Classic Rewind: Bellamy Brothers – ‘Old Hippie”

A #2 peaking single for the duo in 1985:

Album Review – Foster and Lloyd – ‘It’s Already Tomorrow’

It’s Already Tomorrow, released last year, saw Foster and Lloyd reuniting for the first time since Version of the Truth more than twenty years prior. They’ve picked up where they left off, giving country fans an album worthy of their legacy. To date there haven’t been any singles released from the project.

The album kicks off with the title track, welcoming the listener with an amped up guitar solo before the drums and steel guitar kick in. While the production is kind of loud, it blends to create a memorable melody to compliment Radney Foster’s lead vocal. I enjoy the sunny vibe of this song and the story of a guy a little hesitant to face the consequences of saying “I love you” once the next morning arrives.  

The majority of the album continues in the up-tempo vein of the title track. Songs like “That’s What She Said,” “Lucky Number,” “Hidin’ Out,” “Can’t Make Love Make Sense” and “Don’t Throw It Away” all have that rockish vibe to them. They definitely give the album an edge and contribute to the upbeat energy of the record.

“That’s What She Said” works because it sounds (musically speaking) as a nicely updated version of their classic “Crazy For You.” I love the playfulness of the lyrics and the perceptiveness of the guy as a keen observer:  

Well, I’ve never been able to leave a double meaning on the table

(That’s what she said)

When I’m looking for a good time I wink at her

And throw another punch line

(That’s what she said)

But what sells the song, for me, is their ability to use the “that’s what she said” joke and actually make it work in song, without it sounding corny. I’ve heard that joke used in many contexts and here they bring some maturity to it without sacrificing its tongue-in-cheek qualities 

“Lucky Number” is along the same lines and has as cleverly written a lyric by Foster with Bill Lloyd and Thomas John Peterson. The opening lines with the description of the woman walking down the street in her high heels is classic and I love the writers’ ability to flush out the fullness of the story.

The equally guitar and drum heavy “Hidin’ Out” succeeds on the premise of a guy, in a bar, wondering where this woman he has his eye on has been hiding out all this time. The production sells the song as it rocks just hard enough to glide the story along.  

“Can’t Make Love Make Sense,” drenched in steel guitar, is another excellent effort. The airtight harmonies and honky-tonk styling help the song to become ingrained in your head and the catchy lyric is easy to sing along to.

At first, “Don’t Throw That Away” sounds much to rock to pass as country but in this market anything is possible. The muscular guitar open comes at the listener quite strongly and suggest 80s power ballad opposed to country shuffle. As it progresses, it doesn’t get any couturier and the loud production is in sharp contrast to Lloyd’s soft vocal performance. The longest track on the album, it’s also easy to discard in comparison to the rest of the project. 

But not all the songs suggest a rock influence. The wonderful “If It Hadn’t Been For You” slows down the tempo and brings out a venerable side to the duo. The soft acoustic arrangement, complete with guitars and a gentle drum beat, nicely frame the story of a man letting his woman know the kind of person she helped him become:

If it hadn’t been for you

I might have never bought a ticket

for the ride of this crazy life

Or learn to love the twists and turns,

the ups and downs with you by my side 

Another ballad, “Something ‘Bout Forever” suggests an influence by the Eagles in its mix of strumming guitars and pedal steel. It’s easily one of the most country sounding songs on the project and a favorite of mine. Unlike the majority of It’s Already Tomorrow, “Something ‘Bout Forever” isn’t as heavily produced so it stands out in all the right places.

“Watch That Movie” is a unique take on a love song where the guy wants to go back and see the world of his woman before they met. I love the idea of wondering what someone’s childhood must’ve been like and how much more personal the relationship would be had we shared in all those experiences together. Foster and Lloyd have written a very thought provoking and interesting lyric here that I quite enjoy a lot.

The beautiful “When I Finally Let You Go” is a sweet and simple lyric about a guy imagining his thoughts to his wife once she travels to the great beyond. The barely there production suits the song well and I loved how it opens A Capella. Next to, “Something ‘Bout Forever” it ranks among my favorite tracks on the project.

