Week ending 6/15/13: #1 albums this week in country music history

1968: Loretta Lynn – Fist City (Decca)

1973: Charlie Rich – Behind Closed Doors (Epic)

1978: Willie Nelson – Stardust (Columbia)

1983: Alabama – The Closer You Get (RCA)

1988: Reba McEntire – Reba (MCA)

1993: Wynonna – Tell Me Why (MCA/Curb)

1998: Garth Brooks – The Limited Series (Capitol/Pearl)

2003: Toby Keith – Unleashed (Dreamworks)

2008: Taylor Swift – Taylor Swift (Big Machine)

2013: Blake Shelton – Based on a True Story (Warner Brothers)

Classic Rewind: Emmylou Harris – ‘I Don’t Have to Crawl’

This is an early concept video – a precursor to music videos – from 1981 to promote Emmylou’s album Evangeline. The song was written by Rodney Crowell and later recorded in by Crowell’s then-wife Rosanne Cash for her 1987 album King’s Record Shop.

Week ending 6/8/13: #1 albums this week in country music history

1968: Glen Campbell – Hey Little One (Capitol)

1973: Loretta Lynn – Entertainer of the Year: Loretta Lynn (MCA)

1978: Waylon Jennings & Willie Nelson – Waylon & Willie (RCA Victor)

1983: Alabama – The Closer You Get (RCA)

1988: Randy Travis – Always & Forever (Warner Brothers)

1993: Wynonna – Tell Me Why (MCA/Curb)

1998: Garth Brooks – The Limited Series (Capitol/Pearl)

2003: Jo Dee Messina – Greatest Hits (Curb)

2008: Julianne Hough- Julianne Hough (Mercury)

2013: Darius Rucker – True Believers (Capitol)

Conway Twitty remembered

Conway Twitty died on this day in 1993, just months shy of his sixtieth birthday. When he died, Conway’s 40 trips to the top of the charts was the most of anyone in country music, and he held on to that record for another 13 years until George Strait eventually eclipsed him.

After Harold Jenkins took his stage name from two points on a map of the southern United States, he spent the decade between 1956 and 1966 having spotty success on the U.S. Hot 100 chart. 1958′s “It’s Only Make Believe” went to #1, but Conway would have only two more songs to crack the pop top 10. Interestingly, his #10 placing of the Irish standard “Danny Boy” is the song’s highest ranking on the Billboard chart among dozens of recordings over the years. In 1966, Conway switched his focus and began recording country music. His first country single, “Guess My Eyes Were Bigger Than My Heart”, reached #18 and 1968′s “Next In Line” was Conway’s first country #1.

Here’s Conway singing his #1 pop hit from 1958:

Conway’s chart dominance in his time was legendary. Between 1971 and 1989, every solo Conway Twitty single released – 58 in all – reached the country top 30. Meanwhile, he and duet partner Loretta Lynn took 5 singles to the top, and placed 7 more in the top 10.

Here’s Conway and Loretta singing my favorite of their duets, “After The Fire Is Gone” on WSM’s Opry Almanac in 1971:

In a that career stretched 35 years, Conway was still a relevant hit maker right up to his death. In his recent piece remembering George Jones, Paul Dennis noted the 1960′s were his favorite era for Jones hits. The 1980′s era Conway Twitty songs are my favorites: “Tight Fittin’ Jeans”, “Don’t Call Him a Cowboy”, “Saturday Night Special”.  The 1982 album, Southern Comfort, in particular, got me hooked. The album’s two singles aren’t really special – though I like “The Clown” – but there are two tracks that sum up Conway Twitty and his song selection to me. “She Only Meant to Use Him” is an example of the wry storytelling and golden-rule-vindication that makes country music superior to other genres. “Something Strange Got Into Her Last Night” is the perfect country cheating song: a mid-tempo waltz with a layer of steel guitar and a winning double entendre in the title. (A bit of trivia about Southern Comfort: a young Naomi Judd is the model featured with Conway on the album’s cover.)

Conway was called the High Priest of Country Music and “the best friend a song ever had”. I’ve always been drawn to singers with big, emotive voices, and Conway Twitty’s sturdy and nimble baritone hits my ears just right. It doesn’t hurt any that he’s singing some of the best songs ever written.

