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"Greatest Hits" (08/31/2004) Country Womack, Lee Ann, MCA NashvillePersonnel: Lee Ann Womack, Willie Nelson (vocals); B. James Lowry, Randy Scruggs (acoustic guitar); Brent Mason, Pat Buchanan (electric guitar); Aubrey Haynie, Paul Franklin (steel guitar); Steve Nathan (keyboards); Glen Worf (bass); Lonnie Wilson, Chad Cromwell (drums). Producers include: Mark Wright, Lee Ann Womack, Matt Serletic, Frank Liddell, Byron Gallimore. Recorded at Ocean Way, Essential Sound Studios, Nashville, Tennessee. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Lee Ann Womack; Randy Scruggs, B. James Lowry (acoustic guitar); Pat Buchanan, Brent Mason (electric guitar); Paul Franklin, Rusty Danmyer (steel guitar); Larry Franklin, Aubrey Haynie (fiddle); Steve Nathan, Jimmy Nichols (keyboards); Glenn Worf (bass guitar); Lonnie Wilson, Chad Cromwell (drums); Buddy Miller (background vocals). To earn a greatest-hits compilation after only four albums (not counting a Christmas record that's unrepresented here), you have to make one hell of a splash on the music scene. That's exactly what Lee Ann Womack did between 1997 and this disc's '04 release. Hearing this sampler of Womack's albums, the sweet, angelic voice and solid songcraft jump out in equal measure. Perhaps of more historic importance, though, is the context. If Womack had appeared 10 or 15 years earlier, she would have seemed like a foreshadowing of country's pop-friendly future. After years of being inundated by Faith Hill and Shania Twain's disciples, however, Womack's amiable, relatively modest approach seems downright rootsy, with more ache and twang per bar than any Nashville assembly-line kewpie doll has in her entire catalog. From the lovelorn "The Fool" to the lighthearted romp "I'll Think of a Reason Later," GREATEST HITS shows Womack in her best light.

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"This Woman" (01/25/2005) Country Rimes, LeAnn, CurbPersonnel: LeAnn Rimes (vocals); Dann Huff (guitar, electric guitar); John Willis, B. James Lowry (acoustic guitar); Charles Judge (keyboards); Jimmie Lee Sloas (bass guitar); Shannon Forrest (drums); Robert Bailey , Lisa Cochran, Vicki Hampton, Bekka Bramlett, Robert Bailey , Russell Terrell (background vocals); Dan Huff (guitar, acoustic guitar, electric guitar); Tom Bukovac (guitar, electric guitar); Jay Joyce, J.T. Corenflos (guitar); Keith Urban (electric guitar); Dan Dugmore, Paul Franklin (steel guitar); Bruce Bouton (dobro); Jonathan Yudkin (banjo, mandolin, fiddle); Tim Akers (accordion, keyboards); Steve Nathan (keyboards); Chris McHugh, Lonnie Wilson, Vinnie Colaiuta (drums); Eric Darken (percussion); Dan Tyminski, Joanna Janet, Perry Coleman (background vocals). Audio Mixers: Jeff Balding; Justin Niebank. Liner Note Author: LeAnn Rimes. Recording information: Emerald Entertainment; Jane's Place; The Sound Kitchen, Nashville, TN. Photographer: Frank Ockenfels. When a teenage LeAnn Rimes burst on the scene in the mid-1990s, country fans were astounded by her uncanny vocal resemblance to the late, great Patsy Cline. Perhaps in reaction to this initial pigeon-holing, Rimes moved further and further away from her straight country roots; as the singer's career progressed, she eventually became a country-pop diva on par with Shania Twain and Faith Hill. As the title suggests, THIS WOMAN completes Rimes's transformation into an adult crossover artist. Despite the twangy guitar licks of "I Want to With You," the track has much in common with the driving teen-pop anthems of Lindsay Lohan and Avril Lavigne as it does with Nashville's "new traditionalists." "Something's Gotta Give" delivers an interesting hybrid, pairing careening bluegrass violin with electric sitar straight out of a 1960s film soundtrack. Through it all, Rimes's voice remains a powerful, husky instrument imbued with equal parts stadium glitter and honky-tonk sawdust. In particular, "When This Woman Loves a Man" is a bluesy, Hammond organ-fueled tour de force that sounds like Bonnie Raitt on a drunken night out with Janis Joplin. An assertive statement by a fully formed artist, THIS WOMAN showcases Rimes at the peak of her vocal powers.

