| | Tracy Byrd Greatest Hits CD Tracy Byrd Discography of CDs
The first two songs on Tracy Byrd's GREATEST HITS make clear what a wide variety of material the Beaumont, Texas native has successfully tackled. "The Truth About Men" (which also features Andy Griggs, Montgomery Gentry, and Blake Shelton) is a great example of Byrd's trademark party songs. Celebrating the less-than-dainty behavior that often characterizes the male gender, the tune is driven by a beat that tears a honky-tonk page straight from the Merle Haggard barroom book. "Just Let Me Be in Love," on the other hand, is a Latin-influenced number full of nylon-string flamenco-guitar leads and lush synthesizer lines. Although Byrd's vocal performance is stone-cold country, the end result here sounds more like SHANGO-era Santana than Marty Robbins or Freddy Fender. Luckily, Byrd's big, rich voice and classic phrasing tie the various stylistic detours together.
In addition to several re-recorded versions of his biggest chart-toppers, the 2005 collection includes two previously unreleased tracks. "Johnny Cash" is an escapist fantasy in the vein of Johnny Paycheck's "Take This Job and Shove It," while "Revenge of a Middle-Aged Woman" is a hilarious two-stepping romp that will definitely make male listeners think twice about doing their woman wrong. Tracy Byrd Greatest Hits Songs Greatest Hits Review
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Purchase Greatest Hits CD To buy, Click on price to add to cart | Taylor Swift Fearless CD (2008) Enhanced CD
Greatest Hits album
$14.65 Taylor Swift abandons any pretense that she's a teen on her second album, FEARLESS--which isn't to say that she suddenly tarts herself up, running away from her youth in a manner that's all too familiar to many teen stars. Swift's maturation is deliberate and careful, styled after the crossover country-pop of Shania Twain and Faith Hill before they turned into divas. Despite the success of her self-titled 2006 debut, there's nothing at all diva-like about Swift on FEARLESS: she's soft-spoken and considerate, a big sister instead of a big star. Nowhere is this truer than on "Fifteen," a kind warning for a teen to watch her heart sung from the perspective of a woman who's perhaps twice that age--a sly trick for the 18-year-old Swift. There may be a hint of youthfulness to her singing but that's the only hint of girlishness here; her writing--and she had a hand in penning all 13 tracks here, with six of them bearing her solitary credit--is sharply, subtly crafted and the music is softly assured, never pushing its hooks too hard. Like many country-pop albums of the 2000s, the pop heavily outweighs the country--there aren't fiddles here, there are violins--yet ...
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$12.99 When Willie Nelson took the unexpected step of releasing STARDUST in 1978, many predicted that the album of popular standards would severely derail the outlaw country singer's career. Confounding the critics, the disc became Nelson's best selling effort, and spawned a whole sub-genre of modern singers covering the classics. Nelson revisited the format with 1994's orchestral HEALING HANDS OF TIME and to varying degrees on several other records, but it wasn't until 2009's AMERICAN CLASSIC that the red-headed stranger delivered an album billed as the true follow-up to STARDUST.
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