I have been reading some of the reviews of Keith Urban's new Get Closer album over the last few weeks. Although it is interesting to get the perspective of some of the "expert critics" and also is one way of getting a sense of what catches the attention of an 'outsider' listening to new music from Keith, I am pretty sure that what an ardent Urbanite hears as they experience a new album is often quite diffferent! We have a history with Keith that influences our perceptions and feelings in ways a music critic can't anticipate. I have lived with Get Closer for about a month now. I have given it time to seep into my soul, time for it to connect, time to discover what bits continue to play on that jukebox in my mind long after I turn my CD player or Ipod off. I have chosen to reflect on the expanded Target version because some of the very best tracks are not on the regular album. What do you hear when you are listening?
Put You In a Song - the full-sugar pop of the album but irresistible nevertheless. From the opening guitar lick and "Hey, hey!" to the very end, I can't help but sing along with the upbeat melody and move to the driving beat (hope I don't have an accident doing a little sit-down dancing in my car!). I love that "Onh - honh" after the first couplet, like that rhythmic bass guitar scratch in the background of the first verse (we'll be watching Jerry play that) and can't wait to see the little solo bridge in the middle performed live. I so identify with the sentiment of wanting to roll down the car's windows and let the world hear what is making me excited and happy. Does Keith realize how often we do this with his music, how often his music is "stuck in my head all day"? Another favorite bit of lyric "Gotta set you to a groo-oo-oove!"
You Gonna Fly - this tune, written by the LoCash Cowboys, brought to mind several country classics. The opening beat and "One, two, three" immediately made me think "Shania" - maybe her "Any Man of Mine", then "broken wing" made me think of Martina's "Broken Wing, and "back of my bed" made me think of Alan Jackson's Country Boy. What's with the crazy whistle?The overall tone of this high energy song made it the "Raise the Barn" of this album for me.
All For You - I love listening to Keith's sweet voice sing this touching song. One of my first thoughts as I listened was 'why did he choose to have a female provide back-up on this particular tune'? As a lovesong that most infer Keith is singing to Nic, it seemed a bit out of place to have a female back-up. Not that a woman couldn't express the basic sentiments of the song, but some of the lyrics are more masculine than the usual love duet ("make this grown man cry", "my arms will hold you tight"). Well, it sounded like a female to me - maybe Sarah or Karen- but then I found that the liner notes only list Russell Terrell as the backup singer! Is it really him that I hear?? I thought perhaps Keith was anticipating performing this song during the upcoming tour and planned to have a female from his opening acts join him some nights the way he used to for The Hard Way in the Be Here Tour. Or maybe he just liked the sound, pure and simple, whether it is Russell or some gal. Love Keith's spare guitarwork - wonderful sound and perfect accompaniment. Favorite bits of lyric: the intimacy of "my hand to pull your hair back away from your eyes" and "crazy, very crazy for you".
Long Hot Summer - the most overtly sexy song on the album. The verses being sung in that deep, slightly growly voice describing a lover who aims to please in lines like "The picture in my mind of everything I'm gonna do" and " I gotta be the one who knows just what to do to you to get me that smile" raises more than a few goosebumps. A chorus that you can't help but sing along with is sure to make this a winner as a single and the rocking beat and guitar and banjo will make this a concert pleaser as well. Another favorite "lyric" following the little guitar bridge in the final chorus is Keith's "Unh-unh-unh-unh-unh-unh-unh-unh" : ). How does he makes these little sounds so damn appealing??
Without You - this song certainly sounds like it was written specifically for or by Keith, (although it was not) and Keith sings it from the heart. The slightly twangier, more country chorus as well as the instrumentation and arrangement take me back to early Urban songs like Tangled Up In Love or Don't Shut Me Out. I wonder if the new guy in the band might play the fiddle as well as the guitar for songs like this one? Seems like they'll need a fiddle player for the tour.
Georgia Woods - the big guitar song of the album. But long before that searing guitar solo, this is another great song that we will all be singing along with. Another sexy song with a mysterious and spell-binding intro and a chill giving bit of longing moan in Keith's voice. (I wondered if Keith and Darrell might be Guns n' Roses fans. The intro chord progression makes me think of Paradise City...). The "The sparks between you and me, We better be careful my love or these woods will be burning"brought to mind Homespun Love's "When we get to sparkin', We almost set the house on fire." I had to smile at the last line of the chorus "Gotta be fallin' 'cause I'm already callin' you baby, " because even I have been the beneficiary of more than one of Keith's "Baby"s at meet and greets! (and I was the one who was "falling" in those instances)!