Here’s another of my favorite Conway Twitty hits, 1975′s “This Time I’ve Hurt Her More Than She Loves Me” (written by Earl Thomas Conley and Mary Larkin):

Week ending 6/1/13: #1 albums this week in country music history

1968: Bobby Goldsboro – Honey (United Artists)

1973: Johnny Rodriguez – Introducing Johnny Rodriguez (Mercury)

1978: Kenny Rogers and Dottie West – Everytime Two Fools Collide (United Artists)

1983: Alabama – The Closer You Get (RCA)

1988: Randy Travis – Always & Forever (Warner Brothers)

1993: Wynonna – Tell Me Why (MCA/Curb)

1998: Garth Brooks – The Limited Series (Capitol/Pearl)

2003: Toby Keith – Unleashed (Dreamworks)

2008: Toby Keith – 35 Biggest Hits (Show Dog/UMe)

2013: George Strait – Love Is Everything (MCA)

Classic Rewind: Mary Chapin Carpenter – ‘I Take My Chances’

Mary Chapin Carpenter performs at the 1994 ACM Awards. Introduction by Reba McEntire.

5 questions with Dakota Bradley

Dakota Bradley has already caught the attention of talk-show host Ellen DeGeneres, country star Tim McGraw and hit-making producer Byron Gallimore, who were all instrumental in the eighteen-year old’s eventual signing to Streamsound Records.  In a quick phone chat before his show at Toby Keith’s I Love This Bar & Grill in Phoenix last week, we talked about his first single, “Somethin’ Like Somethin’” and the celebrity connection to his claim to fame.

J.R. Journey: You first appeared on the Ellen show as a duo. Now you’re a solo artist. How did that come about?

Dakota Bradley: Everything happened so fast after I was on that show. I literally just hit my eighty-fifth city on my radio tour. I just finished an album – produced by Byron Gallimore and Tim McGraw.

J.R.: How did that appearance lead to the Byron Gallimore/Tim McGraw connection? 

D.B.: Well, right after I was on Ellen, I got to meet some really cool people in Nashville. I got introduced to writers and everybody. And I got introduced to Byron. He gave me a publishing deal and a record deal right away, which was pretty unbelievable. And he introduced me to Tim. I played a couple songs for Tim and the next day we were cutting records. And I’ve been on a radio tour ever since then. It’s pretty wild out here.

J.R.: So, in addition to those guys producing your record, I see your first single was co-written by Shane McAnally (who is one of the hottest writers on Music Row right now) with Josh Kear and Mark Irwin. You’re keeping pretty good company for a teenage newcomer. Tell me about how came to record that song.

D.B.: Oh, I feel very lucky. Mr. Gallimore – Byron Gallimore – and Missy, Byron’s wife, have been instrumental in finding songs for Tim over the years, over his entire career. Missy found that song and brought it to the studio. Tim loved it, and we cut it. And Tim is actually the one who picked it for the first single.

J.R.: Anybody else you’d like to work with?

D.B.: Keith Urban. John Mayer. Taylor Swift. Just anybody who loves good music.

J.R.: Where do you see yourself in 5 years?

D.B.: Hopefully still touring and making music, if I can be that lucky. It’s hard to see where I’m gonna be tomorrow. I just hope I’m still making music.

Week ending 5/4/13: #1 albums this week in country music history

1968: Eddy Arnold – The Everlovin’ World of Eddy Arnold (RCA)

1973: Elvis Presley – Aloha from Hawaii: Via Satellite (RCA)

1978: Waylon Jennings & Willie Nelson – Waylon & Willie (RCA Victor)

1983: Alabama – The Closer You Get (RCA)

1988: George Strait – If You Aint Lovin’, You Ain’t Livin’ (MCA)

1993: Billy Ray Cyrus – Some Gave All (Mercury)

1998: Shania Twain – Come On Over (Mercury)

2003: Darryl Worley – Have You Forgotten? (Dreamworks)

2008: Lady Antebellum – Lady Antebellum (Capitol)

2013: Blake Shelton – Based on a True Story (Warner Brothers)

Week ending 4/27/13: #1 albums this week in country music history

1968: Eddy Arnold – The Everlovin’ World of Eddy Arnold (RCA)

1973: Elvis Presley – Aloha from Hawaii: Via Satellite (RCA)