Overall, It’s Already Tomorrow is a very strong return by one of 80s country’s most interesting duos. It rocks a little harder than I expected, but it proves they still make great music together after all these years.

Grade: A-

Classic Rewind: Foster & Lloyd – ‘Sure Thing’

Album Review: Kellie Pickler – ’100 Proof’

For some years, former American idol contestant Kellie Pickler has been saying encouraging things about her interpretation of country music, but not backing them up with her music, with her first two albums being somewhat over-produced pop-country efforts with average material and processed vocals. At last she has come through with something really worth hearing. She has obviously worked on her singing as well, and makes the most of a voice which is nice enough but not outstanding. Frank Liddell and Luke Wooten support her vocals infinitely better than her previous producers. There is a lot of variety in tempos and styles here, ranging from very traditional to more contemporary but recognisably country.

The voice and artistry of one of my favourite current songwriters, Leslie Satcher, underpin the vision of this record. She wrote or co-wrote five of the eleven tracks, including the first two singles, and anyone familiar with her own excellent records will recognise the style here. Underperforming lead single ‘Tough’, written especially for Kellie, about a rough-edged girl, has an energetic beat and I would have expected it to do better than a #30 peak, which is an ominous sign for the commercial prospects of this project, but despite its pedigree it is one of the less stellar songs. The title track and current single ‘100 Proof’ is a tender love ballad with a pretty tune, written by Satcher with James T Slater. The protagonist compares her own experience of true happiness with those she sees in a bad relationship.

The best of Satcher’s compositions here is ‘Where’s Tammy Wynette’ which opens the set. It is an excellent, pure country song, written by Satcher with Jimmy Ritchey and Don Poythress, from the point of view of the lonely wife of a man “torn between neon lights and home”, and searching for wisdom in Tammy’s music. On this track in particular Kellie’s vocal inflections are highly reminiscent of writer Leslie Satcher’s stylings. Leslie co-wrote a couple of the songs with Kellie. The rhythmic banjo-led ‘Unlock That Honky Tonk’ is pretty good, and sung with aggressive attack once more reminiscent of Satcher, with ex-SteelDriver Chris Stapleton’s backing vocals evident. However, the ballad ‘Turn On The Radio And Dance’, while not unpleasant, is forgettable filler.

Kellie also had the opportunity to co-write with Dean Dillon (another of my favourite writers) and Dale Dodson; this threeway partnership produced a bruised reflection on the end of a love affair , where she says she’ll be alright ‘Long As I Never See You Again’. This is a fine, downbeat song which grows on repeat listening. They also worked together on the therapeutic In ‘The Letter (To Daddy)’, an incredibly personal open letter to Kellie’s father, whose addiction-fueled crimes led him to spend most of his daughter’s childhood in prison, but, according to this song, has found sobriety. This is rather touching and definitely a highlight.

She has addressed her difficult family background before, with her early single ‘I Wonder’, addressed to the mother who, unable to cope, abandoned her to the care of her grandparents, and those emotions are revisited here. ‘Mother’s Day’, written by Kellie with her husband, Kyle Jacobs, is gentle and rueful as she broods on the absence of her mother from her childhood, and speculates about becoming a mother herself. To be perfectly honest, although this is a more mature reflection, delivered with a delicate vulnerability which shows the pain of that early abandonment has still not left Kellie, the song is not as emotionally immediate as the emotionally rawer ‘I Wonder’ on her debut album.

She also contemplates babies in the not-too-distant future in ‘Rockaway (The Rockin’ Chair Song)’, a pleasant and more contemporary sounding song about domestic happiness which she wrote with Brent Cobb and Barry Dean, and which one assumes is addressed to Jacobs. It’s quite a slight song, but is soothing and attractively melodic.

