Think back to the sound of Roy Orbison and the writers of those classic country tunes – Jim Reeves, Patsy Cline, Whisperin’ Bill Anderson and Bobby Braddock. They’re the ones that John Paul White looked to for inspiration for his third solo album, The Hurting Kind, seeking out Anderson and Braddock, specifically. He drew on the lush, orchestrated music made in Nashville in the early 60s, with timeless themes such as overwhelming love, deteriorating relationships, and fond memories of a loved one. Nothing gets as maudlin as Braddock’s biggest hit for George Jones, “He Stopped Loving Her Today,” but much of this material owes to a similar sound.
Who knows whether White was seeking a country audience to go with his Americana and indie following? His first instinct was to follow his songwriting muse. As the album took shape, it moved in a country direction. White says, “I approached this album differently on the songwriting side before I ever got to the studio. I really wanted there to be a torch song quality to it, the classic timeless quality. To not be afraid of the big note, and not be afraid of the drama.” White claims that he’s been looking for this kind of record in today’s world and can’t find it, so he put lots of thought into not only the lyrics but the arrangements.
Take for example the first single, “The Good Old Days.” White says, “This song came out of nowhere. The title of the song was born of a conversation with my wife, Jenny. We were reminiscing about harder times in the past, moments where we struggled to get by. I said derisively, ‘Ah, the good old days.’ And we both thought, why do people say that? The last thing I’d want to do is go back and relive it. These are the good days. The best, I’d like to believe, are yet to come.” As White reflected on Civil Rights, the Cold War, women suffrage, and several other past eras, he started realizing that this song was his answer to “Make America Great Again.”
The album does not veer in a political direction in case you are wondering. It’s just his outlook on that one song. Another tune that is already capturing attention is the single “The Long Way Home” with its memorable line “I ain’t leaving/I’m just taking the long way home to you.” White claims that it makes his kids cry. On “I Wish I Could Write You a Song,” co-written with Bill Anderson, White is consciously channeling Roy Orbison. In “Heart Like a Kite” he sings about a flawed character who is in love with someone he doesn’t belong with, yet he can’t help himself – “Oh, I’m holding on for dear life/But she’s got a heart like a kite.”
”Yesterday’s Love” features Lillie Mae on vocals and harmonies as White nods to Kristofferson for its inspiration, comparing it in feel to “Help Me Make It Through the Night.” The title track, rather interestingly, comes from a female point of view, feeling that it would be more powerful that way as the song is about abuse. He taps Lee Ann Womack for the duet “This Isn’t Gonna End Well,” co-written with Bobby Braddock, as the duo dialogue about the horrible idea that neither could pull out it.
”You Lost Me,” co-written with Anderson and Jamey Johnson, is perhaps the most classic country sounding tune. It would fit with anything from the 60s through early 80s commercial country radio. It’s filled with clever wordplay about the man who is devastated to find his wife cheating on him with this especially memorable phrase – “The red that I’m seeing is fading to black/You lost me.” “James” was inspired by Glen Campbell but instead of writing about him and his health issues, White chose to write about his dad who is healthy and strong. He closes with “My Dreams Have All Come True,” a positive title for a sad song, in the vein of so many country classics. He sings in falsetto, gets to do some yodeling, and considers it one of his favorites to perform live.
The album was recorded at Sun Drop Sound, White’s home studio that he converted from an old turn-of-the century home in Florence, AL and at FAME in nearby Muscle Shoals. It was co-produced by Ben Tanner (Alabama Shakes) and although the credits virtually change on every track, there is a core group of musicians including Jon Radford and Reed Watson on drums, Pat Bergeson on electric guitar, Jon Estes and David Hood on bass, and besides Lillie Mae and Lee Ann Womack, Erin Rae and The Secret Sisters contribute background vocals.
White has already won four Grammy Awards for his work with the now disbanded Civil Wars. He’s a partner in this label, Single Lock Records based in Florence, AL. His smooth, deep voice is captivating, especially with this batch of melodic songs. This recording will deservedly draw plenty of attention.
