Gary Allan is one of the most underrated of country-music’s established talents.

Gary’s music has long been overshadowed by his personal life, but there has always seemed to be a convergence of the singer’s turbulent private life with his music and/or his persona.

For Gary Allan sported the threatening tattooed biker’s look long before tatts became a generational fashion statement for many who are young enough to be Gary’s children.

The masochistic “appeal” of the title song suggests Bill Luther, Brett James and Justin Weaver set out to write a “Gary Allan song;” one in which the protagonist interrupts his pitty party just long enough to voluntarily take responsibility for his actions.

Gary’s brooding, bad boy image is played out in several of these songs, redeemed as it arguably is by the saving grace of a somewhat oxymoronic tender vulnerability.

In Gary Allan’s musical world, women are usually at the center of the recording artist’s frustration or occasional despondency.    These attitudes are occasionally offset by the swagger and assertiveness typified by the mildly sexist lyrics of That Ain’t Gonna Fly.

Today is a song of jealousy and immaturity.  The hostile imagery of its lyrics suggests a powerful emotion is not limited to the double entendre evinced by the title of Kiss Me When I’m Down and begs the question, assuming its authenticity, amid the selfi-indulgence of yet a nother selection (Along the Way) "When will Gary Allan grow up?".

We Fly By Night is an upbeat sexual celebration; one of the album’s concessions to country radio (others include When You Give Yourself Away and the somewhat supposedly autobiographical tribute to a special lady: She Gets Me).

No Regrets, a charitable bit of introspection, is an ideal closer to the ten songs available on the standard issue of Get Off On the Pain.  Those who opt for the deluxe version will enjoy Long Summer Days as well as “live” versions of Right Where I Need to Be, Best I Ever Had and Watching Airplanes.

The latter underscore the strong connection between Gary and his fans and provide the best examples of Gary’s captivating performances that suggest a total entertainer at his best.

Mike Schikora may be a cowboy, hat, horse named JB and all, but if This Cowboy’s in Love (a bow to the title song?) is cowboy music, it must be cowboy music for the 21^st century, as there are only bits and pieces suggesting a throwback to the singing cowboy era of yesteryear.

Mike wouldn’t have to evoke Muddy Waters’ name in Long Way From Where I’ve Been (the first of 12 songs Schikora either wrote or co-wrote here)- though he does- for it to take me too long to conclude that Mike's kind of cowboy music is at least equal parts blues (Check out Be Good To Me) and/or sometimes country.

Hoot Hester and  Hargus "Pig" Robbins lead the list of impressive musicians assisting Shikora (who provides his own background vocals) with this project.

As far as hit material, that might depend on if the world is ready for yet another song titled Blue Heartache.  Then again, with the right promotion, Come Closing Time, Pour Me Back Down and Be Good To Me could be contenders.

Josh Turner

Haywire (Deluxe Edition)

 Rating *** 1/2

More Than Satisfied

Rating *****

Of the twelve tracks, including the title song (the title of which summarizes my reaction to this collection), the rousing Bump Bounce Boogie, and Liz’ duet with Tony Booth (remember him?) on a Billy Yates-Jerry Salley song (What We Don’t Have), I have a few favorites of my own:  These include Talley’s take on Leona Williams’ The Way It Was and  Liz' reprise of I’m Not That Good At Goodbyes ( perhaps even Stella Parton agrees, a standard deserving a cover rendition at least every decade or so, that it might be introduced to a new generation of listeners).

But perhaps the most innovative recording here is Johnny Getting Out of Jail Barbeque.  If you’ll recall, it was a perhaps apocryphal barbeque (depending upon the source), that resulted in Johnny Rodriguez heading for jail (for the first time), so this song has nothing to do with Rodriguez.  Rather, it’s a creative tale about an unusual gig, with a narrative from the “entertainment’s” perspective.  (Road-weary and otherwise struggling musicians will want to buy Liz’ CD based on this story-song alone!)           

If the surname Talley makes you thing of James or Lewis, realize that, in addition to her loyal U.S. following,  Liz receives “a lot of attention and sales overseas.  I’ll be going back to Germany in March with Martha Moore and a couple of Texas acts… Hopefully with time, I’ll get some opening act spots or increased sales.”

I expect both for Liz in 2010.  She’s easily made one of the best CDs I’ve heard in 2009!

Nathan Lee

Risk Everything

Rating ****

If you’ve a 12th & Porter regular, you’re no stranger to Nathan Lee’s music. A tattoo collector, Nathan Lee, is no longer homeless, though his personal struggles factor into the autobiographical lyrics, as well as the personal philosophy, permeating the lyrics of these 11 self-penned (or co-written) tracks. (Something to keep in mind lest you, scanning the titles of song selections, think that Still, a song Lee co-wrote with Paul Moak, is a Bill Anderson cover.)

