The worst tracks on Michael Ray’s debut album can be described as “fairly catchy.” The best tracks are immensely radio-friendly offerings with undeniable hit potential.
In short, the country artist’s inaugural studio release is a collection of twelve fun and endearing mainstream country songs. For those undeterred by the rock-leaning, party-minded songs that have come to dominate country radio, the album is well worth a listen.
But while it may make for an enjoyable listen (or three), “Michael Ray” is not a wholly effective debut. What it possesses in engaging melodies, strong hooks and taut production it markedly lacks in presentation of identity.
It fails in what is arguably the most important aspect of a debut release: introducing Michael Ray.
At no point does “Michael Ray” provide a window into his personality. At no point does it showcase anything resembling unique, let alone intimate, thoughts and feelings.
And while asking a breezy mainstream country album to communicate deep, meaningful emotion may seem unfair, asking it to distinguish Ray from the myriad of competent, energetic male country singers is an irrefutably valid request.
It also fails in that regard.
In committing so intently to creating lively, engaging, radio-friendly singles, Michael Ray overlooks the importance of affixing his own stamp to each record. None features anything that could be mistaken for a discernible signature.
Instead of distinguishing Michael Ray from his contemporaries, the generic tracks–and Ray’s malleable performances on those tracks–inspire immediate comparisons to other, more established artists.
“Everything in Between,” the best song on the album, evokes an undeniable Blake Shelton vibe (the chorus on “Wish I Was Here” does the same). His vocal tone and delivery — particularly on songs like “Real Men Love Jesus” — often resemble those of Chris Young. The production on “Drivin’ All Night” seems straight out of the Florida Georgia Line playbook. Stylistic similarities to names like Luke Bryan and Thomas Rhett also emerge at different points on the album.
In one respect, the legitimacy of such comparisons represents an endorsement. If the album can call to mind the work of country music’s biggest stars, it clearly features strong, radio-friendly material performed by a talented vocalist.
Unfortunately, the comparisons also underscore the album’s greatest weakness: its failure to establish Michael Ray as a uniquely compelling country artist. It presents Michael Ray as familiar, but it does not make him recognizable.
The Good and Bad of Monotony
On the one hand, there is merit to that approach. Today’s country radio audience has demonstrated a tolerance — if not a thirst — for the familiar.
Newer acts like Cole Swindell and Canaan Smith have scored #1 hits not by straying from the norm but by embracing the sound espoused by the genre’s superstars.
Michael Ray’s own undeniably catchy, but fairly generic and wholly unambitious “Kiss You in the Morning” has already reached #2 at country radio, and it may hit #1 this week.
One does not need to stand out to succeed at country radio. If anything, fitting in is a surer pathway to the top of the airplay chart.
Radio success, however, only represents one piece of the country music puzzle.
One can score hits on the basis of conformity and assimilation, but he cannot achieve true superstardom without differentiation. The artists who sell hundreds of thousands of albums and concert tickets do so thanks to unique, powerful connections with fans. In order to achieve that connection, an artist must establish a distinct, recognizable and resonant identity.
While their musicality may repel country traditionalists, acts like Sam Hunt and Thomas Rhett have unquestionably begun to cultivate unique artistic identities. They, consequently, have distanced themselves from many contemporaries; they are not simply radio hitmakers but increasingly recognizable country stars.
“Michael Ray” does nothing to put the titular artist on the same path. Instead of making a case for why Michael Ray stands out from the pack of solo male country artists, it works to prove that he fits into that group.
Michael Ray: Portrait of an Undersold Artist
Particularly unfortunate about the album’s complacent, conformist approach is the fact that Ray is uniquely talented and marketable. He has a great look. He has legitimate charisma. He has an excellent voice that can dually convey contemporary swagger and hearty sensitivity.
He possesses all the attributes of a country star, with the exception of one: an album that presents him as such.
The album has already yielded a country radio hit in “Kiss You in the Morning,” and insofar as it possesses a healthy assortment of similarly catchy, similarly safe tracks, there is no reason to believe it cannot produce another. This album will bring awareness to Michael Ray.
That awareness will, unfortunately bring awareness to an artist who is not realizing his full potential. If accepting of contemporary country, those who listen to “Michael Ray” will find his music decently engaging and charming. Save for some complaints regarded to shallow or misguided lyrics, one introduced to Michael Ray will find little to hate.
But they will simultaneously find little to love and even less to trumpet to the world. They will doubtfully be able to describe Michael Ray as more than a talented country musician, and they will definitely not be able to articulate how he is elevating the genre and/or distancing himself.
Awarded guaranteed airplay support from the coveted iHeartRadio “On the Verge” program and touted by Warner Nashville as possessing a “dash of something funky,” Ray–and his “Kiss You in the Morning”–was positioned to draw the ire of country bloggers, critics and traditionalists. By rising at country radio long after its “On the Verge” boost concluded, Ray partially combated that skepticism.
If this album were more distinct and more artistically ambitious, it could have completely put such criticism to bed. Instead, it serves to fuel the notion that Ray is a talented, but ultimately unremarkable addition to the mainstream country community.
Since the talent is there, that label, though justified in the context of this album, is unfair.
Still Worth a Listen
By failing to successfully introduce and differentiate Michael Ray, the album loses its right to be labeled a success.
Strategically unsuccessful, it is nonetheless enjoyable from a musical standpoint.
Powered by endearing instrumentals, a committed lead performance and a soaring chorus, “Another Girl” expands upon the infectious energy of “Kiss You in the Morning.”
With an absurdly catchy chorus, strong production and a striking groove, “Look Like This” seems like a surefire hit. “Real Men Love Jesus” will draw criticism for encouraging conventional gender stereotypes, but it is an undeniably strong and alluring piece of music.
Hurt by a lack of subtlety (in both the production and Michael Ray’s delivery), “Run Away with You” and “Wish I Was Here” definitely offer bright spots — and definitely engage the listener. The former is the stronger track, but its impact is slightly neutered by the fact that Big & Rich, the latter of whom worked with Ray on The CW’s “The Next,” released the song earlier this year.
The album-stealing “Everything in Between” and album-closing “Somewhere South” offer the strongest evidence of Ray’s vocal talent. Whereas his performance can occasionally feel one-note, his work on these two tracks is anything but. Commanding, it is also nuanced and heartfelt, and it pairs well with the songs’ lively, yet understated production. Greater cohesion and direction allow “Everything in Between” to win the head-to-head battle, but both offerings are strong.
Neither song is unique enough to be star-making, but Ray could likely become a bigger star by more vociferously pursuing their sonic vibe.
Reduced vocal and/or instrumental bite make “Drivin’ All Night,” “Livin’ It Up” and “Think a Little Less” the album’s comparatively weak tracks, but they’re certainly not bad — or ill-fitting.
There is no denying the musical merit here, and if one is looking for a fun, engaging mainstream country album, he can do far, far worse than “Michael Ray.”
But a debut album is supposed to aid an aspiring artist in his quest to become a superstar. By failing to establish Ray’s identity or differentiate him from the crowd pack of male country stars, “Michael Ray” does not make the optimal contribution to that journey.
Track listing:
1) Kiss You in the Morning
2) Another Girl
3) Look Like This
4) Real Men Love Jesus
5) Livin’ It Up
6) Run Away With You
7) Think A Little Less
8) Wish I Was Here
9) This Love
10) Drivin’ All Night
11) Everything in Between
12) Somewhere South
“Michael Ray” is now available.