REVIEWS
A Better Word for Love Black River Entertainment
RONNIE
MILSAP 20 THE NASHVILLE MUSICIAN
T
he timeless talent of Ronnie Milsap is in excellent form on this long-anticipated new release — A Better Word for Love. His pianodriven take on country music has led to a long and successful career, many awards, and a place in the Country Music Hall of Fame. The wide range and effortless power of his voice combined with his passionate and sincere interpretations, allow him to cover a wide range of styles and emotions — while making every song his own. Produced by longtime co-conspirator Rob Galbreath, the album is a wonderful overview of an artist who still has the goods in every way and has a lot to say. The album opens with “Big Bertha,” a hilarious blues-meets-country duet with the inimitable Vince Gill. The tune was written by Carl Perkins, and the sparks fly right off the bat. Jerry Kimbrough and Larry Franklin trade hot licks on guitar and fiddle, while Larry Paxton on bass and Lonnie Wilson on drums lay down a smokin’ groove. “Wild Honey” features John Willis on electric guitar and Paul Franklin on steel with a soaring, enthusiastic vocal by Milsap. The title track, a gorgeous ballad written by Local 257 members Al Anderson and Gary Nicholson, is a timeless ode to true love that goes straight to the heart, and is beyond any time or genre. “Almost Mine” immediately takes you back to a 1960s honky tonk with Catherine Marx’s ringing piano intro, and the call and response between her and Milsap, surrounded by a large ensemble of Nashville’s finest players and singers, is heartbreakingly gorgeous. Thomas Cain’s “Fool” has a sparse but lush R&B vibe, with Steve Holland’s spare drumming and Drew Lambert’s bass laying a solid foundation for Milsap’s pleading vocal and Marx’s understated keyboard work. “This Side of Heaven” is a power ballad featuring Brent Mason on gut string fills, while Milsap and longtime collaborator Bruce Dees add chanting, hypnotic background vocals that stay with you long after the song is over. “Civil War” is a live cut from 1993, and well worth the wait. You can hear Milsap’s powerful voice bouncing off the walls of the venue – in a good way — and the band, including Jamie Brantley’s soaring electric guitar, sounds fantastic. “Fireworks” is a powerhouse track featuring triple electric guitars by Steve Gibson, James Mitchell and Brantley, with punchy synth by Shane Keister, and a smoking rhythm section of Michael Rhodes and Lonnie Wilson. The album closes with “Too Bad for My Own Good,” a tale of love gone out of control. Milsap’s liquid vocal bends effortlessly over a nostalgic '80s funky groove, tasty guitar licks by Chris Leuzinger and a great saxophone solo by Sam Levine. It is great to hear an artist like Ronnie Milsap, whose string of hits goes back to the early ‘70s, creating music that is just a vital as his biggest hits, revisiting his roots, and breaking new ground as well. — Roy Montana