My favourite song by far is the fantastic and very traditional country ‘Stop Cheatin’ On Me’, written by Chris Stapleton, his wife Morgane Hayes, and Liz Rose. Paul Franklin’s steel slides under Kellie’s deceptively sweet vocal, as the lyric pays off with an ultimatum:

Stop cheatin’ on me – or I’ll start cheatin’ on you

This would have been a smash hit in the 70s. Today’s country radio wouldn’t touch it, which is a sad indictment.

I also enjoyed the upbeat ‘Little House On The Highway’, written by Rodney Clawson and Natalie Hemby, about the traveling life.

Overall, this was a surprisingly enjoyable release from an artist for whom my expectations were limited. I hope it does well for her.

Grade: A-

Classic Rewind: Foster & Lloyd – ‘Fair Shake’

Week ending 1/28/12: #1 singles this week in country music history

1952: Let Old Mother Nature Have Her Way — Carl Smith (Columbia)

1962: Walk On By – Leroy Van Dyke (Mercury)

1972: Carolyn – Merle Haggard (Capitol)

1982: Red Neckin’ Love Makin’ Night — Conway Twitty (MCA)

1992: Sticks and Stones — Tracy Lawrence (Atlantic)

2002: Where Were You (When The World Stopped Turning) — Alan Jackson (Arista)

2012: Drink In My Hand — Eric Church (EMI Nashville)

Classic Rewind: Foster & Lloyd – ‘Crazy Over You’

Album Review: The Little Willies – ‘For The Good Times’

The Little Willies’ first album was released almost six years ago as a side project for velvety voiced jazz-pop chanteuse Norah Jones, then at the peak of her commercial success, whose reputation led, and continues to lead, the marketing of the group. That record allowed Jones to stray from the template of her solo work and pay tribute to the country music she also loved, along with some likeminded friends. It was never just a Jones project, with lead vocals shared with Richard Julian, whose voice is pleasant but unremarkable. Now a second volume has appeared, featuring an interesting mixture of the well worn and less familiar material.

The outstanding track is their exciting and varied reworking of Ralph Stanley’s ‘I Worship You’, with alternate high lonesome and rapid-fire sections, and mixture of solos from both Jones and Julian and close harmonies. Also exceptionally good is the delicately regretful ballad ‘Remember Me’ (a fairly obscure song originally recorded by 1930s husband-and-wife duo Lulu Belle and Scotty, better known for their classic ‘Have I Told You Lately That I Love You’, which like ‘Remember Me’ was written by Scotty (Wiseman)). Some more famous songs are also reworked successfully, with a sensuous interpretation of ‘For The Good Times’ working well, while ‘Jolene’ is effectively brooding.

The Little Willies sometimes come across as a jazz band playing country songs, with interesting, inventive re-imaginings of wellworn material. Examples include their languid, slowed down version of ‘Lovesick Blues’, which is very different from the original, but quite effective at conveying the “lovesickness” of the lyric. A playful approach to Lefty Frizzell’s ‘If You’ve Got The Money I’ve Got The Time’, in contrast, speeds it up, and is very entertaining. However, I did not enjoy the jazzy arrangement of the trucking song ‘Diesel, Smoke, Dangerous Curves’.

‘Fist City’ is enjoyable enough but Norah does not convince me that she would (or could) beat up a romantic rival in the way Loretta does, so her threats ring hollow. Julian’s best moments come on Willie Nelson’s ‘Permanently Lonely’ and ‘Wide Open Road’, a lesser-known but good Johnny Cash song; neither, however, is as good as his highly entertaining cover of ‘Tennessee Stud’ on the group’s first album.

The rather odd ‘Foul Owl On The Prowl’ (not a country song but a Quincy Jones composition which was on the soundtrack of the movie In The Heat Of The Night) is a bit dull and not to my personal taste. The mostly-instrumental ‘Tommy Rockwood’ allows the band members to stretch out.

Overall, this is an interesting record which is not mainstream country, but is worthwhile music in its own right, and a worthy tribute to the genre.