1978: Kenny Rogers – Ten Years of Gold (United Artists)

1983: Alabama – The Closer You Get (RCA)

1988: George Strait – If You Aint Lovin’, You Ain’t Livin’ (MCA)

1993: Billy Ray Cyrus – Some Gave All (Mercury)

1998: Shania Twain – Come On Over (Mercury)

2003: Dixie Chicks – Home (Open Wide/Columbia)

2008: George Strait – Troubador (MCA)

2013: Brad Paisley – Wheelhouse (Arista)

Classic Rewind: George Jones – ‘A Picture of Me (Without You)’

“This time, he’s over her for good…“

George Jones. September 12, 1931 – April 26, 2013

Week ending 4/20/13: #1 albums this week in country music history

1968: Eddy Arnold – The Everlovin’ World of Eddy Arnold (RCA)

1973: Elvis Presley – Aloha from Hawaii: Via Satellite (RCA)

1978: Kenny Rogers – Ten Years of Gold/a> (United Artists)

1983: Alabama – The Closer You Get (RCA)

1988: Ricky Van Shelton – Wild Eyed Dream (Columbia)

1993: Billy Ray Cyrus – Some Gave All (Mercury)

1998: Shania Twain – Come On Over (Mercury)

2003: Chris Cagle – Chris Cagle (Capitol)

2008: George Strait – Troubador (MCA)

2013: The Band Perry – Pioneer (Republic)

When the dead roam the country charts: posthumous hits and manufactured “duets”

When Brad Paisley’s Wheelhouse was released last week, everybody was talking about “Accidental Racist”, the controversial duet with LL Cool J. Late night shows like Saturday Night Live and The Colbert Report were merciless in taking apart the song’s misguided message. And the discussion isn’t likely to be over anytime soon.

Another track on the album stood out to me too. “Outstanding In Our Field“ features guest vocals from Dierks Bentley and the late Roger Miller, and Hunter Hayes on guitar. Miller’s contribution is used mostly to beef up the rhythm section of Paisley’s latest loud party anthem list song.  Paisley’s track rips off the entire ten-second opening of Miller’s “Dang Me” – the part where Roger sings  ”boo doo boo ba ba bum bom” – but any similarities between the two songs ends with that sampling. If Paisley’s song charts, it could be Miller’s first showing on the Country Songs list since 1986.

Country music has a long history of singers hitting the charts after their deaths, with solo hits and with “duets” pieced together using studio master tapes. Hank Williams had 4 #1 hits and a handful of top 10′s after his death on New Year’s Day 1953. (Even though it was on the charts in 1952, because “I’ll Never Get Out Of This World Alive” hit the top shortly after the singer’s death it is counted in Billboard as a posthumous hit.) In 1989, Hank Williams Jr. took a demo recording of his father singing “There’s a Tear In My Bear”, beefed up the production and added his own vocals to create a top 10 hit single, which would go on to win both Williamses a Grammy for Best Country Vocal Collaboration. The music video for that song featured old television footage of Hank Sr. performing merged with Hank Jr. and made for a cool illusion of the two singing together. It took home Video of the Year awards from the CMA and the ACM’s that year.

In May 1989, country music lost another great talent when Keith Whitley died. He too would hit the top spot after his death, with “I Wonder Do You Think of Me” and “It Ain’t Nothin’”. Whitley charted two more top 20 releases as a solo artist after his death, and two more in duets with wife Lorrie Morgan – “Til a Tear Becomes a Rose” – and with Earl Thomas Conley, on “Brotherly Love”. Unlike the duet with his widow, Whitley and Conley had recorded their song two years before, so it’s not an example of an electronic duet.

Gentleman Jim Reeves is country music’s biggest posthumous hit-maker. His string of hits after death is as impressive as what he charted during his lifetime. Reeves racked up 6 #1 country hits after he died in 1964, as well 13 top 10s, and over two dozen total country top 40 chart outings stretching to 1984 – two full decades later. He also consistently hit the top 10 on the charts in Norway and the U.K., Reeves even topped the U.K. singles chart with “Distant Drums” in 1966. Partly because of his continued popularity on the radio and in the record stores, Jim Reeves was also one of the first artists to have his vocals isolated and then remixed with another singer’s to form a duet. In 1979, Deborah Allen kickstarted her short solo career when she contributed to RCA’s unfinished master tapes of Reeves – which resulted in  3 consecutive top 10 hit duets. The Gentleman was then paired with his contemporary Patsy Cline – the two had recorded a number of the same songs – for a pair of albums on MCA and RCA, and they hit the top 5 with “Have You Ever Been Lonely” in 1982.

