shenandoah, with the empty, synthy, factory-produced '80s production and jovial group vocals... just with songs that aren't as memorable. The single, "Holding The Family Together," is a nice, wholesome working-class novelty tune about two parents just trying to make ends meet -- it's the highlight of the album, the only distinctive song on here. It's not a bad album, just not a lot of fun. If you like the softer side of the Oak Ridge Boys sound, you might want to give this a whirl.

Ryan Shupe & The Rubber Band "Dream Big" (Capitol Nashville, 2005)
(Produced by Jason Deere)
Cheerful, gimmicky, lightweight and likeable pop-country material that seems destined to be quite popular. The opening track, "Banjo Boy," is a hip-hoppish novelty song that picks up where Big & Rich's "Save A Horse" left off, with a hint of Bela Fleck in there as well. The next couple of tracks, particularly "Dream Big," are kind of like a less-pretentious version of Emerson Drive-style boy-band country, and then there's dorky bluegrass-ish pop that is kind of like the later stuff by Newgrass Revival, back when they were trying to leave behind the bluegrass ghetto and make it on the charts. This doesn't really do that much for me, but I think it's really catchy, and I'll be amazed if Shupe and his crew don't do really well... They've got just the right balance of roots and yuppie pop, and none of the overblown tough-guy/sensitive stud baggage that drags so many other Nashville dudes down... Keep your eyes on these guys... They're gonna be really big. Huge, I tell you!!

Shylo "Flower Of The South" (Columbia Records, 1976) (LP)
(Produced by Larry Rogers)
One of Nashville's better attempts to co-opt the smooth '70s country-rock sound, Shylo was a vehicle for Ronny Scaife, who wrote or co-wrote all the songs on here, including many with bassist Danny Hogan. Here, the band poses barefoot on the cover, wearing flashy dress jackets over rolled-up bluejeans, portraying themselves as both mainstream and rebels... The record has a few good tunes, notably "Dog Tired Of Cattin' Around" and "Whiskey Fever," although a lot of the album is kind of mediocre, if easy on the ears. As a single, "Dog Tired" scraped into the Top 100, and Scaife found greater success writing material for other artists, starting with Jerry Jaye's "Honky Tonk Women Love Redneck Men" and Johnny Paycheck's 1978 hit, "Me And The IRS," later scoring bigger Top Ten hits in the '80s and '90s. This is an okay record -- if you like early Eagles albums, this could be worth checking out.

Paul Sikes "Craft" (7 Layer Records, 2012)
(Produced by Paul Sikes)
Nashville scenester Paul Sikes has had a good run as a Top 40 songwriter, placing songs with stars such as Josh Gracin and Emerson Drive. This self-released solo set has the feel of a songwriter's demo: it doesn't quite catch fire, but you could see some of these songs becoming hits for someone else, sometime down the line. A little too slick and syrupy for my tastes, but for fans of more modern, sophisticated Nashville material, this might make a nice change of pace from the hits-only sound of Top 40 radio.

Shel Silverstein -- see artist profile

Jenny Simpson "Jenny Simpson" (Mercury Records, 1998)
(Produced by Garth Fundis & Ray Methvin)
This starts out okay, with a couple of prefab, uptempo girl-powerish singalong twang-tunes, notably the single, "Ticket Out Of Kansas," which might even get you nodding your head and tapping your toes to the chorus. You think, aw, this ain't bad at all, and then it all goes downhill from there. Simpson soon sinks into bland, awkward, overreaching pop arrangements, and the country side of the equation falls away before some rather misguided crossover dreams. Oh, well. It started out kind of fun.

Red Simpson -- see artist discography

Daryle Singletary -- see artist discography

Ricky Skaggs -- see artist discography

David Slater "Exchange Of Hearts" (Capitol Records, 1988)

David Slater "Be With Me" (Capitol Records, 1989)
(Produced by Randy Scruggs)
Pretty weak. This was the second album from this Dallas-born also-ran, with two singles that stalled out in the Back 40. It flopped for good reason: he's an unremarkable singer, and the studio boys were just phoning it in when they laid down these tracks. Really, there's nothing on here that moved me, neither the (moderately) uptempo tunes or the sappy ballads. Terrible arrangements throughout, with lots of prefab, tinkly keyboards and dull, muffled drums, etc., etc. It's skippable.

