Bucky Covington

Bucky Covington

5.0 2
by Bucky Covington
From the anthemic album opener, "American Friday Night," to the rustic country strains of the fiddle-rich heartbreaker "I'll Walk" to the jubilant celebration "It's Good to Be Us," with its soaring, stuttering guitars and Who-derived organ, Bucky Covington fulfills the promise that catapulted him to the finals of American Idol's fifth season. With a sandpapery


From the anthemic album opener, "American Friday Night," to the rustic country strains of the fiddle-rich heartbreaker "I'll Walk" to the jubilant celebration "It's Good to Be Us," with its soaring, stuttering guitars and Who-derived organ, Bucky Covington fulfills the promise that catapulted him to the finals of American Idol's fifth season. With a sandpapery voice and personable vibe, he sells every song he sings, at times evoking the young Travis Tritt in his muscular, bluesy approach. Co-produced by Sawyer Brown's Mark Miller and featuring a lineup of top-notch players (Dan Dugmore on steel guitar and Aubrey Haney on fiddle are pretty potent ringers to bring in), Covington's debut effort trades on energy, attitude, and a southern rock template -- there aren't many quiet moments here, apart from "I'll Walk." Covington's gritty vocals, the stinging, searing guitars, and especially the frequent presence of gospel-based backup singers (the formidable Vicky Hampton among them), add up to a laudable launch for an artist who may well have what it takes to endure long after the glow from American Idol has faded.

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Bucky Covington was one of those charmingly unformed American Idol contestants who had plenty of charisma and an interesting voice but couldn't quite pull it together, yet he stayed on the show for a long time in its fifth season because he had a genuine sweetness buried beneath his gruff voice. That sweetness earned him fans, including plenty who saw Carrie Underwood become the first country Idol just the season before, but Carrie always seemed like a pop Idol: smooth, pretty, assured, and well-manicured, just right for Skechers ads. Bucky wasn't so smooth. He sounded and seemed like a good old Southern boy, too rough even for Nashville Star, which surely was the core of his appeal, and also made his eventual mid-season dismissal not so surprising; despite all his charm and enormous potential, he was far from the best singer on the show. Nevertheless, he had the raw elements of a true country star, something that led to a record deal with Lyric Street, which had him record his debut album with Mark Miller, best known as the lead singer of Sawyer Brown. Miller helps polish Bucky into a genuine modern country singer, smoothing out the rough edges in his voice and finding just the right blend of rocking country and down-home corn to showcase his gravelly growl and all-American charm. Make no mistake, Bucky Covington has been designed to appeal to the middle-American and Southern fans who kept Bucky on AmIdol for weeks. It's filled with songs celebrating an "American Friday Night," songs where the country boy is longing for his home back South ("Carolina Blue"), songs where Bucky imagines that heaven would be a lot like his hometown. There's a strange nostalgic undercurrent here, as when Bucky is thinking back to his childhood on "The Bible and the Belt" (his mother taught the former, his father the latter). Such rose-tinted family memories are par for the course in country, but what's a little odd on Bucky Covington are the very specific "Different World" and "Back When We Were Gods," where Covington looks back on a childhood that was quite different than today ("We were born to mother, who smoked and drank/Our cribs were covered in lead-based paint") and remembers running around with his high school pals just before Desert Storm in "Back When We Were Gods" -- two songs that are designed to sound true to listeners who were adolescents during the first Bush administration. Born in 1977, Bucky is a bit too young to be part of this camp -- he would have been 14 when Desert Storm launched, he was in grade school at the peak of the Super Mario Brothers craze -- but this cultural carbon-dating reveals exactly what audience Bucky Covington is intended to capture: thirtysomethings raised on John Mellencamp and now listening to Kenny Chesney and Alan Jackson. It's country music with anthemic pop hooks and a rock edge, country music that's been crafted with a clear eye on its demographic, which may make it a little crass, but it's still effective commercial country because the songs are melodic, the production crisp, and above all, they're delivered by a singer who is thoroughly likeable. On record, Bucky appears as genuine as he did on the show, but his vocals are stronger than they were on TV: he's not only more confident but his phrasing is more musical and he can now tell a story -- perhaps not in an original way, but in an engaging way. This newfound strength is showcased well on this well-made piece of country-pop product. Ultimately, Bucky Covington is the sound of a Nashville pro like Mark Miller translating Bucky's TV persona onto record: it may be slick and calculating, but there's pleasure in that professionalism and, thanks to Bucky, there's a ring of truth to the album. After all, Bucky is still enough of a good old Southern boy to be likeable no matter how slick his surroundings are. He may not be driving the car, but he's on the ride of his life and he's enjoying every second of it.

Product Details

Release Date:
Lyric Street

Related Subjects


Album Credits

Performance Credits

Bucky Covington   Primary Artist
John Wesley Ryles   Background Vocals
Robert Bailey   Background Vocals
Dan Dugmore   Steel Guitar
Vicki Hampton   Background Vocals
Gregg Hubbard   Background Vocals
Blair Masters   Piano,Keyboards,Hammond Organ
Dale Oliver   Acoustic Guitar,Dobro,Mandolin,Electric Guitar
Russ Pahl   Acoustic Guitar,Steel Guitar
Jim Scholten   Bass
Pat McGrath   Acoustic Guitar
Bobby Huff   Percussion,Drums,Background Vocals
Audrey Haney   Fiddle

Technical Credits

Marc Beeson   Composer
Gregg Hubbard   Composer
Dale Oliver   Producer,Engineer
Kip Raines   Composer
John Scott Sherrill   Composer
Mark Miller   Composer
Brent Wilson   Composer
Mark Nesler   Composer
Bill Austin   Composer
Mark Irwin   Composer
Glenn Sweitzer   Art Direction
Dave Berg   Composer
Tim James   Composer
Sam Hewitt   Engineer
Jennifer Hanson   Composer
Tommy Douglas   Composer
Tim Gates   Composer
Marti Dodson   Composer
Bucky Covington   Composer
Cori Bardo   grooming
Michael Hewitt   Engineer
Josh Kear   Composer
Lonnie Fowler   Composer
Chris Stapleton   Composer
Tony Martin   Composer
Chris Tompkins   Composer

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Bucky Covington 5 out of 5 based on 0 ratings. 2 reviews.
Guest More than 1 year ago
I admit that I've been a Bucky fan from the beginning and I was axious for this release. But to be completely honest this album is better than I expected. The album has a very strong southern rock feel to many of the tracks. As much as I loved Bucky on American Idol, I admit he had some issues with enunciation and over doing that growl of his. But he's worked that all out with the help of his producer, Mark Miller of Sawyer Brown. His vocals are excellent and he's still got that country twang. I would definitely recommend this album for any country/southern rock fan.
Guest More than 1 year ago
buckys cd is great. i liked him during ai but this cd is so much better!!!!! go bucky