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Daughtry - Leave This Town
| Sputnikmusic |
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Of the twelve tracks on Leave This Town, Daughtry’s second studio album, one in particular stands out. ‘Tennessee Line,’ the collaboration with 20-time Grammy winner Vince Gill, is significant for two reasons. Firstly, despite the band’s obvious appeal to middle America, it marks the first time Daughtry have made an explicit effort to cross over to a country audience. Secondly, Gill does not hand out guest spots on a whim: the phrase “praise from Caesar” wouldn’t be too far from the mark. When ‘Tennessee Line’ is almost certainly packaged as a single sometime in the next year, it will be interesting to see just how receptive country audiences are to yet another product of the American Idol stable. The odds on “very” are probably fairly short at this moment in time. The occasion of the Daughtry’s second studio album sees a couple of cosmetic changes. The studio musicians of old have been replaced by the slightly less faceless figures that have accompanied their master on tour the past three years, and there has been the ritual musings on how Leave This Town is more of a “band effort” and other such contractual waffle. But, while it’s true this new group are a competent bunch of studio musicians, the album owes as much to producers, executive producers and focus groups as it does the people who actually wrote it. Daughtry himself claims a credit on each of the twelve tracks, but only once is he credited as the sole songwriter: on hard-rocking opener ‘You Don’t Belong.’ The eleven remaining tracks boast some fairly conspicuous names next to them: Chad Kroeger of Nickelback (twice), Ben Moody and David Hodges (ex- of Evanescence), Mitch Allan (formerly of SR-71) and Eric Dill (ex-The Click Five). Each of these names can point to his own success (one more so than others), but not one could be termed an innovator, and most would struggle to recall any but Kroeger’s face....full text |
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| Rollingstone |
| Ladies love Chris Daughtry, and it's never been simple for the men in their lives to figure out why. How does Daughtry do it? He doesn't sing pretty, he doesn't write catchy, and you probably look better than this guy when you wake up in the morning, even if you passed out behind Pizza Hut. He always looks incredibly pissed off, as if Vin Diesel just stole his razor. His greatness is the way he embraces the full-on rock cheese that runs in his veins. He has no interest in playing cool; all he cares about is ovary-melting power ballads. Hell, he even calls his band by his surname, a corny trope that rock stars haven't dared since the days of Winger and Montrose....full text |
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| Ultimate-guitar |
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Sound: Daughtry's Self-Titles Debut Album was certainly something which had to be followed up with something that was along the same lines. Daughtry have been able to accomplish the Heavy Rock Songs as well as doing very good work with Soft Acoustic Songs. The Album seems to be about leaving somebody, and mixed emotions about leaving, 'You Don't Belong', 'Ghost of Me', 'Call Your Name' all express different feelings toward the same subject. Daughtry have used different aspects of the band as a whole to come out with different songs which are still as good as songs of the last album. I think that the songs have all accomplished something different, not bad, but different. The verses have been mixed but then join together brilliantly for the chorus. // 8 Lyrics and Singing: The Lyrics are brilliant and meaningful. You can tell this from the songs 'Life After You', unlike most recent releases of albums, the lyrics are just whatever rhymes, they are words that are felt. The song 'September' has got brilliant lyrics about how he is remembering someone and what they did, 'In the middle of september, we still played out in the rain, Nothing to lose but everything to gain, Reflecting now on how things could've been, It was worth it in end'....full text |
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