Cal Smith - see artist discography

Carl Smith - see artist discography

Connie Smith - see artist discography

Margo Smith - see artist discography

Sammi Smith - see artist discography

Warren Smith "The First Country Collection Of..." (Liberty Records, 1961) (LP)
(Produced by Joe Allison)
Former rockabilly firebrand Warren Smith -- known for '50s classics such as "Ubangi Stomp" -- also tried his hand at mainstream country, cool stuff with a distinctly honkytonk vibe. Half the songs are Harlan Howard tunes, including standards such as "I Fall To Pieces" and "Pick Me Up On Your Way Down," with the rest of the songs coming from folks like Johnny Cash, Don Gibson, Fuzzy Owen and Wayne Walker... The no-frills, hard-country playlist suits Smith's style well, as he eases into a comfortably masculine, pleasantly robust style that recalls kings of the genre such as Carl Smith and Faron Young. The record isn't very original, but it does sound great. Perhaps the most interesting (and least well-known) song is "Take Good Care Of Her," a forlorn, you-can-have-her lost-love weeper. Two of the singles hit the Top Ten in '60 and '61, but continued success eluded him, and he slid off the charts within a few years. Too bad: with more originals sent his way, he could have done really well. (Note: the songs on this album were reissued as part of Bear Family's Call Of The Wild CD, listed below.)

Warren Smith "Call Of The Wild" (Bear Family Records, 1990)
Warren Smith "Classic Recordings" (Bear Family, 1992)
A super-rural '50s rocker who is best known for the rockabilly classic, "Ubangi Stomp," Smith went on to do country records, but it never really went anywhere. The oddest thing about these discs is how the label discounts Smith's early '60s recordings in the "Call of the Wild" liner notes -- basically, they say his country stuff sucked. I couldn't disagree more: there's a fun, loping Texas shuffle backbeat on here that you've just got to love. If anything, his earlier recordings when he was a rocker (the other disc) are a bit thinner sounding, and he wasn't really a rocker for long. One thing about Warren Smith, though -- he didn't sound like one of those skinny, greasy-haired rockabilly teens. Hardly. Sounds more like a dude who would wrap a tire iron upside your head in a truck stop parking lot, if you looked at him funny at the counter. These discs aren't top-flight material, but they're definitely worth checking out.

The Smokin' Armadillos "Out Of The Burrow" (EP) (Curb/Gramac Records, 1996)
Originally an indie release, this five-song EP brought this Bakersfield band to the attention of Curb Records... Chart success was elusive, but fans still remember this back-to-basics band fondly...

The Smokin' Armadillos "Smokin' Armadillos" (Curb Records, 1996)

The Smokin' Armadillos "Strike The Match" (Housekeeping Records, 1996)

Hank Snow - see artist discography

Sons Of Sylvia "Revelation" (Interscope Records, 2010)
Three brothers who were formerly in the country boy-band, The Clark Family Experience. After that group fell apart, siblings Adam, Ashley, and Austin formed the trio that eventually became the Sons Of Sylvia. This is more of a rock-pop album, though, which is a shame because they used to be kind of good as a Nashville-style country group.

Sons Of The Desert "Whatever Comes First" (Epic Records, 1997)
Seems pretty so-so to me... These Texas fellas, fronted by brothers Tim and Drew Womack, have kind of a mainstream rock sound, with traces of emotive-yet-bland rockers such as John Mellencamp prominent in the mix. If you like commercially-inclined, vaguely rootsy rock, then I suppose you'd like this. It sounds pretty tame and same-y to me, sort of like the Mavericks, but not as inventive. Hmmm...

Sons Of The Desert "Change" (MCA Records, 2000)
(Produced by Johnny Slate)
Switching labels, they sexed their sound with larger, lusher production, courtesy of producer Johnny Slate, packed with a space-filling steel guitar and lots of harmonic richness in the middle. I think I would have liked it better if they'd been able to resist the temptation to also process their vocals and add other unnecessary pop fillips. Their first album was too restrained and flat; this one is a bit unsubtle and over the top. Oh, well.

