Josh Turner - Your Man
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CD Details
Artist: Josh TurnerEdition: Music CD
CD Release Date: 2006-01-24
Music Label: Mca Nashville
Soundtracks:
- Would You Go With Me
- Baby's Gone Home To Mama
- No Rush
- Your Man
- Loretta Lynn's Lincoln
- White Noise
- Angels Fall Sometimes
- Lord Have Mercy On A Country Boy
- Me And God
- Gravity
- Way Down South
Music reviews of Your Man
Music Review: Go Way Down South with Josh
Rating: 5 Stars
Josh Turner, the twenty eight year old country boy with a voice carved from solid granite, invites you to take a trip with him to the South Carolina Low Country, a genius phrase he recently coined to describe his playful neotraditional sound and the name for the Myrtle Beach region of his home state. Trust me, ya wanna go with him.
Turner is a ladykiller at 6'1" with dark hair, sparkling blue eyes, a big megawatt smile and a strategically placed cross nearly lost in a spattering of dark chest hair that reaches his clavicle. Not only that, he also posesses a rich, commanding voice that moves easily between both baritone and bass registers and drawls and rumbles in the bass register when speaking. This guy's got sex symbol written all over him, even with the knot firmly tied to his beautiful wife Jennifer, Turner's co-star in the video to the title track and keyboard player in his road band.
The album opens with "Would You Go With Me", a rolling Gospel tinged bluegrass gem with an ethereal lyric. Next is "Baby's Gone Home To Mama", a hilarious redneck romp that finds Turner in his trailer house on a rainy day, laying around in his "po'jammies" and saying good riddance to "the little Chihuahuah".
The first major highlight of the album is "No Rush", a four minute waltz of seduction with the first verse spoken. The song finds Turner "right on the edge of fallin'" and wanting to slow down and enjoy every second of it with the object of his affections. It is the closest thing to heaven a single girl can get!
The lead off single and title track just gave Turner the first #1 of his career. It sounds like something out of the Johnny and June era, with an electric, steel, and fiddle all contributing to the "boom chika boom" type melody, and finds Turner all twitterpated at the thought of being his girl's man and having some time alone with her.
Another major highlight of the record is "Loretta Lynn's Lincoln", a trippy journey into the subconscious of a man that dreams he bought Miss Loretta's old Lincoln from a dealer and pays tribute to her, Dolly and Tootsie's Orchid Lounge, and gives a nod to truckin' song singer Red Sovine. Ya gotta hear this one for yourself. It even comes complete with a gaggle of backup singers that models what Ray Charles used to do with his songs.
"White Noise" is a honky tonkin' tribute to country and the people who listen to it, co-written by Turner and big ole John Anderson, whose voice still cuts through like a hot knife, and "Me And God" shows us Turner's Gospel roots again, featuring bluegrass pioneer Dr. Ralph Stanley, who still forges ahead and sings on the record despite having a triple bypass ten weeks prior to the recording!
"Lord Have Mercy On A Country Boy" is a fitting reworking of the Don Williams song, since Turner hails from Hannah, a tiny town in eastern SC that Turner claims doesn't even have a ZIP code.
"Angels Fall Sometimes" and "Gravity" are two ballads inspired by Jennifer. "Gravity" is a sweet, unique lyric, claiming that it's responsible for bringing the couple together.
"Well, I never really liked it much
Always left me all scraped up
Never really saw it as a good thing
It changes tides out on the sea
Pulls your body close to me
First time I ain't been afraid to fall
Don't guess it's so bad after all
Gravity."
"Way Down South" is Turner's catchy, bluegrassy tribute to the Southland and it's people. You can practically smell the clothes hangin' on the line and see Turner wave at people while he mows the lawn. After Turner bellows the last "Way on down", the band fades out, then comes back and breaks into a bit of "Dixie", which gives the guys the giggles and ends the album on a fun note.
Since the album has just reached Gold status after only four weeks and given Turner a #1, it's safe to say that the sophomore blues are nowhere in sight and Turner's career is gonna go full speed ahead. Come join the rest of the Train Gang and head down south for a spell.
