| Nichols' New Release A Musical
'Revelation'
By John Dunn
times record • jdunn@swtimes.com
Joe Nichols displays a lot of nerve on his new album,
“Revelation.”
And that’s a good thing.
Rather than play it safe and repeat the winning formula of 2002’s
“Man with a Memory,” his acclaimed debut on Universal South and an
album fast approaching platinum status for sales of a million
copies, the Rogers native commits the modern-day Nashville sin of
eschewing the major labels’ cookie-cutter approach in favor of
taking a few risks for the sake of artistry on his new release.
Inspired covers of Iris DeMent, Gene Watson and an unearthed Bobby
Braddock-penned relic recorded by Waylon Jennings in 1972 are chief
among the creative curveballs served up by the tousle-haired
Nichols, who was again guided in the studio by producer Brent
Rowan.
But it’s Nichols’ vocal prowess, not necessarily his song
choices, that, in effect, carry the day. Blessed with the ability to
make dull material sparkle and shine with his stone-cold country
baritone, Nichols dips a little deeper into the emotional well on
“Revelation.” The result is a quiet, introspective document that
stands in direct contrast to the chest-thumping bombast of Toby
Keith and the arena-friendly country-lite of Kenny Chesney. With
“Revelation,” Nichols, whose vocals are an amalgam of such stylists
as George Jones, Merle Haggard, Keith Whitley and Randy Travis,
further cements his standing among young country’s elite and firmly
aligns himself with such high-profile neotraditionalists as Alan
Jackson, George Strait and Brad Paisley as a beacon of hope for fans
of country music who like a little twang for their bucks.
Equally at ease singing ballads or tongue-in-cheek “fun” songs,
Nichols opted for a more serious tone on “Revelation,” which at
times touches on his own spirituality without ever becoming too
preachy for a mass audience.
The title song, written by Braddock, is a risky venture for
today’s marketplace, given the shallow, beer commercial-ready lyrics
of many current country hits. The intensity builds as Nichols’
rakish sinner describes a biblical apocalypse, only to awaken from
his nightmare and tell God, “If I never go to hell, Lord, it’ll be
because you scared it out of me.” Not exactly a song for the “Save a
Horse (Ride a Cowboy)” crowd, huh?
Same goes for the album’s first single, “If Nobody Believed in
You,” which comes across as another “message” song, much like his
first chart-topper, “The Impossible.” Penned by veteran tunesmith
Harley Allen, “If Nobody Believed in You” tells the story of a boy
struggling to play ball under the watchful eyes of a demanding
father, an old man having his car keys taken away and, ultimately,
God, for whom Nichols wonders, “I wonder how much more he can take /
I just pray it’s not too late.”
“Singer in a Band,” written by Gary Harrison and Tim Mensy, is
sure to strike a chord with today’s largely female country audience
with its tug at listeners’ heartstrings. One shudders to think how
the song would sound in the hands of some of the new, hyped pretty
faces in Nashville, rather than in the capable hands of Nichols. It
takes an interpreter of Nichols’ caliber to breathe new life into
such rapidly tiring, modern country cliches as a cancer-stricken
child (this one a “third-grade angel”), a soldier and a single mom
working overtime. Look for it to climb into the top 10 soon.
It’s pure conjecture, but the death of Nichols’ father, Mike, in
2002 may have figured into Nichols’ recording “I Wish That Wasn’t
All,” a reflective song by Chris DuBois and Ashley Gorley that
carries the message, “Some things just leave you wantin’ more.”
DeMent’s “No Time to Cry,” previously recorded by Haggard, details
how finding time to grieve the death of loved one — in this case a
father — often takes a back seat to making a living to pay bills.
That Nichols’ cover rivals Haggard’s in its quiet resignation is a
testament to his vocal powers.
On the surface, other tracks are conventional country fare. But
Nichols excels mightily on such tried-and-true formulas. The tuneful
“If I Ever Get Her Back,” by songwriters Billy Lawson and Billy
Yates, is a good ol’ hurtin’ song about a regret-filled husband and
is tailormade for Nichols’ understated intensity. Nichols’ cover of
“Farewell Party” never quite reaches the stratospheric heights of
Gene Watson’s 1979 signature smash, but he at least outshines
Jackson, who recorded the song in 1999.
“The Shade,” written by
Troy Jones and Shane Decker, celebrates the simple country life.
Bryan Sutton’s tasteful mandolin licks punctuate the song’s lazy
pace, giving the song a relaxed, stroll-in-the-country vibe. “Don’t
Ruin It for the Rest of Us” and “What’s a Guy Gotta Do” showcase
Nichols’ playful side. The former — penned by Sam Tate, Annie Tate,
Georgia Middleman and Jimmy Ritchey — is dancefloor-ready and
recalls the sawdust-flavored work on Brad Paisley’s recent album,
while Nichols channels Strait on the latter — written by Nichols,
Kelley Lovelace and Don Sampson — as Stuart Duncan adds blistering
fiddle flourishes.
For two years now, Nichols’ career has simmered with the success
of “Man with a Memory,” a rare mainstream country album that lived
up to its hype. He copped top newcomer awards from both the Country
Music Association and the Academy of Country Music for his efforts,
as well as earning four Grammy nods. Heartfelt and honest,
“Revelation” should bring his career to a roaring boil and gain him
even more industry accolades.
And that’s a good thing — for Nichols and the future of country
music.
John dunn is a copy editor and page designer for
the times record.
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