Gretchen Wilson

Here’s a shocker from Gretchen Wilson’s label (or former label) Sony Music’s Columbia Nashville:

“Gretchen Wilson and her longtime record label group, Sony Music Nashville, have mutually decided to part ways. The Grammy Award winning singer/songwriter and Best Selling author, who exploded on to the country music scene and the national spotlight in 2004 with her smash hit “Redneck Woman,” released three No. 1 albums with Here For The Party, All Jacked Up, and One Of The Boys. Though Wilson will no longer record with the label as a solo artist, both parties look forward to working together on future catalogue projects.”

Wilson has been struggling to find radio hits and thus sales success since der debut CD “Here For the Party.”

I have to hand it to Gretchen Wilson. It would have been very easy for her to forget her audience. I’ve seen them turn out in full force at her ambitious arena tour last year. She has a strong following of hell raising, real life, regular women that feel empowered by her proud lyrics. Wilson is preaching directly to those fans in her new CD “One Of The Boys.” It’s a whiskey soaked, (at least three drinkin’ songs) southern rock, country-steeped, collection that will be a lot of fun for her fans (especially when performed live).

For some odd reason (unfortunately) it looks like country radio may be leaving her behind. Otherwise, this CD could be the project that locks in her superstar status.

Wilson offers up a bunch of tunes that could work well in the mix on most stations. The rock-edged bar closer “You Don’t Have To Go Home” holds up perfectly next to “Here For The Party” and other rowdy songs that she’s delivered in the past. Her female fans are sure to giggle with appreciation over the message in “If You Want A Mother,” and I got a genuine kick out of Possum-flavored spirit in “There Goes The Neighborhood.” She does a respectable job of offering fresh takes on the kinds of songs that got her overnight success.

A lot of people will be surprised by what a great sound Wilson has when she delivers the slow songs found on the disk. Although “Come To Bed” (with writing partner John Rich) never hit on country radio, I have a feeling it will resonate with her female fans. She’s got the kind of voice that’s been missing for a while in mainstream country. Finally – traditional female twang is cool again.

Tracking the disk cut for cut reveals a fun ride with a southern rock feel. Wilson really shines on the tempo… and you have to give her major credit for co-writing all but two of the songs on the album. I’d like to hear a bit more punch in the production (especially in “Mother”). But overall the disk is fun to listen to in the truck and will be even better when performed live and loud. She writes in her liner notes, “This is the most important record I have ever made, and maybe ever will make. To me, it’s more than just songs It is my diary set to music.” Although I doubt she’s still closing down the redneckbars every night I’m just glad she’s keeping it country.

I Keep Replaying:
“You Don’t Have To Go Home” and “There’s a Place In The Whiskey”
Overall Grade: A-