Description of Your Man
New artists dream about the kind of results Josh Turner achieved with his 2003 debut, Long Black Train. Spurred by its haunting, gospel-inflected title track, the album sold a million copies and brought Turner a pair of nominations from the influential Country Music Association, plus a Top New Artist nomination from the Academy of Country Music. That debut, however, was merely a prelude. Turner's sophomore project, Your Man, demonstrates an increased maturity, a better-honed sense of his strengths, and a more specific portrait of the singer as both an artist and a man."I've really learned a lot," Turner reflects. "We were listening to my first record the other day, and I couldn't believe how much my voice has matured and grown from that time."
The album covers a range of emotions--from romantic devotion to spiritual intimacy to ethereal silliness--while paying overt allegiance to many of the musical figures who inspired him. Two of his biggest influences, honky-tonker John Anderson and bluegrass pioneer Ralph Stanley, make guest appearances; a Don Williams hit, "Lord Have Mercy on a Country Boy," gets reworked; and the Coal Miner's Daughter is even referenced in the title of the inexplicably weird "Loretta Lynn's Lincoln." If that weren't enough, Turner pays tribute to Johnny Cash, Dolly Parton, Charley Pride, and even trucker-ballad specialist Red Sovine. In fact, the last notes Turner sings on the album are an unintentional tribute to a country-gospel master, as the singer recaptures the way on down line from the late J.D. Sumners performance on an Elvis Presley hit.
Born and raised in Hannah, South Carolina, Turner got his first exposure to music at the Union Baptist Church. But his introduction to country music came through his father's mom, who acquainted him with Southern gospel quartets; country stars Johnny Cash, Waylon Jennings, Roy Acuff and Ernest Tubb; and bluegrass legends the Osborne Brothers and the Stanley Brothers.
"Ralph Stanley has such a unique voice, and he's really carved a niche for himself," Turner says. "He's kept mountain music and bluegrass music alive, and introduced a lot of new fans to that kind of music, and I was one of those people from a very early age."
After his initial success, Turner was empowered on the second album. He explores more emotional avenues and utilizes the lower end of his identifiable bass/baritone range more frequently. Though it sets him apart from his contemporaries, he's careful not to turn his signature into a novelty. Instead, he's picked material in which his basement tones are a natural enhancement to the messages hes conveying. Still, Turner's voice is ultimately an instrument that communicates the deeper influences in his world. His wife, his musical heritage, and his deeper understanding of his art all make their presence felt through inspiration or expression on Your Man, an uncommonly seamless sophomore effort. It's clear that calling his award-winning first album a debut was right on the mark: It was merely an introduction to an inspired and evolving artist.
The success of his debut, Long Black Train, had folks in Nashville making bets about Josh Turner's capturing 2004's CMA Horizon Award, but then Turner, whose resonant baritone-bass will rattle the screws out of your car stereo speakers, seemed to quickly fade from sight. Now, with his sophomore album, he proves he wasn't a fluke, even if nothing here immerses itself in the baptismal fire of temptation, death, and redemption with the power of Train. His duet with Ralph Stanley, "Me and God," which Turner wrote, somehow falls short, especially since Stanley sounds so weak that he might have fallen over at the microphone. Where Turner does bring home the bacon is in moving out of the gospel area and wisely choosing four songs from the pen of the underrated Shawn Camp: "Would You Go with Me," the irresistible bluegrass invitation to forever (with lyrics that sound Biblically inspired, despite the overly romantic tone); the hilarious "Loretta Lynn's Lincoln"; the bluesy "No Rush," which walks the same sexy path as Tony Joe White and Conway Twitty; and the frustrated-husband lament "Baby's Gone Home to Mama." Turner also scores points in tipping his hat to heritage, sometimes more subtle (reworking Don Williams's "Lord Have Mercy on a Country Boy") than overt. But not always. When the South Carolinian launches into his own "Way Down South," a mandolin-and-electric-guitar paean to the geographical womb that formed him, that sound you hear in the background is the whoosh of cowboy hats, sailing through the Dixiefied stratosphere. --Alanna Nash
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