|
 One of Nashville’s most prolific scribes, Vassar has written chart-toppers for Alan Jackson (“Right On The Money”), Collin Raye (“Little Red Rodeo”) and Tim McGraw (“For A Little While”). He took Jo Dee Messina to the top with “I’m Alright” and “Bye Bye,” which won him an ASCAP Song of the Year award. He was chosen Songwriter of the Year in 1999 by the same outfit.
When
Phil Vassar strode to the podium to accept his
Top New Male Vocalist Award at the 37th Academy of Country
Music Awards, one fact was made crystal clear: America has
a bona fide career artist on its hands.
From Willie Nelson to Neil Diamond, from Carole King to Billy
Joel to Bruce Springsteen, the most compelling and soulful
artists of the modern era have combined cut-to-the-heart songwriting
with a solo performance charisma that dazzles fans and critics
alike. Phil Vassar joins this elite group, an all-around performer
who seals the deal with his new sophomore release, American
Child.
As a singer, songwriter and performer, Vassar is artistically
a triple-threat. He first exploded up the charts and out of
America's radios with his self-titled 2000 Arista Nashville
debut. That CD yielded the #1 single "Just Another Day
in Paradise," as well as the Top Ten hits "Carlene,"
"Rose Bouquet," "Six-Pack Summer" and
"That's When I Love You."
 It's
been a few busy years since. He's earned both CMA and ACM
Awards nominations, culminating in his ACM win for Top
New Male Vocalist. He's shared stages with the biggest names
in country music including, Tim McGraw and Faith Hill, Kenny
Chesney and Jo Dee Messina. Audience response to Vassar was
immediate and intense. Like Billy Joel, Vince Gill and Elton
John, Phil Vassar is getting used to concert audiences spontaneously
singing along to his songs.
Many more folks will soon be joining in on a whole new passel
of this man's hits. American Child is passionate proof that
this charismatic singing piano-man is a solo star in his own
right.
American Child reunites Vassar with his debut co-producer
Byron Gallimore. Together the two expand on their winning
production sound, delivering a fresh, contemporary take on
country music that moves from rootsy accents of fiddle, mandolin,
acoustic and steel guitar to numbers that rock with a muscular
pop sensibility.
It's a journey that spans the breadth of love and Phil Vassar
spares no emotion in the telling. A vocalist with the power
to whisper and soar in the same breath, Vassar's burnished
delivery moves from wounding pleas to heartfelt declarations.
He's that rare vocalist who can alternately pack a dance floor
and soothe a lonely night; a singer who can bust a honky-tonk
wide open or make an arena feel as intimate as a living room.
 Vassar's
a complete artist whose performance rings true in every setting,
whether he's kicking out the honky-tonk footlights on the
brisk country-rocker "Houston," unashamedly shouting
his love from the rooftops on the orchestral "I'll Be
the One," or bearing into the sexy, southern-fried guitar
squawk of "Athens Grease." He's equally at home
laying down a rocking ultimatum on "Someone You Love"
or expressing heartbreaking vulnerability on "Forgettin's
So Long." On the title track, Vassar's emotional patriotism
won't leave a dry eye in the house.
Vassar co-wrote all 12 tracks, teaming up with an array of
skillful tunesmiths that includes Rob Thomas, lead singer
of the modern-rock outfit Matchbox 20; Miles Zuniga of pop-punk
sensation Fastball; wife, Julie Vassar; and such insightful
Nashville veterans as Tim Nichols and Craig Wiseman.
Now the father of daughter
Haley, Vassar draws artistic inspiration from his store of
current and past experiences. His own personal influences
run the gamut of country, pop and folk, but regardless of
genre, they all share one commonality: honesty.
It's no surprise that Vassar's main influences are all powerhouse
superstars who also wrote and performed their own material.
"What I love about the great singer-songwriters is that
they lyrically break situations down to the most minute detail,
without 'mooning and juning' it to death," he says. "For
me it was always Billy Joel, James Taylor, Merle Haggard and
Willie Nelson. People who wrote about their own lives. From
album to album, you knew where they were going. I couldn't
wait for the next record to see what they'd been doing for
the last year or two."
 It's
a testament to Vassar's artistic depth that all of his songs
resonate with that "real deal" quality. Anyone who
has loved and lost and lived to love again will recognize
themselves.
"Falling in love is fun," Vassar says, "but
of course, love isn't always happy. Every once in a while
you have hard times and you make it through them or you don't.
