Favorite country songs of the 1980s, Part 1

The 1980s were a mixed bag, with the early 1980s producing some of the lamest country music ever recorded, as the Urban Cowboy movie wrecked havoc on the genre. Fortunately, there was still good country music being released. The first flowering of the late 1980s “New Traditionalist” movement arrived in 1981 with the first hits of Ricky Skaggs and George Strait, but they remained outliers until 1986 as far as good new artists were concerned. The latter part of the decade, however, produced some truly excellent country music with the 1986 arrival of Randy Travis and company.

This list is meant neither to be a comprehensive list of great country songs from the 1980s, 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.

“If You’re Gonna Play In Texas (You Gotta Have A Fiddle In The Band)“ – Alabama
Alabama made excellent music during the 1980s, although the country content of some of it was suspect. Not this song, which is dominated by fiddle. One of the few up-tempo Alabama records that swings rather than rocks.

“I’ve Been Wrong Before” – Deborah Allen
An accomplished songwriter who wrote many hits for others, particularly with Rafe VanHoy, this was one of three top ten tunes for Ms. Allen, reaching #2 in 1984. This is much more country sounding than her other big hit “Baby I Lied”.

“Last of The Silver Screen Cowboys” – Rex Allen Jr.
After some success as a pop-country balladeer, Rex Jr. turned increasing to western-themed material as the 1980s rolled along. This was not a big hit, reaching #43 in 1982, but it featured legendary music/film stars Roy Rogers and Rex Allen Sr. on backing vocals.

“Southern Fried” – Bill Anderson
This was Whispering Bill’s first release for Southern Tracks after spending over twenty years recording for Decca/MCA. Bill was no longer a chart force and this song only reached #42 in 1982, but as the chorus notes: “We like Richard Petty, Conway Twitty and the Charlie Daniels Band”.

Indeed we do.

Single Review: Easton Corbin – ‘Lovin’ You Is Fun’

It seems like a long time since we’ve heard anything new from Easton Corbin. After arriving on the scene in a big way with two consecutive #1 hits two and a half years ago, he faltered with his third single “I Can’t Love You Back”, which stalled at #14. Since then he’s been relatively quiet, but he is finally back with a new single, with a new album slated for release later this year.

From the very beginning, Corbin’s vocal style was compared to that of a young George Strait, and though the similarities are still there, the first thing I thought of upon hearing the opening notes of “Lovin’ You Is Fun” was that it sounded very much like the kind of song that Clint Black used to do early in his career — fast paced, high energy and not taking itself too seriously, a throwback to the good old days in the 90s. It’s an upbeat, positive song that should appeal to country radio, if they can overlook the prominent pedal steel and lack of pop pretensions. It was written by Bob DiPiero and Jim Beavers. DiPiero has penned countless hits for the likes of The Oak Ridge Boys, Charly McClain, Reba McEntire, Pam Tillis, Brooks & Dunn, Sammy Kershaw and Sunny Sweeney, while Beavers co-wrote “Felt Good On My Lips” for Tim McGraw, “Red Solo Cup” for Toby Keith and a few of Dierks Bentley’s poorer efforts.

February seems like an odd time to release a light-hearted, beat-driven record like this one, but records take so long to climb the charts these days, summer will be just around the corner by the time this one peaks. I hope that does well for two reasons: (1) because Corbin needs a hit; in today’s climate he can’t afford to miss the Top 10 with two consecutive singles, and (2) because country music desperately needs more artists like Easton Corbin.

“Lovin’ You Is Fun” is not yet available for purchase, but it has been released to country radio and can be heard here.

Grade: A

Week ending 10/8/11: #1 singles this week in country music history

1951: Always Late With Your Kisses — Lefty Frizzell (Columbia)

1961: Walk On By – Leroy Van Dyke (Mercury)

1971: Easy Loving — Freddie Hart (Capitol)

1981: Midnight Hauler — Razzy Bailey (RCA)

1991: Where Are You Now – Clint Black (RCA)

2001: What I Really Meant To Say — Cyndi Thomson (Capitol)

2011: Take A Back Road — Rodney Atkins (Curb)

Week ending 10/1/11: #1 singles this week in country music history

1951: Always Late With Your Kisses — Lefty Frizzell (Columbia)

1961: Walk On By – Leroy Van Dyke (Mercury)

