The Hurting Kind

by John Paul White

Overview

John Paul White's The Hurting Kind has been advanced as a return to Nashville's "countrypolitain" sound of the 1960s. He enlisted the aid of Country Hall of Fame heroes Bill Anderson and Bobby Braddock as co-writers on three cuts, and his and Ben Tanner's production style for the album certainly reflects that influence. But White is no stranger to countrypolitain: On his 2016 offering Beulah, he delivered "I've Been Over This Before," a classically wrought, languid, honky tonk shuffle guided by an Owen Bradley-esque blueprint mix. White recorded The Hurting Kind at Sun Drop Sound, a home studio converted from an early 20th century house in the historic district of Florence, Alabama, as well as at FAME Studios in Muscle Shoals, Alabama. Previous to recording, he was immersed in listening to classic country albums by Jim Reeves, Patsy Cline, Roy Orbison, and Chet Atkins, among others. Their vibes inspired him to connect with Anderson and Braddock -- they both assented. This album walks the line between his established, original approach to Americana and his lifelong love of '60s country. Poignant opener "The Good Old Days," with its strident mandolins, electric guitars, fiddle, and drums reflects the latter. It rocks with an approachable mix that contrasts with sardonic indirect lyrics referencing America's dramatic political era without being preachy. There's irony at work here: The tune derides nostalgia even though most of the album is informed by musical history. "I Wish I Could Write You a Song," penned with octogenarian Anderson, is introduced by a twangy Gretsch, upright bass, and pedal steel. It's filled out by an army of guitars, strings, timpani, and Erin Rae's sweet backing vocals. White's wafting tenor hovers above the anthemic, sweeping choruses, evoking the spirits of Orbison and Reeves. "Heart Like a Kite" is a gorgeous country waltz with twin lead guitars, steel, fiddle, and the right amount of reverb. It's a hell of a heartbreak tune. Both the rocking "The Long Way Home" and the languid title track underscore White's riveting, bluesy approach to Americana. His Braddock collaboration, "This Isn't Gonna End Well" -- with special guest Lee Ann Womack as a duet partner -- is one of dramatic, near-theatrical scope; it's framed in strings, vibraphone, timpani, steel, electric guitars, and drums, and so drenched in country-soul it could have been cut by Conway Twitty and Loretta Lynn. Immediately following is "You Lost Me," a sultry barroom waltz penned with Anderson and Jamey Johnson that drips with heartache and desperation, and is adorned by Rae's backing vocals amid sweeping, old-timey fiddles. While "James" is an exercise in sad, pastoral dreaminess and fine poetry, closer "My Dreams Have All Come True" pairs Orbison's and Bradley's production aesthetics with White's particular gift for lyrics and melody. It's a chilling send-off and evidences his finest singing on the set. The Hurting Kind stands head and shoulders above Beulah for its mature vision, powerful focus, and poetic songwriting and production. It is White's finest moment thus far. ~ Thom Jurek

Product Details

Release Date:	04/12/2019
Label:	SINGLE LOCK RECORDS
UPC:	0701822967105

Tracks

1. The Good Old Days
2. I Wish I Could Write You a Song
3. Heart Like a Kite
4. Yesterday's Love
5. The Long Way Home
6. The Hurting Kind
7. This Isn't Gonna End Well
8. You Lost Me
9. James
10. My Dreams Have All Come True

Album Credits

Performance Credits

John Paul White   Primary Artist,Lead,Piano,Percussion,Guitar (12 String Electric),Guitar (Electric Baritone),Vocals (Background),Guitar (Electric),Guitar (Acoustic),Guitar (Baritone)
Todd Beene   Pedal Steel
Spencer Cullum   Pedal Steel
Jon Radford   Drums
Ben Tanner   Piano,Percussion,Pump Organ,Vibraphone
Reed Watson   Drums,Percussion
Jon Estes   Bass,Guitar,Bass (Upright)
Caleb Elliott   Cello,Mandolin
Kimi Samson   Viola,Fiddle,Violin
Erin Rae   Vocals (Background)
Lillie Mae   Fiddle,Vocals (Background)
Brandon Clifton   Guitar (Electric)
Adam Morrow   Guitar (Electric),Guitar (Electric Baritone)
Russ Belote   Timpani
Matt Green   Bass,Bass (Electric)
Pat Bergeson   Guitar (Electric)
Lee Ann Womack   Lead,Featured Artist,Vocals (Background)
David Hood   Bass
The Secret Sisters   Vocals (Background)
Billy Contreras   Fiddle

Technical Credits

Bobby Braddock   Composer
Ben Tanner   Engineer,Producer
Bo Bodnar   Assistant Engineer
Austin Motlow   Assistant Engineer
Mark Allan Falk   Assistant Engineer
Bill Anderson   Composer
Michael Ivey   Engineer
John Paul White   Composer,Producer
Tom Syrowski   Engineer
Jamey Johnson   Composer