South 65 "South 65" (Atlantic Records, 1998)

South 65 "Dream Large" (Atlantic Records, 2001)
Ye gods. This is probably one of the worst, most embarrassing attempts at Nashville cooptation of the "boy band" sound of 'Nsync, Backstreet Boys, et al. The lead vocals are oafish, the harmonies are cloying and show-offy, and the production is hopelessly cluttered and bells'n'whistles-y. These guys really suck. That anyone could take a magnificent ballad like "The Most Beautiful Girl" (the album's Top Country single) and reduce it to such irritating banality is truly shocking. Assuming that any of these guys ever get into heaven, I hope Charlie Rich is waiting at the Pearly Gates with a good, solid two-by-four to whop somebody upside the head. Avoid this album at all costs.

Joe South "Classic Masters" (Capitol Records, 2002)
A handy 12-song summation of the hippie-era recording career of songwriter Joe South, a twangy, soul-drenched pop genius who wrote a remarkable string of smash radio hits, ranging from Lynn Anderson's "Rose Garden," one of the defining moments in the 'Seventies countrypolitan scene, to the thunderous hard rock anthem, "Hush," which put the band Deep Purple on the map. South's own versions of these songs are markedly different than the hits -- his "Rose Garden" is cluttered and compact, while his "Hush" is wildly funky and fun. Also included here are "Games People Play," a top Pop hit for South himself in 1969, as well as "Walk A Mile In My Shoes," which was one of his few actual country entries, and several lesser well-known gems from his back catalog. It's more rock than country, but still funky and down home, and worth checking out to see how these great songs found their genesis.

J. D. Souther -- see artist profile

Southern Empire Band "The Right Combination: SEB III" (Axbar Records, 1985)
(Produced by Perry Jones)
Hailing from the town of Rio Linda, California (near Sacramento) this West Coast band had clear commercial aspirations and somehow hooked up with the same Texas indie label that later launched the career of Top 40 star Mark Chesnutt... The same magic wasn't happening in '85, though, possibly because these guys were just a little too amateur and not-ready-for-prime-time, although considering what Country radio sounded like at the time, they can be forgiven for the tinkly keyboards and tinny guitars. The song title that drew me to this album, "Vote For Willie," turns out to be exactly what I wanted, a novelty tune about Willie Nelson, and it's also the highlight of the album, a cheerful ditty proclaiming Willie as the nation's political savior. I guess they would have legalized weed, at least, although the lyrics don't mention that...

Red Sovine - see artist discography

Billie Jo Spears - see artist discography

Brian Stace "Country Music Ain't Noise Pollution" (2004)
Is, too...!!

Brian Stace "Blue Eyed Bad Boy" (Little Round Records, 2004)
Self-released debut by a wannabee bad-boy Nashville star, mixing Southern rock with gruff-sensitive slower stuff. Basically, he wants to be Toby Keith. We'll see.

Karen Staley "Wildest Dreams" (MCA Records, 1989)

Karen Staley "Fearless" (Warner Brothers, 1998)

Joe Stampley -- see artist discography

Kenny Starr "The Blind Man In The Bleachers" (MCA Records, 1975) (LP)
(Produced by Frank Jones)
He's hardly a household name, even to fans of '70s country, but Kansas-born Kenny Starr had a major hit with the title track, "The Blind Man In The Bleachers," a sentimental novelty song along the lines of "Patches" or "Phantom 309" that soared up to #2 on the charts. He never topped that one, and although he had lots of singles, this was his only full album. That's too bad, since the rest of this record is pretty darn good. Of course, I'm partial to the classic studio style of the '60s/'70s-era Decca-MCA producers, with their clear, bright, vibrant sound and emphasis on the melody. And Starr was an artist who fit in well, crooning in a soulful mode that reminds you of Conway Twitty, but also with a few rough edges that ground him in traditional country. Also, there's another novelty weeper on here called "The Calico Cat," which got my attention just because I love kitty-cats. This one's definitely worth tracking down and giving a spin.

Kenny Starr "Kenny Starr" (SRO Records, 19--?) (LP)
(Produced by Kenny Starr & Terry Rose)
This appears to be an indie album that Starr released after his mid-'70s salad days... The "SRO" label stands for "Starr-Rose," and was based in Dallas, Texas.

The Statler Brothers - see artist discography

Red Steagall - see artist discography

June Stearns & Johnny Duncan "Back To Back" (Columbia Records, 1968) (LP)
What an odd couple! This duets album was the dual debut of two of Columbia's also-ran country singers. I'm not sure why these two were paired up to begin with, but it probably had something to do with the label figuring, what the heck -- nobody's heard of either of these two, why not throw 'em both and see if they can swim. Since Johnny Duncan's career was the one that really took off, and because he had a certain "outlaw" sheen during much of the 1970s, most folks would probably assume that the beehived young Ms. Stearns was the one holding him back, and making this disc more mellow. Think again! Check out her followup album (reviewed below), and you'll find that she was anything but wimpy or demure! On this disc, though, nothing ever really catches fire -- both singers seems to be playing by the rules, and the arrangements are pretty rinky-dink. Not cloying, but not great.

