Indeed, Young lives up to everyones predictions with his self-titled debut on RCA Records. Working with Kenny Chesney’s producer Buddy Cannon, Young has created a potent debut that puts an up-to-date, contemporary edge on traditional country music.

For as long as I can remember, I told everyone I would be a country singer, says Young with the straightforward, aw-shucks attitude that has already won him a nation of fans. I’ve always been sure that this was what I was going to do. I didn’t know if I’d be successful, but I knew I would be singing, even if it meant doing it on the street with a cup in front of me. I love it that much.

Like his heroes Keith Whitley and Randy Travis, the 21-year-old seems to own an old soul and a lived-in voice custom-designed to sing country music. Like those idols, he ushers country’s classic sound into the modern era, energizing the genres core themes and values by making them as current as tomorrows news.

I don’t worry about labels, he says. I know that whenever I sing the music I love, I see people my age, and people of all ages, really responding to it. I know they hear the same things I hear in the music. It’s about life, all the joy and all the heartbreak of living, right there in three minutes and 22 seconds.

As it turns out, that’s the length of Young’s first single, Drinkin’ Me Lonely, the self-written song that’s already made a star of the hometown boy from Murfreesboro, Tennessee. 

Young’s debut shows how deep his talent goes. He reaches into his own song bag for the Southern rocker Lay It On Me and the celebratory Small Town, Big Time, both co-written with Tim James. 

Meanwhile, the touching Center of My World, which Young co-wrote with veteran David Lee Murphy, shows how well he can handle a believable love song. It’s a tune destined to be a future prom-night, wedding-party favorite. 

Young figures he came by his musical obsession naturally. Some of his earliest memories involved listening to his grandfather, one-time Louisiana Hayrideperformer Richard Yates, play piano and guitar at family gatherings. 

By grade school, Young performed in children’s theater, leading family and friends to discover his innate singing talent. The youngster enjoyed the full support of his parents from the start; whenever he asked for help, they came through without hesitation, whether it meant paying for vocal lessons or buying his first guitar.

A lot of parents discourage kids from music, because they know it’s a long shot and it can be disappointing, he says. But I got to do what most kids didn’t because my parents always encouraged me and supported my dream.

In high school, while most tall and handsome young men devoted themselves to sports, Young focused on getting better at music. His tenacity paid off. Young and his partners quickly started getting gigs at prestigious Nashville music clubs like 3rd & Lindsey. The week the A-student took his finals as a senior in high school, he put out his first album. His earliest fan club members still treasure it like gold.

He went to college, taking music business classes, first at Belmont University in Nashville, then at Middle Tennessee State University in Murfreesboro. After two years of studying, he was performing more than 150 shows a year. It’s hard to perform three shows a week and stay in an honors program, said the high-achiever. So I put my classes aside for the time being to pursue music full-time. Music Row insiders encouraged him, but also suggested the teen singer continue to write and gain seasoning. When a Texas nightclub agent invited him to front the house band at the famous Cowboys honky-tonk in Arlington, Texas, Young excitedly took the job. One of his more faithful fans insisted he audition for Nashville Star. Young at first balked, until the friend told him that this years winner would, for the first time, get a recording contract with RCA Records.

When I heard that, I got interested, he says. RCA has always been the label I wanted to be on. It’s where my heroes recorded, guys like Keith Whitley, John Anderson, Ronnie Milsap and Alan Jackson. I knew they were the best of the best.

I’ve always felt this was my destiny, says the singer. But I also realized early on that hard work is as important as talent. I love to work just as much as I love music. So I’m having the time of my life right now.

Still, I’m waiting for that day when I hear my song being played on the radio next to George Strait and Brooks & Dunn. That’s when I’ll celebrate. At that point, I’ll know my work is just beginning, but I’ll also know that dreams do come true. 

Listen

This has been a listening week for me. Here are some of the sounds I’ve been enjoying.

Del McCoury, Del McCoury: Celebrating 50 Years: The great bluegrass innovator celebrates his 50th year in music with a nice, thick boxed set of 50 of his favorites from over the years — most of which he recently re-recorded.Richard Thompson’s great song “1952 Vincent Black Lightning” will endure forever.

Holly Williams, Here With Me: This CD is growing and growing on me. Holly has an indefinable quality to her voice that can intrigue and then hook you.Hank Williams‘ granddaughter has an elegant clothing store in Nashville and records music that is just as elegant. How wonderful.

The Tractors, Trade Union: How about some pure blue-collar, meat-and-potatoes, good-time music with a strong backbone? This is serious music. The world needs more Tractors and Leon Russell boogie. Head Tractor Steve Ripley reminds everyone that Oklahoma does rock.

Kenny Chesney, Greatest Hits II: Kenny is getting this youth-romantic-angst-thing down into a nice groove. “Anything but Mine”remains a personal favorite. I ran into some Parrothead friends the other night who said they’re shifting their allegiance fromJimmy to Kenny.

Scott H. Biram, Something’s Wrong/Lost Forever: Alt-country’s great musical misfit has a whole album full of satisfying musical rants. “Still Drunk, Still Crazy, Still Blue” is a song I play often. I still haven’t caught him live in concert, but I will.

The Oak Ridge Boys, The Boys Are Back: It’s always risky to shift musical direction, but the Oaks are headed there, and the audience jury is still out on this new CD. I especially like the Jamey Johnson composition, “Mama’s Table.”

Ray Charles, Modern Sounds in Country & Western Music: This re-issue of one of the most important and influential country records ever made is a cause for celebration. If you’ve never heard it, you’re in for pure musical pleasure. First released in 1962, this music is so rich and textured, it serves to remind you that in the pre-digital age, artists paid careful attention to what they were doing, and great care was often taken with the recording. And it shows in the grooves.

J.B. Beverly & the Wayward Drifters, Watch America Roll By: Without trying to sound retro, Beverly manages to evoke the musical spirit and legacy of the late Hank Snow. Which is a very good thing. 

Steve Wariner, My Tribute to Chet Atkins: What a musical treasure in hearing one great guitarist salute the greatest country guitar player ever. Wariner is one of only four guitarists that Atkins honored with his title of “c.g.p.” (“certified guitar player”). The other three are Tommy Emmanuel, John Knowles and the late Jerry Reed.

Steve Earle, Townes: A music master’s nod to his own musical master, Townes Van Zandt. You can listen to this for weeks on end and discover new twists and turns in Townes’ lyrics.

Johnny Cash, Original Sun Singles ‘55-’58: Twenty-four musical gems, from “Cry, Cry, Cry” to “I Forgot to Remember to Forget” in this new CD package. This amounts to a lifetime of music … until you remember what Cash did later in his career.

Jonell Mosser, Trust Yourself: She may be Nashville’s best pure singer, and she torches every living creature within a one-mile radius. I want to hear the title cut (a Bob Dylan composition) at least once a day.

Felicity Urquhart, Landing Lights: She’s one of several very talented young Australian singer-songwriters who are making a name for themselves. Urquhart wrote or co-wrote all 12 cuts here. She sings with a deceptively understated style that I think could build an audience. I certainly like her.

Black Joe Lewis & the Honeybears, Tell ‘Em What Your Name Is!: The Austin-based blues band brings back the grand tradition of a high-octane, kick-ass blues outfit that’s chock full of horns and energy. The current CD is a good introduction to their music.

I’m also liking what I have heard so far in advance music from the Parks, a father-son honky-tonk duo originally from Borger, Texas. You can hear some strains of Southern rock and even the Waylon-Hank Jr. thing in there. They have released a single, “As Long as You’re Going My Way.”