Right on Back to You - "Rain" has been good to Keith and the rainstorm lead-in to this song is a nice touch. Keith's voice is as smooth as silk on this song that tugs at your heart. I appreciate Keith's ability to change his voice and intonation to suit the mood of each song. I can see the whole concert audience gently swaying to this song, perhaps holding their glowing cell phones over their heads. I find the drums a bit too loud on this piece, detracting a bit from the sensitive vocals and Keith's guitar solois a bit overshadowed, but I'm sure that won't be the case in a live performance.
Shut Out the Lights - a nice change of tone and tempo and recognition that, no matter how close you are, there are likely to be times of disagreement. I enjoy all that Keith brings to the song but might have toned down the 'big band climax' near the end. I love the guitar and final "I need you, I need you" ending.
I don't know what to think of the 8 track length of the 'regular' album, but I have noticed that Keith is not alone in releasing a shorter than usual new CDs so maybe it is just a sign of the times. But I feel sorry for those who did not seek out the extended version at Target stores because a couple of the bonus tracks are truly outstanding and should absolutely not be missed.
Big Promises - I love, love, love this song!! and am baffled why it wasn't included in the album proper. It certainly fits the Get Closer theme and shows yet another side of Keith's music (a bit like Tu Compania did on LPATWCT), so it is such a shame that all album purchasers are't hearing it. It makes me smile, it makes me move, it makes me sing and is one of my very favorites. The banjo is great and don't you just love the closing over-dubbed (is that the right term?) segment:
Yes I know when I see your pretty little face,
I'm gonna do the best I can,
To give you every little thing that you'd ever need,
And I will always be your man.
In the middle of the night, for the rest of your life
I'll be forever true
I'll be lovin' you, lovin' you...
Does it remind you of the closing of If Ever I Could Love (another favorite of mine)?
The Luxury of Knowing - Thank you so much Faith Hill for calling the songs of Lori McKenna to Keith's attention. Keith absolutely kills this song! No one could sing it with greater expression or intensity. The song, in turn, just kills me. It makes my heart ache and my eyes tear - just so, so moving. It could have been the Stupid Boy of Get Closer but I so fear it will be overlooked since it is a bonus track not available to everyone. I guess I see why perhaps it may not have fit the Get Closer theme. It seems to express almost the antithesis of getting closer - loving someone who gives you no sense of security or their true feelings. But it is a magnificant rendition of a great song (thank you Lori!) and should have been a headliner. This, more than any other song on the album, makes me (like in Put You in a Song) press "Play, repeat". Please, please, please Keith include this in your concert setlist even though it was a bonus track!! The catch in his breath before the final verse brings me to my knees. Bravo Keith!
Winning - a perfectly fine, fun song but I have to say that I find it a jarring disconnection from the powerful emotions of The Luxury, and so I often press skip, not yet willing to give up the hold the previous song has on me. I think I would have reacted differently if Winning had been differently placed - perhaps after one of the upbeat rockers of the album. It wil probably be a fun song to see performed live.
The Four Live Concert Tracks - for those of us who lived these concert songs these tracks are just great. Although I did not see the Atlanta show that the first live track, Once in a Lifetime, was drawn from, I did attend many other LPATWCT tour shows. Each night, after the opening act, there would be the oh-so-eager anticipation buzzing through the audience as we waited for Keith to take the stage. Some nights there was the slowly growing LPATWCT beating heart on the giant videoscreen marking the passage of time, other nights we had an actual countdown clock. In either case the audience grew increasingly excited and just went crazy when we finally heard the opening beats of OIAL and saw Keith's spread-legged silhouette against that golden background as he stood at the top of the ramp that would bring him down to stagefront. Pavlovian conditioning is powerful and persistent, so when the opening strains of OIAL on that live track began to sound, once again my heart began to race and I felt the eager anticipation of an actual concert night all over again!! How fun to re-live (at least auditorily) the tour experience!
I wonder whether the live tracks come from a couple different shows. because I swear I remember being there when Keith broke out laughing at some fans' antics as he began to sing You look Good in My Shirt. I also remember the rare night when he mentioned "Sweet Sunday" in Better Life. Even though I'm listening to a track on a CD, when Keith asks us "Let me hear you sing it to me now", I can't help but belt out the responses, and know just the moment, during the final guitar closing to that song that the confetti cannons would go off and shower us with silvery hearts! Sweet memories! And remembering "Everybody" as the final touchingly expansive song of the concert (and also the teary Everybody that was the final song of the entire tour that night in Lexington) still gives me a lump in my throat and oh-so-fond feelings for this very special singer and musician. So the live tracks worked very well for me. I'm not sure that those who have never seen Keith perform live get a good sense of the excitement and participatory experience of Keith's concerts though, because the sounds of the audience are somewhat muted on these tracks. Certainly we hear Keith and the band better with recordings from stage microphones, but we miss a little of the intensity of the crowd.
Thank you Keith for a very welcome addition to my music library. Can't wait for the live experience of Get Closer!
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