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"Kerosene" (03/15/2005) Country Lambert, Miranda, Epic (USA)Personnel: Miranda Lambert (background vocals); Miranda Lambert; Mike Wrucke (guitar, banjo, keyboards, background vocals); Randy Scruggs (guitar, mandolin); Jay Joyce, Richard Bennett (guitar); Hank Singer (fiddle); Joey Huffman (keyboards); Chad Cromwell (drums); Eric Darken (percussion); Mando Saenz, Natalie Hemby, Buddy Miller (background vocals); Glenn Worf, Jim Hoke, Russ Pahl. Audio Mixer: Mike Wrucke. Recording information: OMNI Sound; Wrucke's House, Nashville, TN. Photographer: Jack Guy. Unknown Contributor Role: Jim Hoke. Many contestants on AMERICAN IDOL and similar TV shows go on to greater success, but due to their relative lack of experience, often have a hard time finding their niche. Not Miranda Lambert--when KEROSENE was released in 2005, the NASHVILLE STAR third-place winner was barely out of her teens, but she had already spent years honing her craft in bars. In addition to being a confident vocalist and strong-willed businessperson, Lambert is a crafty songwriter whose work is easily on par with that of Nashville veterans twice her age. The title track is a pounding, attitude-filled country-rocker reminiscent of John Cougar Mellencamp's "Rain on the Scarecrow." (That this diminutive young blonde woman can spit out lines like "Trade the truth for a lie/Cheatin' ain't really a crime" so convincingly is also startling.) "I Can't Be Bothered" is straight-up honky-tonk, replete with whining steel guitar, Buck Owens-worthy twangy Telecaster, and a jaunty dance beat, while "Me and Charlie Talking" is funky swamp-country of the Jerry Reed variety, albeit with lovelorn lyrics that reveal Lambert's old soul. An uncommonly accomplished debut, KEROSENE is the first outing by a genuine all-around talent.