Those are just some highlights in country music’s history of posthumous duet creations. There are lots more, and some weren’t as well-received. Anita Cochran controversially added Conway Twitty to her “I Wanna Hear a Cheatin’ Song“ in 2004. Several other artists and even the late singer’s family spoke out when Twitty’s vocals were spliced from former performances and interviews and added to the song, in what has correctly been called a case of “musical necrophilia“.

Is Paisley guilty of the same musical necrophilia? I say he is. Unlike all the hit duet creations I mentioned above, Conway Twitty and Roger Miller didn’t record a version of either “I Wanna Hear a Cheatin’ Song” or “Outstanding In Our Field”. These are songs that were written years after their deaths. And while Brad Paisley’s sampling of Roger Miller’s distinct and well-known song opening  works better as an homage than Anita Cochran’s creepy robotic-sounding creation, it still seems like a cutesy way of paying tribute to Miller. How about covering “England Swings” or “Old Toy Trains”? Or better yet, why not write an original song that sounds like it was inspired by Roger Miller?

Roger Miller is not here today to say whether or not he’d like to add his trademark scatting to a song all about a party in a field, with a tractor tire as a cooler for the beer and a bonfire to light up the night. A song with all the subtlety and charm of a drill sergeant at six a.m.  Roger Miller – a man renowned for his quick wit and quips like “Some people walk in the rain, others just get wet.” – would likely object to it. But that’s not really my call to make. None of us – music blogger or platinum-selling country star – should be making that call for Roger Miller.  Dang you, Brad Paisley. Dang you.

Week ending 4/13/13: #1 albums this week in country music history

1968: Buck Owens – It Takes People Like You (Capitol)

1973: Eric Weissberg and Steve Mandell – Dueling Banjos (Warner Brothers)

1978: Waylon Jennings & Willie Nelson – Waylon & Willie (RCA Victor)

1983: Merle Haggard & Willie Nelson – Pancho & Lefty (Epic)

1988: K.T. Oslin – 80′s Ladies (RCA)

1993: Billy Ray Cyrus – Some Gave All (Mercury)

1998: Shania Twain – Come On Over (Mercury)

2003: Dixie Chicks – Home (Open Wide/Columbia)

2008: Taylor Swift – Taylor Swift (Big Machine)

2013: Blake Shelton – Based on a True Story (Warner Brothers)

U.S. Supreme Court strikes a victory for the used music market

For the past few months, I’ve been reading about Supap Kirtsaeng, a Thailand-born student at Cornell University, and how his idea to offset the costs of college tuition led him to the United States Supreme Court. Kirtsaeng made over $100,000 by selling used textbooks online. These textbooks were purchased by his relatives in Thailand at cut-rate prices, much cheaper than they can be bought for in the U.S.  He bought books that were printed and sold legally overseas. He resold them in the States for a profit. The publisher of the textbooks, John Wiley and Sons, Inc., sued and won a $600,000 judgment against Kirtsaeng, arguing he violated fair use since the copyrighted material was sold outside the U.S. The college student and his lawyer held he did not violate fair use because he bought the books through a third-party – to whom Wiley and Sons had licensed the low-cost copyright – and appealed to the high court.

And it all sounded to me like that old first-sale doctrine argument we heard back when some recording artists got their breeches twisted over the sale of used CDs and vinyl records.

Those old enough to remember know the issued of reselling used media caused a stir in the mid-’90s when used CDs started saturating the market and caused a panic at the labels, who quickly issued cease and desist letters to the record stores, ordering them to stop selling used products. The Federal Trade Commission got involved and the labels backed off, but not before some recording artists – most notably Garth Brooks – could weigh in on the subject. Garth went so far as refuse to release new music to record store chains that sold used CDs. What I’m sure was meant to be his championing of the underdog – the “little guy” – turned out to be one of the first of many times Garth made a jackass of himself in the media, especially since he was railing against what was already a nearly nine decades-old precedent settling the argument of “licensing” versus “sale” of a copyright when you buy a book, vinyl record, DVD, or mp3.

