On Sunshine, his first album for Krankit Records, Smith comes on fun, funky and strong. The record was co-produced by Smith and label head and veteran hit maker James Stroud, with Bobby Terry lending additional production assistance on singles and long-plays. Featuring all Smith original compositions save one, Sunshine glows with a bright, fiery intensity worthy of its name. “I’m just being me,” beams the singer-songwriter, who approaches life with the same hold-nothing-back passion that fills his music. “I have never tried to sound like anyone else. I have always wanted to be me, musically. I’m doing the kind of music I love in the only way I know how.” ANTHONY SMITH Anthony Smith charges through country music like a bull in a china shop—shaking and rattling the music with bold bravura. Tall and broad-shouldered, the long-haired country boy from East Tennessee breaks rules and ignores the usual polite Nashville conventions. On Sunshine, his first album for Krankit Records, Smith comes on fun, funky and strong. The record was co-produced by Smith and label head and veteran hit maker James Stroud, with Bobby Terry lending additional production assistance on singles and long-plays. Featuring all Smith original compositions save one, Sunshine glows with a bright, fiery intensity worthy of its name. “I’m just being me,” beams the singer-songwriter, who approaches life with the same hold-nothing-back passion that fills his music. “I have never tried to sound like anyone else. I have always wanted to be me, musically. I’m doing the kind of music I love in the only way I know how.” The distinctive music Smith makes injects a rock ‘n’ roll swagger and funky, fresh rhythms into a style of music that is undeniably contemporary—and undeniably country. “I like getting a reaction,” he says. “My music isn’t the kind you sit and passively listen to. It’s going to make you move, and it’s going to make you react and feel something. I want an emotional response—whether it’s good or bad or romantic.” Smith knows about creating hit songs, as he’s had a long string of them as a songwriter—and each of them draws the kind of unfiltered response from listeners as Smith’s new recordings. His songs have been recorded by a virtual “Who’s Who” list of Nashville’s superstars, including; George Strait, Montgomery Gentry, Tim McGraw, Faith Hill, Lonestar, Trisha Yearwood, Van Zant, Lori Morgan, Sammy Kershaw, Josh Gracin, Trick Pony, Kenny Rogers, Shooter Jennings, and others. Some of his hits include: George Strait’s huge hit, “Run” and crowd favorite, “Cowboys Like Us,” Trace Adkins’ two out-of-the-gate smashes, “Chrome” and “I’m Tryin’,” Tim McGraw’s “Kill Myself” and recent release “Kristofferson,” Rascal Flatts’ “My Worst Fear” and Montgomery Gentry’s recent top five hit “Whattaya Think About That?” ANTHONY SMITH Anthony Smith charges through country music like a bull in a china shop—shaking and rattling the music with bold bravura. Tall and broad-shouldered, the long-haired country boy from East Tennessee breaks rules and ignores the usual polite Nashville conventions. On Sunshine, his first album for Krankit Records, Smith comes on fun, funky and strong. The record was co-produced by Smith and label head and veteran hit maker James Stroud, with Bobby Terry lending additional production assistance on singles and long-plays. Featuring all Smith original compositions save one, Sunshine glows with a bright, fiery intensity worthy of its name. “I’m just being me,” beams the singer-songwriter, who approaches life with the same hold-nothing-back passion that fills his music. “I have never tried to sound like anyone else. I have always wanted to be me, musically. I’m doing the kind of music I love in the only way I know how.” The distinctive music Smith makes injects a rock ‘n’ roll swagger and funky, fresh rhythms into a style of music that is undeniably contemporary—and undeniably country. “I like getting a reaction,” he says. “My music isn’t the kind you sit and passively listen to. It’s going to make you move, and it’s going to make you react and feel something. I want an emotional response—whether it’s good or bad or romantic.” Smith knows about creating hit songs, as he’s had a long string of them as a songwriter—and each of them draws the kind of unfiltered response from listeners as Smith’s new recordings. His songs have been recorded by a virtual “Who’s Who” list of Nashville’s superstars, including; George Strait, Montgomery Gentry, Tim McGraw, Faith Hill, Lonestar, Trisha Yearwood, Van Zant, Lori Morgan, Sammy Kershaw, Josh Gracin, Trick Pony, Kenny Rogers, Shooter Jennings, and others. Some of his hits include: George Strait’s huge hit, “Run” and crowd favorite, “Cowboys Like Us,” Trace Adkins’ two out-of-the-gate smashes, “Chrome” and “I’m Tryin’,” Tim McGraw’s “Kill Myself” and recent release “Kristofferson,” Rascal Flatts’ “My Worst Fear” and Montgomery Gentry’s recent top five hit “Whattaya Think About That?” Although an accomplished writer, Smith has always been a performer first. “I’ve never written a song for another artist to cut,” he says. “I always wrote songs for myself, for me to do on stage and to record. Publishers and other artists heard them and wanted to cut them or get them cut, and that’s tremendously flattering to me. But my intent was always to be on stage singing what I write.” Sunshine blazes with the same catchy power and creativity that drew other artists to make hits out of Smith’s work. The album not only shows off the guitar-driven, soulful strut of Smith’s muscular country rock, but also the unique forcefulness of his voice and the sweeping range of his musical and production capabilities. “Bringin’ Back the Sunshine” is a classic summer hit that works equally well on country and rock radio. It is part Alan Jackson, part Manfred Mann’s Earth Band as it emerges happiness and enjoying what can be simplicity of life—powered by catchy guitar riffs, naturally. “Dandelion” celebrates a country boy’s relation with nature and the opposite sex. Its playful suggestiveness and funky guitar hooks and operatic “nah, nah, nah” melodies make it a unique radio hit. Smith’s vocals, sly and sassy and slurring, fill the song with a lusty, good-time energy. Meanwhile, songs like “Almost Sacred” and “Love Is Love Is Love” offer grown-up views on making one’s way through life and finding out what matters most. Both songs allow Smith to show off what an expressive singer and clever lyricist he can be, while allowing Smith to show that even songs on deep topics can still rock with fresh accessibility. | |
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