June Stearns "River Of Regret" (Columbia Records, 1968) (LP)
(Produced by Frank Jones)
A fairly robust, husky-voiced singer who reminds me in equal parts of Melba Montgomery and "Walkin' After Midnight"-style Patsy Cline, Stearns is a forgotten member of Nashville's late '60s generation... Despite the lackluster cover art (which shows a nervous-looking, stiff Stearns sitting by a flowing river bank, guitar in hand...) this is actually a pretty fun album. Studio producer Frank Jones provided her with a solid, bluesy backup, and she took it and ran. There are a few awkward passages, but for the most part this is a remarkably rootsy record. Includes an appropriately raunchy version of "Plastic Saddle," and similarly steamy tunes such as "Habit Not Desire" and "The Future Ex-Mrs. Jones," which is a pretty awesome cheatin' song. She really had it going on... wonder what ever happened to this gal...!

Steel Magnolia "Steel Magnolia" (EP) (Big Machine Records, 2010)
Slightly twangy soul duets from Meghan Linsey and Joshua Scott Jones, aka Steel Magnolia, the winners of a CMT cable talent show... The band's perky single, "Keep On Lovin' You," hit the Top 10 before a physical (CD) version was available for sale. Their soul-infused pop sound isn't quite my style (reminds me of Hall and Oates...) but they must have struck a chord with contemporary country fans, 'cuz these kids have hit the big time. The introductory EP also includes a couple of live tracks, including a rollicking, twangy version of Dwight Yoakam's "Fast As You."

Steel Magnolia "Steel Magnolia" (Big Machine Records, 2011)
(Produced by Dan Huff)
Singers Joshua Scott Jones and Meghan Linsey specialize in rock-pop country, drenched in American Idol-style soul vocals. It might be a winning formula commercially, but I can't make any emotional connection to this disc at all: everything is so technical and precise, it's difficult to imagine these two feeling anything for each other, either falling madly in love or feeling guilty for falling for someone else. The first half of the album reprises their earlier singles, but the second half holds a few new tunes and some surprises as well: the gentle vibe on "Without You" is a nice change of pace, and the reggae riddims on "Rainbow" and "Eggs Over Easy" show some musical diversity. Mostly, though, a cranky traditionalist like me will find it hard to get into the whole warbly, white-soul thing... I just like my country music twangy, beer-soaked and sad. Does that make me so wrong? Or just plain old-fashioned?

Keith Stegall - see artist discography

Ray Stevens - see artist discography

Gary Stewart - see artist discography

Larry Stewart "Down The Road" (RCA Records, 1993)
(Produced by Scott Hendricks & Larry Stewart)
The first solo album by the former lead singer of the band Restless Heart. The opening track, "Alright Already," was a Top Five hit. The rest of the material was generally slower stuff, on which he often sounded a bit too much like Kenny Rogers, which in my book is not much of a plus. Restless Heart were a pretty sappy band, but this disc is even gooier than a lot of their albums.

Larry Stewart "Heart Like A Hurricane" (Columbia Records, 1994)
(Produced by Scott Hendricks)
While this is also formulaic and rather generic, it's a much more engaging record than Stewart's solo debut. For one thing, it's way more uptempo, and the ballads aren't as flatly produced as they were on Down The Road. In other words, it's closer to the Restless Heart template, which is where Stewart originally made his mark, and the songs are more fun. Nothing on here did remotely as well on the charts, though, which is actually a little surprising, since it really ain't a bad album if you go for this kind of stuff. It's worth checking out, particularly if you're a fan to begin with.

Larry Stewart "Why Can't You" (Columbia Records, 1996)
(Produced by Emory Gordy, Jr.)
The fiddle-driven opening track, "They Ain't Made Enough Road," gives Stewart a Doug Kershaw-style lift and a much-welcome dose of twang. While he plunges back into ballads right away, there are a couple of other uptempo numbers that kinda make you wish he'd done more of the hard stuff when he had the chance... Producer Emory Gordy, Jr. also plays bass on here and adds a distinctively rootsy feel to the proceedings, making this one of his funner albums. Not bad, though it does get pretty middle-of-the-road by the end.