Which is why I was surprised at first to learn that the Supreme Court would even be hearing yet another case about this. But there was a difference here. The big issue regarding The Textbook Case is that the product was manufactured outside the United States. Did U.S. copyright law – particularly the first sale doctrine – apply to works made outside U.S. jurisdiction? The justices say so, in a 6-3 vote last week, overturning the district court’s decision. And while their opinions hinged more on giant retailers like Costco and their ability to sell goods made outside the country, it trickles down to the used music marketplace.

If the high court had upheld Mr. Kirtsaeng’s conviction and fines, the availability of and our ability to purchase used (read: reasonably priced) copies of older and out-of-print albums would dramatically drop. Rejecting third-party copyrights from first-sales exemptions wouldn’t completely shut down amazon.com’s used CD market for U.S. customers – providing we were buying American-bred products. But Bear Family and some other great independent labels could have faced an embargo. So I say the court’s ruling is a victory for the audiophiles even more than the general consumer.

Maybe this will be the final say on the matter, with the court extending the first-sale doctrine’s reach to globally-produced products. Or maybe just until there are extraterrestrial copyrights to legislate.

Week ending 1/13/13: #1 albums this week in country music history

1968: Eddy Arnold – Turn The World Around (RCA)

1973: Freddie Hart and The Heartbeats – Got The All Overs For You (Capitol)

1978: Dolly Parton – Here You Come Again (RCA)

1983: Alabama – Mountain Music (RCA)

1988: Randy Travis – Always & Forever (Warner Brothers)

1993: Garth Brooks – The Chase (Capitol)

1998: Garth Brooks – Sevens (Capitol)

2003: Shania Twain – Up! (Mercury)

2008: The Eagles – Long Road Out of Eden (Lost Highway)

2013: Taylor Swift – Red (Big Machine)

Week ending 1/5/13: #1 albums this week in country music history

1968: Eddy Arnold – Turn The World Around (RCA)

1973: Merle Haggard – The Best of the Best of Merle Haggard (Capitol)

1978: Dolly Parton – Here You Come Again (RCA)

1983: Alabama – Mountain Music (RCA)

1988: Randy Travis – Always & Forever (Warner Brothers)

1993: Garth Brooks – The Chase (Capitol)

1998: Garth Brooks – Sevens (Capitol)

2003: Shania Twain – Up! (Mercury)

2008: The Eagles – Long Road Out of Eden (Lost Highway)

2013: Taylor Swift – Red (Big Machine)

Single Review: Miranda Lambert – ‘Mama’s Broken Heart’

“Mama’s Broken Heart” was written by some of my favorite songwriters currently working in Nashville. Shane McAnally and Brandy Clark have co-written a handful of my personal favorites in the past few years – LeAnn Rimes’ “Crazy Women”, Reba McEntire’s “Cry”, The Band Perry’s “Better Dig Two” – and the song’s third co-writer Kasey Musgraves is currently on the charts with one of the best country singles in the last ten years. When you figure in the reigning three-time CMA Female Vocalist of the Year Miranda Lambert singing their words, this single is off to a running start with a considerable pedigree. And it almost lives up to all that promise.

Synthetic rhythms and sliding guitar licks frame Lambert as she sings the cheeky verses  - “Word got around to the barflies and the baptists/My mama’s phone started ringin’ off the hook” – that tell of a girl wearing her heartbreak on her sleeve and reacting to it with less than the southern gentility with which she was raised.  It’s off to a good start. But wait for the Wall of Miranda Lambert Sound to blight an otherwise flawless record. The song’s plot is salvaged because the verses are kept to a bare-beat minimum, allowing the quick-on-the-trigger lyric the first draw. Too bad the chorus is beat and whipped until any remnants of what was probably a sweet little melody are long gone.

Production missteps aside, “Mama” will inject a much-needed bit of sinister excitement to country radio’s drab playlists. This is a good thing.

Grade: B

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2012 by the numbers

2012 was a great year for us at My Kind of Country.  Razor, Occasional Hope, and Jonathan shone the spotlight on twelve diverse artists each month including Nancy Griffith, Marty Stuart, Rodney Crowell, Kathy Mattea and Ricky Skaggs. Our resident country music encyclopedia Paul Dennis continued his Country Heritage series and also took you through a fact-filled countdown of his favorite songs from the 1980′s.