Grade: A-

Classic Rewind: Norma Jean – ‘I Wouldn’t Buy A Used Car From Him’

Album Review: Foster & Lloyd ‘Foster & Lloyd’

Singer songwriter Radney Foster first teamed up with fellow writer Bill Lloyd in 1986, with the duo’s debut album being released on RCA the following year. Epitomising the diversity of late 80s country radio, Texas-born Foster’s country roots mixed with Lloyd’s pop/rock influences. Foster’s distinctive hard-edged voice generally takes the lead with Lloyd adding Beatles-esque harmonies and playing various guitars and mandolin. The duo produced, and wrote all the material, most frequently together, with a handful of solo compositions tossed in.

The cheerful rockabillyish debut single ‘Crazy Over You’, which had also just been covered by another new act, Ricky Van Shelton, got the new duo off to a great start, peaking at #4 on Billboard. The melodic mid tempo ‘Sure Thing’ also did pretty well, and was their second top 10 hit, and it is pleasant listening but a bit repetitive lyrically.

The third single, ‘Texas In 1880’ (written by Radney alone) hit the roadblocks, and stalled out in the lower reaches of the top 20. It was an interesting song which deserved to do better, giving voice to a contemporary rodeo competitor who draws inspiration from his image of the “wild and free” cowboys of a past era. John Cowan of New Grass Revival sang a guest high harmony.

My favorite song on the album, the excellent ‘What Do You Want From Me This Time?’ (featuring Vince Gill on guitar) took them back to the top 10. It is extremely catchy but withou sacrificing emotional depth. The protagonist tells his ex she is out of luck in her bid to reheat a relationship which is all over as far as he’s concerned:

What do you want from me this time?
What do you think you’re gonna find?
I’m not trying to be unkind
But what do you want from me this time?

You say things have changed but that’s pretending
Baby, love don’t always have a happy ending

Another fine song, ‘Don’t Go Out With Him’, omitted from the LP/cassette version, was to be a hit single for Tanya Tucker and T Graham Brown in 1990 with slightly re-worked lyrics. The original works very well as a picture of unrequited affection. ‘You Can Come Cryin’ To Me’(written by Radney Foster alone) feels like a sequel to this song, as that relationship has ended in literal tears and he offers a shoulder to cry on. It is a very good song and would have fitted in well on his solo album.

‘Hard To Say No’ is a fast-paced almost punkish rocker about finding it hard to resist sexual temptation which explains why Radney Foster once described the duo as a country garage band. It’s not the kind of thing I usually like but it is surprisingly entertaining and probably went down well live. Opener ‘Turn Around’ is pleasant and potentially radio-friendly but disposable mid-tempo country rock addressed to a woman leaving. ‘The Part I Know By Heart’ is not very interesting, while Bill Lloyd’s ‘Token Of Love’ is plain boring.

This debut appeared to herald a bright future for the duo, but their flame was to burn out even more quickly than it did for the Sweethearts of the Rodeo and the O’Kanes. They were to enjoy only one more top 10 single, 1988’s Guy Clark co-write ‘Fair Shake’, the leadoff for their sophomore album Faster & Llouder. The dup disbanded in 1990 after releasing a total of three albums, partly to allow Radney Foster to embark on a solo career. His album Del Rio TX, 1959 was a modern classic and met with much deserved commercial and critical success. His solo career also later faltered, but he has continued to release critically acclaimed music often some way off the mainstream, and he plans to record a live version of the songs on Del Rio TX, 1959 this year.

If you want to investigate the duo’s music, I would recommend either this album or the compilation The Essential Foster & Lloyd, which includes the best seven tracks from this release.

Grade: B+

Classic Rewind: The O’Kanes – ‘Blue Love’

A top 10 hit in 1988:

Single Review – Zac Brown Band – ‘No Hurry’

In the ongoing battle for group supremacy in country music, Zac Brown Band should win every battle. I love their tendency to stick to a more traditional sound and sing songs that aren’t riddled with clichés. They’re a much-needed breath of fresh air to offset the watered down sound of Lady Antebellum and the pretty boy flare of Rascal Flatts. Plus, as entertainers and musicians, there is hardly a better mainstream country act around.