A lot of people say you write your best songs when you're
going through something devastating and I can see that. It's
so important to get your feelings out. Some people go to therapy
and some people just write songs."
Vassar's own rise to the top was ten years in the making.
Arriving in Music City in 1987, he threw himself into performance
and songwriting. By the mid-'90s he was running his own Nashville
club-restaurant where he performed on the weekends. Word spread
about the gifted performer and piano-man who was holding court
onstage, and his club was soon packed with local crowds hungry
for Vassar's substantive songs and riveting stage performance.
Industry insiders took note as well. Vassar penned hits for
a number of top artists including, Tim McGraw ("For a
Little While," "My Next Thirty Years"), Alan
Jackson ("Right on the Money") Jo Dee Messina ("Bye
Bye," "I'm Alright") and Collin Raye ("Little
Red Rodeo").
 However,
Vassar's talent as a solo artist in his own right was undeniable
to those who saw him onstage and heard his passionate demo
performances. He signed with Arista Nashville and his gold-certified
2000 debut was an out-of-the-gate sensation. The Country Music
Association honored him with a nomination for its prestigious
CMA Horizon Award in 2001. His many performance awards include
ASCAP Country Artist/Songwriter of the Year for 2001, Billboard
magazine Top New Country Artist of the Year for 2000, and
Music Row magazine Breakthrough Artist of the Year for 2000.
His songwriting has been similarly honored. In 1999 he was
named Country Songwriter of the Year by ASCAP, and in 1998
he was named Billboard magazine Country Songwriter of the
Year and Music Row Magazine Breakthrough Writer of the Year.
 Vassar’s
album, “American Child,” is a medley of sounds
the artist does best. From country-rock’s “Houston”
to an orchestral offering in “I’ll Be the One,”
Vassar’s musical skills soar to new heights. And the
title track provides a heartfelt tribute to patriotism.
One of Nashville’s most prolific scribes, Vassar has
written chart-toppers for Alan Jackson (“Right On The
Money”), Collin Raye (“Little Red Rodeo”) and
Tim McGraw (“For A Little While”). He took Jo Dee
Messina to the top with “I’m Alright” and “Bye
Bye,” which won him an ASCAP Song of the Year award.
He was chosen Songwriter of the Year in 1999 by the same outfit.
Vassar’s self-titled album features 11 songs he
co-wrote. His affinity for storytelling is evident on tracks
like “Lucky As Me,” “Rose Bouquet” and
“Didn’t You Know She’s Gone.” One of the
few country keyboardists, Vassar’s unique sound is influenced
by musical greats Billy Joel, Ronnie Milsap and Jerry Lee
Lewis.
 Listen to two cuts from American Child
Working for a Living (with
Huey Lewis)
Someone You Love
Review by by Stephen Thomas Erlewine
Phil Vassar had his breakthrough in 2002 with his second album, American Child, a mature set of contemporary country-pop that established that the former professional songwriter had the chops to be a performing star in his own right. For its 2004 follow-up, Shaken Not Stirred, Vassar loosens things up a little bit, borrowing a little from Kenny Chesney's laid-back party-ready style. While he never indulges in the Jimmy Buffettworship of the island-obsessed Chesney, he does share a similar fondness for '70s arena rock and singer/songwriters, and he's injected Shaken Not Stirred with a heavy dose of humor and good times that only rarely surfaced on American Child. Unfortunately, this can veer close to novelty territory, at least on "What Happens in Vegas" and "I'll Take That as a Yes (The Hot Tub Song)," which arrive way too early on this album and nearly ground its momentum to a halt. Significantly, these are the only two songs that Vassar didn't have a hand in writing on this album, and the rest of the record is much more assured, clever, and affecting than these two tunes. Vassar benefits from a looser vibe, since it not only results in livelier performances and funnier jokes, but the sentimental ballads resonate more in this context. Perhaps the record is a little heavy on mid-tempo cuts and the production may be a little slicker than it needs to be, but the polish is appealing, the performances strong, and the songs are, by and large, sturdy and memorable, making Shaken Not Stirred Vassar's best record to date.
Hear Phil promoting one of the shows this Summer/Fall touring season!
Next to Bottom Photo: Phil Vassar performs at Country Thunder
at Shadow Hill Ranch in Twin Lakes, WI on July 21, 2006. (Phil
Bonyata)
|
