Growing up in Texas and New Mexico, Frank Ray was inspired by both country and ranchera music, which helped to create his unique fusion sound. After a ten-year career as a police officer and playing gigs on weekends, he found success on the Texas country charts and released his first EP, ‘Different Kind Of Country’ before being discovered through a Spotify playlist. Since then he’s opened for Ashley McBryde and performed at the Grand Ole Opry – and now he’s releasing his self-titled debut full-length album.
The 15-track LP opens with Ray’s first single, ‘Streetlights’, which very much sets the tone for the rest of the record. It opens with shimmering strings moving into a twangy guitar melody, and Ray’s smooth vocals work really well for the summery vibe and the fusion of country and Latin sounds with playful lyrics. I liked that he threw in some singing in Spanish too as a point of difference and the poppy feel of the song, as well as references to things like drinking Patron from plastic cups – more on that shortly – and layers of horns add to the overriding sense of fun.
One thing which stood out to me throughout the record was the sheer amount of detail Ray crams into each song. Whether that’s references to cowgirl boots and snapbacks on the bluesy ‘Country’d Look Good On You’ (one of Ray’s first chances to show off his impressive vocal runs), describing a dress as a ‘black satin breath-catcher’ on the slick, funky ‘Out On Me’ or the name-checks of ‘Back Before My Time’, a rock-influenced number that’s the most country song on the album with its references to Dolly, Willie, Waylon and Merle, the specifics really help to build up the picture of Ray’s influences and experience and avoid the generic feel that a lot of similar songs can have. Perhaps the best example of this is ‘We Got ‘Em’, a nostalgic tribute to Southwest living which kicks off with whoops from Ray and ends with a rooster crowing, sandwiching references to a wagon wheel off Highway 10 and a gold El Camino next to an Airstream surrounded by people drinking Uncle Johnny’s ‘good stuff’ whilst playing cornhole and poker. It really creates a vivid image of this lifestyle and you come away feeling like you’ve been truly immersed in that world.
It also feels like an album that’s made for being played live. Songs such as ‘Y’All Showed Up’ (which pairs a lively guitar melody with rapid-fire lyrical delivery), the earworm chorus of recent single ‘Somebody Else’s Whiskey’ – a clever take on the break-up song that feels like Kenny Chesney meets Morgan Wallen’s ‘Happy Hour’ and highlights the belt in Ray’s voice – and the bouncy ‘Let It Drop’ with its call-and-response element have a really good energy about them that lends itself well to live performances. I can really see these types of tracks going down well at Country Music Week, in the Indigo at C2C or on the CMA Fest Riverfront stage and they’re sure to win over plenty of fans looking for something to sing along to on long summer drives.
However, for me where Ray shines is often in the slower numbers. ‘Late’ highlights his storytelling skills in the style of ‘Don’t Take The Girl’ or ‘All American Girl’ and is full of warmth despite his love’s lack of timekeeping, whilst the sultry, slinky ‘Wasting Your Words’ features yet more vocal tricks and horn melodies alongside sharp guitars and drum rolls, building to a dramatic climax before dropping away and ‘Biggest Fan’ has a mellow, beachy feel and provides an unusual take on a love song as Ray gives thanks to God for his partner. Elsewhere, ‘Prettiest Girl At The Bar’ puts a bittersweet twist of things with its retro piano-led melody alongside a click track and soaring harmonies whilst bringing out the soulful quality of Ray’s vocals, and ‘Spring Break’ has a yearning about its lyrics and delivery that contrasts its uptempo guitar melody as well as featuring some impressive high notes! One particular standout though is ‘Learn Something New’, an introspective, raw number that has an almost cinematic feel about it and yet more detail in the lyrics, with references to creaks in the kitchen hardwood floor and eating chilli from a can after your lover leaves. I was very impressed by the power in Ray’s voice on the chorus and the song’s slightly mournful, melancholy feel provides a strong contrast with the rest of the project.
Ray closes the record with ‘Party With Strangers’. The song has an upbeat, doo-wop feel about it (and yet more of those trademark horns!), along with a rollicking barroom feel and a big cheerful chorus as Ray sings about having people saved in his phone under their city names. It has very strong ‘hands in the air and sway along at a festival’ vibes – I can absolutely hear this as a live show entrance or exit song – and feels like a strong note to end on with its sunny, freewheeling conclusion of Spanish lyrics, background chatter and laughter. You very much feel like you’ve got to know Ray over the last 52 minutes and for me this track sums up his style well.
Overall Frank Ray has produced a solid debut album that shows off the many styles his music encompasses, blending country, pop, rock, soul and Latin influences, as well as his outstanding vocal range and quality. Although it can feel a little samey in places, it’s saved by the smart writing throughout and there’s a really likeable feel about the whole thing that means it easily wins you over. If you’re looking for something to play this summer that’s easy to listen to and guaranteed to get stuck in your head, then this is a very good choice. In the meantime, I’m excited to see where he goes from here – and hope that he might make it across the pond to play some of these songs live soon…
Track listing: 1. Streetlights 2. Country’d Look Good On You 3. Y’All Showed Up 4. Somebody Else’s Whiskey 5. Late 6. Wasting Your Words 7. Out On Me 8. We Got ‘Em 9. Prettiest Girl At The Bar 10. Spring Break 11. Let It Drop 12. Back Before My Time 13. Learn Something New 14. Big Fan 15. Party With Strangers Record label: BBR Music Group/Stoney Creek Records Release date: 7th July 2023