But as more and more singles keep getting released and hitting #1 (“Keep Me In Mind” marked their seventh consecutive trip to the top and eighth overall), I’ve noticed the freshness of their sound has settled somewhere around routine. When you’ve set the bar as high as they have, it’s difficult to continue to show growth when you’re just consistently great.

But like any great act, there’s bound to be some missteps along the way. For the fifth single from the band’s latest album You Get What You Give, “No Hurry” is a bit of a let down. For all the outstanding album cuts (I’m looking at you “Let It Go” and “Martin”) on the project, I’m baffled this one will have its day at radio in place of some truly excellent songs.

Co-written by Zac Brown with James Otto and Wyatt Durrette, “No Hurry” is basically a laundry list of items the protagonist needs to accomplish but isn’t in a rush to complete:

You know my old car needs washing

And the front yard needs a trim

And the telephone keeps ringing

And the bossman knows I know its him

And the bills ain’t gonna pay themselves

No matter anyway

Cause I ain’t in no hurry today

Here’s the problem – these aren’t a particularly attention grabbing list of items to sing about. List songs are the hardest to sell because if they’re not exciting, there ceases to be a point. And “No Hurry” fits into that category. If the opening lyrics cannot hold the attention of the listener, and these don’t hold mine, than you know something is wrong.

As the song progresses, the lyrics take a turn from the idea of this person not being in a hurry for daily activities and errands to not being in a rush to ascend to heaven:

When I must return

To the cold cold ground

Have ‘em take their time

When they lay this sinner down

Heaven knows that I ain’t perfect

I’ve raised a little cain

And I plan to raise a whole lot more

Before I hear those angels sing

(Gonna get right with the lord)

But there’ll be hell to pay

But I ain’t in no hurry

The idea of living it up while you’re still on earth is predictable and bordering on cliché. As evidenced by their lazy execution, the writers are aptly reiterating what we’ve heard countless times before without offering us anything new. And such a poor execution is quite baffling from writers as talented as these.

But the one saving grace for “No Hurry” is the production. I thoroughly enjoy the fiddle and guitar work as it accomplishes the task of drawing the listener in and keeping them from turning the dial as soon as the song comes on. Anytime I get to hear fiddle front and center on a mainstream country single these days is a cause for celebration. Too bad the concept for the song doesn’t follow suit.

Grade: C 

Classic Rewind: Hank Williams – ‘Hey Good Lookin’

Album Review – The O’Kanes – ‘Tired of the Runnin’

In 1988, The O’Kanes followed up their successful debut album with Tired of the Runnin’ which continued their short hot streak on the charts. It would also mark their commercial peak, as a third album, Imagine That, would come without much fanfare in 1990.

The first single, “One True Love” would peak just inside the top 5 in 1988. The tune perfectly showcases the duos distinct harmonies and features snarly guitar riffs that recall the California rock sounds of Fleetwood Mac and has echoes of Linda Ronstadt in the drum work. The production works to frame the duo vocally, but the lightness of the lyrical bed ultimately leave the song feeling a tiny bit less than memorable.

The second single, “Blue Love” marked the end in their streak of top ten singles, peaking at #10 in 1988. Written by the duo, the song stands as a warning to love and its effects on the human psyche:

One day, your love is, one day your love is, so true

Next day, you’re changin’, next day, you changin’, your mood

I just can’t take it, I just can’t take your blue love

A much better song than the first single, “Blue Love” succeeds on its sing-a-long melody and fusion of lead guitar and drumbeats. Vocally, it seems, the duo are channeling Buddy Holly and as a package the whole thing works.

A third single, “Rocky Road” was also released in 1988 but only managed to peak at #71. That radio ignored the tune isn’t entirely surprising; the nearly seven minute harmonica laced ballad about going down the “rocky road of love” was just out of step enough with the neotraditionalism favored by country radio at the time. But it’s still an outstanding track by all accounts and the folksy production is as delightful to listen to today as it was nearly 25 years ago.

