Jan 042015
 

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My dear readers I will NEVER judge a band or artist by looks like the pop country people do.
Teea Goans BY FAR puts ANY of those mainstream women to shame with her work ethic alone. She’s WAY more pretty on the inside AND the outside and this young lady TRULY CARES about Country Music. She does more for Country Music than ALL of them radio people.

She’s been featured on Country’s Family Reunion and has been a featured guest DJ on WSM AM 650. She’s been featured on the Opry several times and in my opinion she and several other young ladies that sing the REAL “Hot new country” need to be inducted instead of
the crap they are inducting as members now.
The last decent member to be inducted has been Old Crow Medicine Show and honestly my reasons to attend the Opry further is really becoming slim.

This new album is her third album and will be a slightly different direction than her last album.
I’m going to post this directly from her website:
The aim of this project, as Teea explains it, was to revisit well-written vintage songs that would be familiar to many but that would still allow for an experience of pleasant rediscovery (and, for less experienced listeners, perhaps trigger a full-blown revelation). “We wanted to dig out those songs and put our spin on them,” she explains. Teea’s gift for interpretation—that crucial intersection between singer, song and styling—is one that’s increasingly rare in today’s country music, but it’s a key feature of the “spin” to which she refers. She applies it liberally throughout the new album, creating fresh and personal takes of melody-rich country hits, such as the Gene Watson-originated title track, Merle Haggard’s 1963 Top 20 single “Sing a Sad Song” and Ronnie Milsap’s latter-period hit “Stranger Things Have Happened,” on which Teea displays particular prowess, sweeping with ease into the upper reaches of her vocal range.

The importance of interpretation was a particular factor in the decision to include “What’s Forever For,” written by Rafe Van Hoy and previously recorded by artists ranging from Dionne Warwick and Johnny Mathis to Anne Murray, B.J. Thomas and Michael Martin Murphey. In order to help Teea find the heart of that song apart from its many differently produced versions, Choate slyly played her Van Hoy’s original demo, the recording of which Choate had personally overseen at Tree International while a staffer at the publishing giant in the mid-1970s, early on in the lengthy music-industry career that would later land him in the A&R chair at Capitol Records during a strategic period of growth for country music. Hearing Van Hoy’s quiet, unadorned presentation brought the full meaning of the lyric home for the first time to Teea, who offers a moving and introspective rendition of her own on what is one of the album’s purest vocal performances.

Also among the album’s 13 cuts are selections that have been widely recorded across multiple genres, including ones pulled from the Great American Songbook and the Christian hymnal (“Great Is Thy Faithfulness”). The fact that every track fits so neatly into a cohesive whole, regardless of its original source, is testament to Teea’s well-developed musical identity as well as her and Choate’s canny artistic instincts. In a novel pairing, the opening track links the Louis Armstrong standard “What a Wonderful World” with “Old Fashioned Love,” an irrepressible nugget of Americana whose earliest waxings go back nearly a century. It’s an anchoring track, representing both Teea’s taste for well-aged music and her estimation of herself as something of “an old soul.” Likewise for the inclusion of “Sentimental Journey,” which she and the band turn into a gently loping country-swing affair, suggesting the sleek, after-hours quality of Patsy Cline’s “Walkin’ After Midnight,” and every bit as timeless.

You can purchase all three of her albums HERE.
I strongly suggest you go check out her music you will be WELL PLEASED with what you hear.