In 2012, we published 692 posts, which generated over 230,000 views from some 110,000 visitors. You wrote 1,312 comments this year on our posts.

Top 5 commenters …

Ken Johnson  - 153
Luckyoldsun  - 117
Paul W Dennis  - 108
Ben Foster  - 97
Razor X  - 83

Here’s how how you found us:

More than 80% of our visitors arrived through search engines, and the top five terms leading visitors to My Kind of Country in 2012 were:

kenny rogers
my kind of country
lib hatcher
songs about being the other woman
dolly parton

The top referring sites in 2012 were:

1. countryuniverse.net
2. facebook.com
3. blogs.com
4. farcethemusic.com
5. countrycalifornia.com

We launched this blog on December 8, 2008 with a staff of three. Now four years later, 1.2 million pageviews and 10,000+ comments later, it’s still our pleasure to be writing about the country music we all love so much. We hope you continue to be entertained and informed when you visit, and of course we hope you keep coming back in 2013.

Have a safe and Happy New Year from everyone at My Kind of Country!

Click here to see the complete report.

Week ending 12/29/12: #1 albums this week in country music history

1967: Eddy Arnold – Turn The World Around (RCA)

1972: Merle Haggard – The Best of the Best of Merle Haggard (Capitol)

1977: Dolly Parton – Here You Come Again (RCA)

1982: Alabama – Mountain Music (RCA)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: Garth Brooks – Sevens (Capitol)

2002: Shania Twain – Up! (Mercury)

2007: The Eagles – Long Road Out of Eden (Lost Highway)

2012: Taylor Swift – Red (Big Machine)

J.R. Journey’s Top Albums of 2012

Here are my favorite albums from 2012, in no order. Click the links to listen on Spotify.

Nashville Cast - The Music of Nashville: Season 1, Volume 1

The Tennesseean‘s Peter Cooper made a valid case about the music coming from the hit ABC drama being better than most mainstream country hits. I agree with him. While the TV show’s original songs haven’t yet shown much aptitude with traditional country sounds – leaning more toward Americana and pop-country – they’re leaps and bounds ahead of the current top 40 when it comes to content and substance.

Recommended tracks: “Wrong Song”, “If I Didn’t Know Better”, “No One Will Ever Love You”

Kellie Pickler – 100 Proof

A handful of barn-burning up-tempos, a few clever female-friendly medium tempos, and even more stone country tear-jerkers, served up with heaps of fiddle, pedal steel, and Kellie Pickler’s Carolina twang? Yes, please.

Recommended tracks: “Long As I Never See You Again”, “Where’s Tammy Wynette”, “The Letter (To Daddy)”

Jamey Johnson – Living For a Song: A Tribute to Hank Cochran

Johnson’s tribute to Music Row pioneer and songwriting legend Hank Cochran features an all-star cast taking on some of Cochran’s big hits and a few well-chosen and lesser known gems.

Recommended tracks: “Make The World Go Away” (with Alison Krauss), “A-11″ (with Ronnie Dunn), “A Way To Survive” (with Leon Russell and Vince Gill)

Zac Brown Band – Uncaged

On their third album, the Zac Brown Band again combines country with bluegrass and the sounds of the islands and the songs this time out are again smart and to the point.

Recommended tracks: “Sweet Annie”, “Goodbye In Her Eyes”, “The Wind”

Alan Jackson – Thirty Miles West

Jackson’s first album for the EMI Nashville label follows his winning no frills neotraditional formula. Thirty Miles West is a set full of top-notch songs and performances. I can’t stop playing it.

Recommended tracks: “So You Don’t Have To Love Me Anymore”, “Look Her In The Eye and Lie”, “She Don’t Get High”

Dwight Yoakam  - 3 Pears

Yoakam’s first album of all new material in seven years is as eclectic as the man himself. On 3 Pears, he shares production duties with punk-rock hero Beck and songwriting credit with Robert Richie (aka Kid Rock) and Ashley Monroe on respective tracks on a set that ably combines the sound of rock and roll’s golden AM era with his own distinctive country stamp.

Recommended tracks: “It’s Never Alright”, “Heart Like Mine”, “Long Way To Go”