“All Because of You,” another drum and mandolin soaked track is a love letter to the woman who has made life all the better:

Look at me feeling good

Who’d have thought I ever would

See my dreams come to light

See the dark turning bright

For the first time I feel more than good

All because of you

The hopeful message is another album standout and a delight to listen to. The catchy melody draws in the listener making them want to hear the song until the end.

Another great song is the Celtic flavored “If I Could Be There” which was covered by Emmylou Harris on her Live At the Ryman album from 1992. The sparse production made up of fiddle, mandolin and guitars works like magic to frame the duo vocally and draws the listener into the story of a person’s obligation to their work taking precedence over where they wish they could be:

If I could be there

I’d be there tonight comforting you

This road I’m on is so far away, too far away

If God would grant me wings to fly

I’d be in your arms by and by

If I could be there

I’d be there tonight comforting you

The funky “Highway 55,” which opens with a distinct plucking of strings, was nothing like I was expecting. I love the overall mood of the track and the harmonies elevate it to a higher level. Plus the overall sound is very reminiscent of Nitty Gritty Dirt Band. But in context with the rest of the project, it doesn’t quite work.

Much like “Highway 55,” “All My Heart” features a similar funky arrangement but it’s paired with a somewhat haunting vocal. In comparison to the rest of the album the song is a little strange and stands out because of it. It’s safe to say it isn’t one of my favorite songs on the project.

Another weird song, “Isn’t That So” has somewhat of a party vibe suggested by what appears to be steel drums in the opening. Like “All My Heart,” this song also doesn’t gel with the rest of the project.

The bluegrass heavy title track features a driving melody in sharp contrast to the story of a fatherless boy. The story is quite effective and does a nice of job of outlining the effects of growing up without a father figure. I wasn’t sold on the contrast in lyrics and production at first, but the fast-paced melody succeeds in highlighting the fact this guy is still running his way through life sort of as a vagabond.

The album nicely picks up again with “I’m Lonely” which retains the sound featured on the singles. It’s hard to see why this wasn’t released instead of “Rocky Road” as it most likely would’ve extended the duo’s time in the top 10 by at least one more song.

All and all Tired of the Runnin’ is an above average collection of music from an underrated duo with a short chart life. I hadn’t heard their music prior to writing this review and liked most of what I heard. Unfortunately the album is out of print, but it’s worth seeking out a copy if you can find it.

Grade: B+ 

Classic Rewind: Waylon Jennings – ‘Brown Eyed Handsome Man’

Favorite country songs of the 1970s: Part 3

The 1970s were not my favorite decade for country music but it was the decade in which I did my largest amount of listening to country radio, having the good fortune to have such country giants as WSUN AM- 620 in St. Petersburg, FL, WHOO AM-1090 in Orlando and WCMS AM-1050 in Norfolk, VA for my listening pleasure, plus I could tune in WSM AM – 650 in Nashville at night. I did a lot of shift-work during this decade so my radio was on constantly.

    

This list is meant neither to be a comprehensive list of great country songs from the 1970s, nor any sort of ranking of records. It’s just a list of some songs that I liked and remember. See if you recall any of these records

“Silver Wings” – Jim & Jon Hager (1970)

Since Hag issued the song as a B side (“Workin’ Man Blues” was the A side), this version is the only charting version of Hag’s classic. The Hager Twins do a nice job with the song, although it only reached #59 on the charts . Fans of Hee Haw will remember this duo well.

“I Can’t Be Myself” – Merle Haggard (1970)

My all-time favorite Merle Haggard recording, this song went to #1 on Cashbox. Frankly, picking an all-time favorite Hag song is a hopeless proposition as he is the most consistently great artist of all time. Hag wrote about fifty #1 songs, the most of any songwriter. The flip side of this record “Sidewalks of Chicago” also received a lot of airplay and likely would be in my top ten favorite Haggard recordings.  

