Some of the greatest albums are those recorded by artists who got their break writing hit songs for other artists. Bernie Nelson is one of those people, having scored cuts with such diverse artists as Kris Kristofferson, Conway Twitty, Kenny Chesney, Crystal Gayle, Alan Jackson, Randy Travis, Trace Adkins, Montgomery Gentry and Chris Ledoux, picking up multiple awards and helping to sell millions of records worldwide. This year, however, the spotlight is shining on Bernie the artist, as he has released a 13-track collection entitled ‘Blue’, helmed by the raw performance on lead UK single and heartbreak ballad ‘Lonelyville’.
For the most part his musical style represents an amalgamation of the kinds of artists who have tended to record his songs; neo-traditional (80s-90s), 90s era country-pop, and modern honky-tonk with a rougher rock edge. Bernie shows his ability to be dynamic, upbeat and good-timin’ with tracks like ‘Locked Up In Lubbock’, ‘Stays In A Honky Tonk’ and ‘Put Your Foot On The Gas’, but it’s his gentler, more traditional love and heartbreak songs that really sparkle on this latest effort. The song that inspired the title, ‘If I Know Blue’, incorporates rootsy and more commercial country sounds, set to a backdrop of Irish folk and country rock, serving as an adequate support system for Bernie’s classic and genuine vocals. Yet songs like opener ‘Plainview’ remind me instantly of artists like George Strait and the kind of material they were producing deep into the 1990s, while those like ‘I’m Just Thirsty’ mix traditional country lyrics and melody with a more updated production to create the perfect crossover.
Admittedly there are times when Bernie’s vocals are lost somewhat in the heavy arrangements, and certainly on some songs I would have preferred a more stripped back approach. However, that doesn’t mean it was a bad idea to push Bernie into the 21st century, particularly since lead US single ‘Scarecrow’ has far more of a Brantley Gilbert-esque southern rock sound than I would expect he could pull off. And although the record is strung together with classically-penned sing-a-longs like ‘Little Bit’ and beautiful love poems like ‘I’d Love You Anyway’ (very early Brad Paisley), there is plenty of variety, different sides to the coin to explore. This is not a technically perfect record either, its imperfections appearing in the lack of polish on mixes and in raw, human performances from Bernie that sound more live than anything else. That in itself provides variety that Music Row simply cannot come up with, each song unique in its delivery and full of soulful warmth that computers just don’t give.
As a songwriter primarily of the old guard, you might say, Bernie is in the process of completing a book of untold stories from Nashville’s music scene. A rare glimpse into Music City’s history including interviews with the likes of Willie Nelson, it’s perhaps an acknowledgement of the fact that things just aren’t how they used to be. Songs like the ones on ‘Blue’ used to soar to the top of the charts. Now it’s reserved for Americana radio and blogs like this one that appreciate good country music.
Still, thanks to the internet and technological developments, we get to hear the music that is too real for Nashville. Bernie Nelson is a class act, and that shows in this record. I just hope as many get to hear it as they should.