Larry Stewart "Learning To Breathe" (Windham Hill Records, 1999)
Windham Hill? Seriously, dude? Hm.

Lisa Stewart "Lisa Stewart" (BNA Records, 1993)
(Produced by Richard Landis)
A fairly unremarkable album by a gal who went on to be a TV show host on CNN. Slower-paced stock arrangements surround a modest voice; Stewart goes out of her way to sound like Patsy Cline on several tracks, and sort of Reba-esque on others... None of it to particularly moving effect.

Wynn Stewart - see artist discography

Doug Stone - see artist discography

Stonehoney "The Cedar Creek Sessions" (Music Road Records, 2010)
Energetic, urgent electrified roots-rock from Austin. There's a strong whiff of the 1970s country-rock sound in here, complete with youthful high harmonies, but a lot of clanging power chords as well. I couldn't really get into this one myself, but I bet these guys are great live, and I'm sure they have a pretty devoted following down in Texas. Try it for yourself...!

George Strait - see artist discography

Billy Strange "Catsup And Honey" (BACM, 2005)

Streamliner "Streamliner" (Broken Records, 1987) (LP)
(Produced by Tim McLaughlin & Sean Cagnon)
Just in case you're looking for under-the-radar also-rans, these guys from Portland, Oregon never came anywhere near the Country charts, but I'm sure they really would have loved to have "made it" in Nashville. This uber-DIY release isn't well-recorded and lacks musical oomph, but its heart was definitely in commercial country, so I'll include it here, just for the heck of it. Some tracks had Shenandoah-esque potential, such as "Never Letting Go," and might be worth a listen, though I was pretty underwhelmed. Anyone know if any of these guys did anything before or after this album?

Mel Street - see artist discography

Jud Strunk "Downeast Viewpoint" (Columbia Records, 1970) (LP)

Jud Strunk "Jones' General Store" (MGM Records, 1971)
(Produced by Jim Vinneau & Jud Strunk)
Although Jud Strunk is best known as a comedic songwriter, this is a very sincere, straightforward countrypolitan album, with pastoral folk-pop arrangements, and a brace of nostalgic songs about small-town life and bygone days. The simple, acoustic production and Strunk's high voice remind me quite a bit of the stuff Dick Feller was doing around the same time. Not earthshaking, but unpretentious and quite listenable... Worth a spin, if you're in the mood.

Jud Strunk "Daisy A Day" (MGM Records, 1973) (LP)
This album contained his only significant country hit, "A Daisy A Day," which charted in the Top 20 and was recorded by other artists as well.

Jud Strunk "A Semi-Reformed Tequila Crazed Gypsy Looks Back" (MCA Records, 1977) (LP)

Marty Stuart -- see artist discography

Nat Stuckey -- see artist discography

Sugarland "Twice The Speed Of Life" (Mercury Nashville, 2004)
(Produced by Garth Fundis)
Three struggling contemporary-folkish singer-songwriters from Atlanta turn their hands towards blatantly super-commercial Top Country Nashville fare, with decidedly iffy results. I kind of liked the single, "Baby Girl," even though it shamelessly lifts its catchiest hook from Terri Clark's "Three Mississippi," and even though the concept's a bit simplistic (a gal who's set off for Nashville sings to the folks back home, asking them to send some money; by the end of the song, she's sending cash to them, 'cuz she's made it in the big time). When I got the full album, though, I was less than thrilled. Lead singer Jennifer Nettle's phony, exaggerated twang ("Deeeeeeeeerre mom and dad...") plays poorly through the length of the album; she's trying to pull a Martina McBride, but sounds like a complete poseur. Plus, her vocal tone isn't just piercing and distinctive, it gets to be downright irritating. Likewise, the band overplays its hand on the lyrics and the hook-heavy production; even amid the elaborate formulae of the Nashville music factory, this album sounds overly prefab and contrived. I just don't buy it; they don't have real country soul, and they also don't have the sense of control it takes to really pull something like this off. Frankly, this record is so aggressively hit-oriented that it's kind of exhausting to listen to... (That being said, they'll probably wind up being the act of the century, since I pooh-poohed 'em straight out the gate.) (Postscript: Sure enough, after about a full year of aggressive promotion, they went Top 10. "Deeeeeeeeerre mom and dad..." "Deeeeeeeeerre mom and dad..." "Deeeeeeeeerre mom and dad..." "Deeeeeeeeerre mom and dad..." "Deeeeeeeeerre mom and dad..." Guess the egg's on my face!)