Classic Rewind: The O’Kanes – ‘Daddies Need To Grow Up Too’

Album Review: The O’Kanes – ‘The O’Kanes’

The O’Kanes brought the sibling-style close harmonies pioneered by the Louvin Brothers into the late 20th century. They were not in fact brothers, but the unrelated singer-songwriters Jamie O’Hara and Kieran Kane. But their voices melded exceptionally well and they created a little magic during their relatively short partnership in the 1980s. Writing together from 1984-1985, they worked on the material for their debut album, which was eventually released in 1986 when the New Traditional movement had made room for artists like this, who were a step outside the mainstream, combining very traditional country and more modern influences.

Their very close Louvin Brothers styled harmonies, catchy tunes, punchy and often acoustic bluegrass-influenced instrumentation and well-written lyrics were simultaneously modern yet retro, and a breath of fresh air. The material was almost all written by the duo. When their self-titled debut album was released in 1986, Jamie O’Hara had just enjoyed a #1 as writer of the Judds’ ‘Grandpa (Tell Me ‘Bout The Good Ol’ Days)’, and the material he and Kieran Kane wrote together is consistently just as good.

Their debut single, the insistent mid-tempo ‘Oh Darlin’ (Why Don’t You Care For Me No More?)’ was a top 10 hit in 1986. The protagonist is baffled by the change in his loved one, when he hasn’t changed at all. A similar tempo and vibe took ‘Can’t Stop My Heart from Loving You’ all the way to #1. This time the protagonist is helplessly in love with a woman who he accuses “ you treat me badly and make me blue”, but the hypnotic edge makes the sad tale positively catchy.

The next single, another top 10 hit, is my favourite track. ‘Daddies Need To Grow Up Too’ is the affecting story of an absent father who regrets his choices and now promises his child he will change his ways:

You’re the hero in my eyes
You see
Daddies need to grow up too
Learn what they should and they shouldn’t do
In a way we’re a lot like you
We need some understanding
Daddies stumble
Daddies fall
We don’t really know it all
Gonna try to make it up to you
Daddies need to grow up too

The fourth single, the charming love song ‘Just Lovin’ You’, hit # 5. It has a lovely slightly old fashioned vibe, which is a delight to listen to. ‘When I Found You’ is another romantic ballad, but one which gains added impact from comparing the protagonists’ newfound happiness to past “love proved untrue”:

When I found you I lost the emptiness
So painfully locked away in my heart
Gone was the despair
That dreams don’t come true …

I lost my sorrow when I found you

‘Gonna Walk That Line’ is an irresistible declaration of love and commitment by a bad boy who has changed his ways and is prepared to settle down at last:

I’ve never been too good at doin’ right
Done mostly wrong most all my life…

I used to be a tomcat out on the prowl
Baby I’m just your puppydog now

The haunting ‘Bluegrass Blues’, the first song the duo wrote together, has a more downbeat attitude. ‘When We’re Gone, Long Gone’ is a quietly philosophical semi-gospel song with a very retro feel. The one song not written by the duo is a cover of the Elvis Presley hit ‘That’s Alright, Mama’, treated with an unexpected delicacy which makes an over-familiar song sound new.

The duo’s relatively short life means they have been largely forgotten, but the music on this album sounds as fresh today as it did in the 80s, and is well worth reviving. For what it’s worth, they are my personal favourite of the duos we’re spotlighting this month.

The CD is out of print, and not all tracks appear to be available digitally, but it’s worth tracking down if you can find a copy.

Grade: A

Classic Rewind: The O’Kanes – ‘Can’t Stop My Heart (From Loving You)’

Week ending 1/21/12: #1 singles this week in country music history

1952: Let Old Mother Nature Have Her Way — Carl Smith (Columbia)

1962: Walk On By – Leroy Van Dyke (Mercury)

1972: Carolyn – Merle Haggard (Capitol)

1982: I Wouldn’t Have Missed It For The World — Ronnie Milsap (RCA)

1992: Love, Me — Collin Raye (Epic)

2002: Where Were You (When The World Stopped Turning) — Alan Jackson (Arista)

2012: Let It Rain — David Nail featuring Sarah Buxton (MCA)