1971: The Year Clayton Delaney Died — Tom T. Hall (Mercury)

1981: Tight Fittin’ Jeans — Conway Twitty (MCA)

1991: Where Are You Now – Clint Black (RCA)

2001: What I Really Meant To Say — Cyndi Thomson (Capitol)

2011: Take A Back Road — Rodney Atkins (Curb)

Album Review: Terri Clark – ‘Roots & Wings’

I was disappointed by Terri’s first EMI Canada release a couple of years ago, which I felt was over-produced with largely mediocre material, but she appears to have rediscovered her musical voice with her latest release. She produced the album herself, and the sound is mellow but not over-produced, although she does seem to be moving away from conventional country music. Her distinctive voice is at its best throughout.

She also co-wrote all but one of the songs. Four are co-writes with Kristen Hall (who also sings backing vocals), including lead single ‘Northern Girl’, which celebrates Terri’s Canadian background but is disappointingly bland. When Hall left Sugarland under rather murky circumstances, she stated she was intending to concentrate on her songwriting. ‘Beautiful And Broken’ is not very country sounding, but an interestingly written and beautifully sung song with slightly obscure lyrics full of imagery; it seems to be about a failed relationship with the broken individual, but the protagonist retains feelings of friendship and perhaps love. Also very metaphor-heavy, ‘Flowers In Snow’ explores an unproductive relationship. These songs are perhaps more modern folk/singer-songwriter than country, but they are very well done. The best of the four, ‘Breakin’ Up Thing’ has an enjoyable mid-tempo groove and wry lyric commenting on the protagonist’s about-to-be-ex-partner’s ease at leaving.

‘The Good Was Great’ is an affectionate look back at a past relationship which Terri wrote with Tia Sillers and Deric Ruttan. This is rather good, but I was less impressed by the rather dull and overly loud ‘Wrecking Ball’ which Terri and Tia wrote with fellow-Canadian Victoria Banks and which opens the album.

The best song on the album by far is ‘Lonesome’s Last Call’, a traditional slow lonesome country song about a couple of desperate individuals who come together to find love in a bar, written by Terri with the great Jim Rushing. Andrea Zonn and Stuart Duncan’s twin fiddles add to the effect, and I would have loved to hear more like this.  The very personal and beautifully sung ‘Smile’ (written with Karyn Rochelle and featuring Alison Krauss on not-very-audible harmony) is a loving tribute to Terri’s mother who died of cancer last year. This is very moving, and another highlight.

‘The One’ (written with Tom Shapiro and Jim Collins) has a mellow vibe and attractive tune about waiting for the right man, but the hook is the unoriginal:

I don’t need a love that I can live with
I want the one I can’t live without

I like the end result a lot, but it is more than a little reminiscent of Clint Back’s ‘The One She Can’t Live Without’, which has an almost identical chorus.  The only track I really don’t like is ‘We’re Here For A Good Time’, an over-produced and very poppy sounding cover of what I think must be a rock song from the 70s. It is Terri’s new single.

Where Terri’s first album for EMI Canada still seemed to be the product of hankering after mainstream success, this one shows her finding her own voice. It isn’t all moving in a direction I personally care for, but it effectively showcases Terri as an independent singer-songwriter.

Grade B+

Week ending 4/2/11: #1 singles this week in country music history

1951: The Rhumba Boogie — Hank Snow (RCA)

1961: Don’t Worry — Marty Robbins (Columbia)

1971: After The Fire Is Gone — Conway Twitty & Loretta Lynn (Decca)

1981: Texas Women — Hank Williams, Jr. (Elektra/Curb)

1991: Loving Blind — Clint Black (RCA)

2001: One More Day — Diamond Rio (Arista)

2011: Let Me Down Easy — Billy Currington (Mercury)

Week ending 3/26/11: #1 singles this week in country music history

1951: There’s Been A Change In Me — Eddy Arnold (RCA)

1961: Don’t Worry — Marty Robbins (Columbia)

1971: I’d Rather Love You — Charley Pride (RCA)

1981: Angel Flying Too Close To The Ground — Willie Nelson (Columbia)

1991: Loving Blind — Clint Black (RCA)

2001: You Shouldn’t Kiss Me Like This – -Toby Keith (DreamWorks Nashville)

2011: Don’t You Wanna Stay — Jason Aldean with Kelly Clarkson (Broken Bow)

Album Review: Steve Wariner – ‘Faith In You’

Steve’s third and last Capitol album was released in 2000. The overall style leans towards the contemporary end of country, with Steve’s smooth vocals and guitar skills to the fore. He wrote or co-wrote all the songs, played various guitars, and also produced the record. The overall style leans towards the contemporary end of country, and it is mostly successful.