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"Greatest Hits" (11/09/2004) Country Twain, Shania, Mercury NashvillePersonnel: Shania Twain (background vocals); Shania Twain (vocals); Mark McGrath, Billy Currington (vocals); Brent Mason (guitar, electric guitar); John Willis (acoustic guitar, banjo, bouzouki, mandolin); Michael Thompson (electric guitar, slide guitar, E-bow, bouzouki); Billy Crain (slide guitar); B.J. Cole (dobro); Terry McMillan (harp, harmonica, cowbells); Jonathan Yudkin (mandolin, violin, fiddle, cello); Glen Duncan, Larry Franklin, Rob Hajacos, Aubrey Haynie, Stuart Duncan, Joe Spivey (fiddle); David Hamilton , Irish Film Orchestra, Carl Marsh (strings); Joey Miskulin (accordion); Arthur Stead (piano, organ, Wurlitzer organ); John Barlow Jarvis (piano, Wurlitzer organ); Matt Rollings, Michael Omartian (piano); John Hobbs (organ, Wurlitzer organ); Arthur Stead (organ); Joe Chemay (electric bass, bass guitar, fretless bass); Diamond Duggal, Simon Duggal (percussion); Olle Romo (programming); Dan Huff (guitar, electric guitar, electric 12-string guitar, wah-wah guitar, electric sitar, talk box, 6-string bass, sound effects); Biff Watson (acoustic guitar, electric guitar, nylon-string guitar); Larry Byrom (acoustic guitar, slide guitar); Nashville String Machine (strings); Paul Leim (drums, percussion); Robert John "Mutt" Lange (background vocals). Audio Mixers: Michel Gallone; Lynn Peterzell; Mike Shipley; Steve McMillan. Recording information: A.R.P. Track Productions, St. Anne Des Lacs, Quebec, Ca; Battery Studios, Nashville, TN; Compass Point Studios, Nassau, The Bahamas; Emerald Sound Studios, Nashville, TN; GBT Studio, Nashville, TN; Glenn Gould Studio, Toronto, Ontario, Canada; Javelina Recording Studios, Nashville, TN; Masterfonics Tracking Room, Nashville, TN; Officine Meccaniche Next Recording Studios, Milan, Ital; Recording Arts, Nashville, Yn; Seven Studios, Mamaroneck, NY; Seventeen Grand Recording, Nashville, TN; Sound Stage Studio, Nashville, TN; Windmill Lane Recording Studio, Dublin, Ireland. Arranger: Robert John "Mutt" Lange. With the help of her husband, "Mutt" Lange, a legendary producer who helmed mammoth hits by AC/DC and Def Leppard, Canadian songstress Shania Twain developed a highly commercial style of country-tinged pop music that helped her become one of the biggest stars in America. Though GREATEST HITS doesn't include the two major singles from her 1993 self-titled debut, Twain has released so many hits that the 21-track disc is still overflowing with familiar chart-busters. Listening to these ubiquitous songs all in one stretch will leave listeners awed at the breadth of Twain and Lange's incredible talent for catchy pop ditties that sound cutting-edge while still retaining that ever-important hint of Nashville twang. In fact, though laced with the usual fiddles and steel guitars, many songs end up recalling ABBA and the Cars as much as anything south of the Mason-Dixon Line. Of course, the main attraction is always Twain's smoothly sensual voice, which has won over millions of fans worldwide.

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"Time Well Wasted" (08/16/2005) Country Paisley, Brad, Arista Records (USA)Personnel: Brad Paisley (vocals, acoustic guitar, electric guitar, 12-string guitar, Ferrington high string, baritone guitar, mandolin); Dolly Parton (vocals); Gary Hooker (electric guitar, electric 12-string guitar, background vocals); James Burton (electric guitar); Michael Johnson (steel guitar, dobro); Randel Currie (steel guitar); Jerry Douglas (dobro); Kendall Marcy (banjo, background vocals); Stuart Duncan (mandolin, fiddle); Bryan Sutton (mandolin); Justin Williamson (fiddle); Jim "Moose" Brown (piano, Hammond b-3 organ, keyboards, background vocals); Bernie Herms (piano); Gordon Mote (keyboards); Eric Darken (vibraphone, percussion); Kevin Grantt (double bass, bass guitar, background vocals); Kenny Lewis (bass guitar, background vocals); Bobby Terry (bass guitar); Ben Sesar (drums); Wes Hightower (background vocals). Brad Paisley's music is an interesting amalgam of country sub-genres, a paradigm all its own. He melds straightforward, pop-friendly New Country with clever, somewhat Lyle Lovett-like songwriting and the occasional flutter of Joe Maphis/Jimmy Bryant-style guitar virtuosity. Surprisingly or not, this country combo platter made Paisley a star, and TIME WELL WASTED continues in the aforementioned vein. While there are some fairly mainstream moments here that wouldn't ruffle the feathers of, say, the average Kenny Chesney fan, WASTED boasts plenty of smart, sassy tunes brimming with lyrical witticisms worthy of Tom T. Hall or Shel Silverstein. "Alcohol," for example, is a first-person narrative from the beverage's point of view, and in retrospect it's shocking that it took this long to get written. Guest shots from both Dolly Parton and Alan Jackson show that Paisley's work has earned respect from disparate corners of the country scene, a respect that's amply justified by TIME WELL WASTED.

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