Sugarland "Enjoy The Ride" (Mercury-Nashville, 2006)
(Produced by Byron Gallimore, Kristian Bush & Jennifer Nettles)
The opening tracks on Sugarland's second album come as a pleasant surprise -- "Settlin' " and "County Line" both have a relatively simple sound, at least compared to the band's forceful, uber-jangly, overbaked (and wildly successful) commercial debut. Ah, at last! I sighed, they've learned how to keep it simple! Well, the slick, thick Nashville sound kicks in soon after that, but they still don't lay it on as thick as they did before. It turns out the reason is that the group has shed one of its principal members, songwriter-singer Kristen Hall, and now tailors its sound entirely towards the vocals of Jennifer Nettles, who acquits herself nicely. The record is, understandably, formulaic -- you don't hit the top of the Country charts without going over-the-top, musically speaking -- but it's a calmer, more easily digestible affair, and has moments of understatement that give me hope that they might tap into something closer to old-school country... Wouldn't that be nice? Doubtless some fans will feel cheated -- where's Kristen?? -- but I prefer this less hyperactive mix. The band itself seems a little conflicted about its future: on one hand, the album title seems to hint at an uneasiness about the impermanence of fame, though on the other hand, they close the record with a belated theme song, "Sugarland," which might come in handy if they stay together for a while. I dunno, I hadn't expected myself to be so amenable to this record... So I guess you can count me among the folks who are curious to see where it goes from here.

Sugarland "Love On The Inside" (Mercury-Nashville, 2008)
(Produced by Kristian Bush, Byron Gallimore & Jennifer Nettles)
Fascinating how such a popular Top 40 band, whose first two albums were so resolutely commercial and pop-oriented, could aim for such an introspective, almost folkish sound on their third album. I guess this is Jennifer Nettles returning to her folkie/adult-alt roots, with personal-sounding, confessional-inspirational lyrics and a softer-edged, less twanged-out mix. Reminds me quite a bit of Wynonna Judd's solo work, and I'm sure it will appeal to Wynonna's fans as well. Personally, I don't miss the ultra-exaggerated faux-twang of their first couple of records -- and since this disc was a big commercial hit, I wonder where they'll go from here... Hmmm. Time will tell!

Sugarland "Live On The Inside" (Mercury-Nashville, 2009)
(Produced by Kristian Bush & Jennifer Nettles)
A few years ago, Sugarland started out with a big bang, topping the charts, filling the airwaves, becoming stars. As this live album, a combination CD and concert DVD shows, though, since then they've gone to another level. You can hear it in the reverent murmur of the audience, and in the self-aware superstar purr of lead singer Jennifer Nettles: Sugarland has become the kind of "you changed my life, I worship you" band that gets a special kind of super-fan. Their songs have become more poetical and profound, as well (although with dips into poppy raunch that are meant to keep them in the just-plain-folks category...) Wynonna Judd comes to mind right away, with the modern pop-meets-tailored twang style, seasoned with constant bluesy soul-mama intonations. I suspect that there's some overlap in the fan base as well; it's a formula that works. I still think Nettles is overdoing it with the exaggerated twang, but hey -- who am I to argue with success? The big attraction for many fans will be the high-definition live footage from a concert in Lexington, where you can not only hear, but see the connection between Sugarland and their fans. One thing that's really cool: there's no overlap between the songs on the audio and video discs, a nice bonus for consumers in these troubled times.

Sugarland "Gold And Green" (Mercury Records, 2009)
(Produced by Kristian Bush, Jennifer Nettles & Byron Gallimore)
A smooth but not unpleasant holiday offering from this early 2000's-era supergroup. When they play it straight on standards such as "Winter Wonderland," it's okay... Jennifer Nettles' gospel-soul showboating on songs such as "Coming Home" and "Green And Gold" gets to be a bit noxious. In general, this disc shares the same problems as their Top 40 albums -- they seem to have a near-absolute inability to keep things simple, and are continually adding little "look at me!" touches that reflect, I suppose, the ethos of the American Idol scene, overproduced pop for folks who believe that more is always better. Personally, I prefer a more subtle touch. Nonetheless, there are some okay tunes on here, though there are other Christmas records I'd rather have around.