It’s hard to classify Nathan’s music, though it is in keeping with one whose musical persona is that of “Hallmark cards & hand grenades," "rainbows & razor blades” and on and on. Lee’s vocals suggest a raspy, growling mixture best described as Rod Stewart meets Bob Seeger meets Kenny Rogers.

Nathan is clearly a thinker and one with an ability to turn a phrase. There’s a little gospel, a little Christian imagery, and a lot of introspection in these lyrics.

It’s hard to pick out any particular song that will drive this album, though the infectious, Open Road (Yes, for all his raspiness, Lee can hit a high note) is the perfect opener.

Bob Dylan fans know the name Hollis Brown. So do those who have followed the indy quartet for years. (Check out the group’s Running Out of Range released in 2000.)

Hollis Brown’s new self-titled CD (featuring Passin' Me By) has been heralded by both MTV and CMT. Such convergence commands respect that music critics appreciate, as should music fans, whether or not the band’s energized, hard-driving sound appeals to those beyond a certain age.

Hollis Brown is Jon Bonilla (lead guitar), Mike Montali (vocals, guitar), Mike Graves (drums) and Michael Woscyk (bass).

All 11 songs were written by Jon and Mike. Best bets (especially for those who are more CMT than MTV): Walk on Water and Carolina, Carolina

Bryan Ragsdale

Where Cowpokes Grow

Rating ***

Nothing in Bryan Ragsdale’s Luck Media bio suggests any kinship to Ray Stevens (née Harold Ray Ragsdale), so I’ll assume there is none.

Indeed, Bryan’s music is less suited to Stevens’ style than to say Michael Martin Murphy. Listeners instantly get the feeling that if Bryan didn’t cut these largely western songs first, Riders in the Sky, or singers of yesteryear ranging from Moe Bandy to Rex Allen, Jr. might have chart career resurgences.

Actually, Ragsdale has done all right for himself, building on the success of his 2007 debut album Wyoming Melodies with this CD and the debut single from it, Modern Day Mountain Man.

The single was wisely chosen since it is easily the most radio-friendly song on this 13-song CD, though I’m sure many will enjoy the title song or any number of the other recordings found here.

Looking at the list of tracks, I couldn’t help but notice #13: Somewhere Over the Rainbow. Surely, there can only be only song by that title, I thought (sometimes it’s not good that you can’t copyright a title), but how would it fare alongside the largely cowboy titles like He’s A Cowboy and A Cowboy Lives?

Actually, the musical departure suggests some versatility, as Ragsdale keeps Judy Garland’s wistfulness while changing a line or two to make his rendition truly Bryan’s song (Apologies to Brian Piccolo fans. I couldn’t resist!)

Airwaves

Rating **

This self-titled EP features the music of Brooklyn-based songwriter/vocalist/guitarist Nicole Schneit and her group.

Nicole is a promising songwriter- she wrote each of the five songs featured here- but as a singer I can only charitably call her a stylist.

That’s not a slam if Schneit’s music is to reviewed the same way one might critique Bob Dylan, Kris Kristofferson or many other songwriters who record but are not really “singers.” However, when I can hear Nicole’s lyrics over what is at times overpowering production, I’m still giving points largely to what is impressive musicianship

Nicole’s vocals sounded flat and off-key when I heard the first track Gems, which, frankly, sounded more like an assault on my ears than- well, a gem.

Thanks to shared vocals with drummer Dave Ferraro, Ryan Trott (on bass and guitar) and Chester Gwazda (the album’s producer), Lightning is a vast improvement.

The other songs here are OK, but maybe by shifting lead vocals and recording its next CD in a Nashville studio (this one was recorded in Baltimore), Airwaves will make me more of a fan.

David Nail

I'm About To Come Alive

Rating ****

This 11-song CD’s title track may not become a classic, but it is a well-written addition to music of the classic “don’t give up on me” theme of many country songs.

Indeed, it sets the mood for the following selection, one with which David Nail’s fans are already familiar, given the hit status of Red Light, again, an interesting lyrical twist on the traditional leavin’ (or, in this case, being left) country song.

Lookin’ For a Good Time is the title of a song that comes close to that of an Alan Jackson hit, but its interesting take on the realities of casual sex seems more suited to David’s ability to address the concepts of introspection and growth than to Jackson’s shy, laidback persona.

Summer Job Days sounds more like a song Kenny Chesney may have written or had on hold. (In reality, the song was written by Neil Thrasher, Dulaney and Gary LeVox.) This is especially intriguing in that Kenny co-wrote (with Scooter Carusoe), the almost equally-nostalgic Turning Home, seemingly for David who wrote about his own roots in the “Show Me” state, Missouri.

But my hands-down favorite on a CD of several good songs is one that David co-wrote with Scooter: Clouds got my attention with a brilliant lyric espousing a philosophy that many women probably haven’t considered and don’t necessarily want to hear, but this “guy’s song” lays it on the line, if you want to know “the truth.”

As with most of the other songs on this CD- and how could I resist saying so?- David’s nailed it!

Sean Walsh and the National Reserve

Homesick

Rating ** 1/2

Sean Walsh & the National Reserve are a Brooklyn-based group (with members, apparently, whose number exceeds the number of fingers on both hands) that have a style all their own.

That’s not to say I fully understand their music, described as being “steeped in Americana tradition.” That’s because, even with a second listen, some of the songs seem to be overpowered by the mix.

The listener feels robbed, but not sure whom to hold responsible: Kyle “Slick” Johnson engineered and mixed Lovesick, co-producing the album with Walsh. In any event, Sean is obviously content with his choices because he’s released Lovesick on Lover’s Dream, Walsh’s own label.

I enjoyed what I could clearly hear, notably My Dizzy Head, the theme of which is suggested by its title and a rockin’ hand-clapper titled You Know.

Cathy-Anne McClintock

Rating *** 1/2

Former Tumbleweed singer/songwriter Cathy-Anne McClintock’s self-titled CD is much-anticipated by fans of the Canadian bluegrass band. McClintock’s newest ”ensemble” effort (hubby Steven produces, daughter Tessa sings harmony, as do Trisha Gagnon, Eric Uglum and Matt Borden) also features Alan Doyle and the songs of David Fertitta, Larry Wayne Clark and others.

McClintock’s inclusion of I Wanna Live Like That , a pleasant, upbeat duet (one of two, featuring Tim O’Brien) proves that Cathy-Ann continues to embrace the bluegrass sensibilities that have brought these 13-songs being marketed as folk/Americana/country to the fore.

Highlights include No Matter What (I like the wisdom and willingness to take a stand suggested in the lyrics and well as McClintock’s rendering of the song) and Strong Enough (Cathy-Anne, as protagonist, projects an artful display of crabbiness, somehow making such an emotional display an almost endearing quality.)

Hey, a song of attitude, is puzzling in that it contains the four-letter alternative to the word excrement. Unfortunately, this all but(t) guarantees either radio censorship or an edited radio version of an unnecessary diversion from lyrics that are powerful enough without evoking a reaction suggesting that, even in the 21st century, behavioral double standards still rule.

Best song found here? That would be So American, an artfully-written commentary that Bob Dylan might have written had Dylan been channeling John Mellancamp . (Indeed, how many songs can you name that conceptualize “serial monogamy” while name-checking Ben Bradlee’s better-half/Quinn Bradlee’s mom, the equally-famous-in-her-own-right, Sally Quinn and Page Six favorite, Steve Wynn?)

Tanya Tucker

My Turn

Rating *****

By now most of Tanya Tucker’s fans are aware that Tucker’s cut a dozen country standards for a record label imprint as a one-off project. They know that these covers of hits, ranging from Faron Young’s recording of Wine Me Up to Merle Haggard’s Ramblin’ Fever, are songs that Tanya believes honor the memory of her father Beau (a/k/a Bo), who loved traditional country music.

They may not know, however, that while no one twists Tucker’s arm, she had to be persuaded to go this musical direction.

When I interviewed Tanya at entertainment law attorney Jim Zumwalt’s office July 8th, Tucker told me she was six songs into a Greg Brown-produced album of new material when Pete Anderson called her “out of the blue… I asked Greg to call [Pete] back [but Greg] never did.

“So I called Pete back and I said ‘What’ve ya got?’ He told me and I still was a little hesitant because I was more into coming out with something new, but then I met with Jim Zumwalt and he put it into layman’s terms for me."

Zumwalt’s practicality impressed Tucker, ultimately winning out because Saguaro Road Records, while hardly a household name, packs the muscle of its Time-Life association in the all-important areas of marketing and distribution.

In the end, Tanya told me “ I’m so glad I made the decision to do it because working with Time-Life has been a real walk in the park. Compared to all of my other record labels put together, they have done more for me already than any of them have… They listen to suggestions… and they actually do something about them."

Listeners are the real winners, however. While Tanya’s pairing with Jim Lauderdale on Love’s Gonna Live Here Again won’t bring back Buck Owens and Don Rich, it’s the next best thing.

Similarly, while Tanya and The Grascals are no Conway and Loretta, they bring off an entertaining yet respectful interpretation of After the Fire is Gone.

Tanya and Rhonda Vincent also offer a respectful rendition of You Don’t Know Me that I think both Cindy Walker and Eddy Arnold would have thoroughly enjoyed.

Even the staunchest Wynn Stewart fan will admit that Tucker and Jo-El Sonnier do justice to Big, Big Love, while Charley Pride and Ben Peters would concede that Is Anybody Goin’ to San Antonepostamble();