Sugarland "The Incredible Machine" (Mercury Records, 2010)

Trent Summar "...And The New Row Mob" (VFR Records, 2000)

Trent Summar & The New Row Mob "Live At 12th & Porter" (DCN Records, 2003)

Trent Summar & The New Row Mob "Horseshoes And Hand Grenades" (Palo Duro Records, 2006)
Yeahhhhhh!! Let's hear it for the dark underbelly of Nashville! Songwriter Trent Summar is doin' fine for himself as a Music City songsmith (you might recognize his Steve Earle-styled rebel anthem, "Guys Like Me," from its earlier incarnation on a Gary Allan album...) but he's also one helluva alt-ish hard country artist all on his own. This is a flat-out awesome, smokin' set of hard-edged, cheerfully rowdy, rollicking material, from the twangy title track, to the power-chord, Southern Rock heaviness of "She Knows What To Do," kind of the guys-eye view of the Gretchen Wilson schtick. One song stands out as a potential Top 40 smash: "Supposed To Do" is a mournful, shimmering ballad about all the things that add up, in their little way, to a broken heart: the truck that took her away, etc., and while I could easily see any number of Nashville stars taking this one on, Summar's own vocals are perfect on this tune... In a just world, a song like this should sail to the top. Other highlights include "Really Never Loved Her Anyway" (another fine novelty song) and "Girl From Tennessee," which extols the virtures of the local gals, and is a fine tune, despite strong thematic (and structural) similarities to Willis Alan Ramsey's "Northeast Texas Women..." The only weak note on the entire album is Summar's cowpunky rave-up on his cover of the George Jones oldie, "He Stopped Loving Her Today," but one dubious tune stacked up against ten winners ain't a bad ratio. This disc is highly recommended.

Joe Sun - see artist discography

Doug Supernaw - see artist discography

Billy Swan "Greatest Hits" (Collector's Choice Records, 2005)
As one who lived throught the era, I can say with confidence that Billy Swan's one big hit will forever be historically tied with the roller rinks of the 1970s... "I Can Help," with its glimmering, irresistible, low-rent organ riff, was simply the ultimate cotton-candy rollerskating song. Decades later, it's still a great pop tune, as fine a brainworm as any other eternal, immutable melody... Nothing he did matched that one wonderful hit, but the rest of his 'Fifties-tinged repertoire has its charm, and Swan remains a likeable figure, with a lighthearted approach to songmaking that can still win over openminded listeners. He wasn't the twangiest country singer, but he also never strayed too far from his roots.

Sunny Sweeney "Heartbreaker's Hall Of Fame" (Self-Released, 2006)
God bless Texas! That little state has got more real country music in its little finger than the rest of the country has in its collective craw. Newcomer Sunny Sweeney is the latest example of the Lone Star State's amazing ability to produce the sort of super-twangy, super-indie honkytonk that makes folks like me look forward to tapping our toes and drinking our beers for year to come. Possessed of a squeaky little rasp that seems equal parts Tanya Tucker and Iris Dement, Sweeney sings with true conviction and pure delight, infusing each song with sincere emotion and a swinging sense of fun. Her band twangs along at a rapid-fire clip, slathering on sweet fiddle, pedal steel and bouncy guitar -- all pure catnip for the hard-country crowd. The song selection can't be beat, either, ranging from several great Sweeney originals to a pair of Jim Lauderdale tunes, a cover of Lacy J. Dalton's ode to Nashville, "16th Avenue," and a version of Iris Dement's "Mama's Opry" that's so achingly sincere, you'll find it hard to believe Sweeney didn't write it herself. Lauderdale makes an appearance himself, singing a fine duet on Keith Sykes' "Lavender Blue," while fiddler Bobby Flores -- a longtime indie-Texas stalwart -- helps anchor the band. All in all, a really nice record and a kickass debut that should set Sweeney on the path to win a much wider audience. Recommended! (See her website for more info: www.sunnysweeney.com )

Sunny Sweeney "Concrete" (Republic Nashville, 2011)
(Produced by Brett Beavers)

Sweethearts Of The Rodeo - see artist discography

Taylor Swift - see artist discography

Sylvia - see artist discography

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Hick Music Index

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