The lead single was a duet with Clint Black on ‘Been There’, a likeable but rather throwaway number with a brass section. Clint also produced this track, co-wrote the song, and contributed a generous helping of his trademark harmonica. The song was the album’s only big hit, peaking at #5, and had already appeared on Clint’s 1999 D’lectrified, an all-acoustic return to form for the latter.

The title track was a sweet declaration of true love written with veteran Bill Anderson, with a tasteful string arrangement and tender vocal. It performed surprisingly poorly as the second single, barely cracking the top 30, but is a low-key gem. The last single saw Steve reunited with Garth Brooks on the jazzy ‘Katie Wants A Fast One’, which Steve wrote with Rick Carnes. It too failed to reach the top 20 despite the star assistance, and was his last hit. It’s not one I like much – all sound and no intensity, with the groove seeming more important than the song, and another horn arrangement.

Another famous friend, Rodney Crowell, helped to write the thoughtful ‘Longer Letter Later’, which portrays a man regretting his past decisions and struggling to put his feelings into words for his ex. A faintly Spanish feel to the arrangement, with accordion and castanets, adds musical interest to the quiet melody.

Bill Anderson co-wrote the infectious mid-tempo ‘Make It Look Easy’, which refers to various individuals who are great at what they do, and ruefully compares their skill to the protagonist’s failure to get over a failed love affair. The choice of superstars leans fairly heavily to sports stars; oddly no country singers are named (Ray Charles gets the sole singing spot, although Steve’s mentor Chet Atkins gets a nod for his guitar skills). I’m not sure the metaphor quite hangs together, but the song sounds pleasant enough. Bill, Steve, and Sharon Vaughn co-wrote the cheerful and irresistibly sing along love song ‘Blinded’, which should have been a single.

‘I Just Do’ (another love song) is a charming lightly swinging piece, which showcases the playing of “the Nashville Super Players”. This is the only solo composition, other than ‘Bloodlines’, the completely instrumental cut which closes the album. This is billed as a duet with Steve’s son Ryan and is very much a family affair, featuring Steve and Ryan on electric guitar, with Steve’s brother Terry adding support on baritone guitar, and only drummer Harry Stinson from outside the family.

I also like the attractive mid-tempo ‘It Wouldn’t Be Love’, written with Joe Barnhill, which reflects on the potential pain of love. ‘Turn In The Road’ is a melodic ballad (also with strings) about a mother’s comforting advice to her son in adversity, written with Jim Witter. These are nice but unexceptional songs lifted by Steve’s sensitive interpretation and beautiful voice, as is ‘Waiting In The Wings’ (written with Billy Kirsch). This is a story song about a youngest son marginalized in his own family, whose dreams sustain him.

Opening track ‘High Time’ is a rather dull pop-country number co-written by Steve with Marcus Hummon and Annie Roboff with intrusive backing vocals, but this is the only low point on the record, and even this does have a nice instrumental break to recommend it. Hummon’s songwriting is better showcased with the pensive reflection on relationship breakdown, ‘I Wish I Were A Train’.

Sales were as disappointing as radio play, and this was sadly to prove Steve’s final major label release.

Grade: B+

Cheap used copies are easy to find.

Album Review: Steve Wariner – ‘Burnin’ The Roadhouse Down’

By the mid-90s, Steve Wariner’s commercial success had begun to wane, causing him to take a hiatus from recording and touring, to concentrate instead on songwriting. He experienced a considerable amount of success during his “down time”, beginning when “Longneck Bottle”, a song he’d written with Rick Carnes, was recorded by Garth Brooks. Garth asked Steve to lend his voice and guitar-playing skills to the record and when it was released as a single, “Longneck Bottle” quickly shot to the top of the charts, spending three weeks in the number one spot. A few weeks later, Clint Black took “Nothin’ But The Taillights”, a song he’d written with Steve, to #1. A month after that, “What If I Said” , his duet with Anita Cochran also reached the top of the Billboard chart. By 1998, these successes caused record executives to take another look at Steve, resulting in a new contract with Capitol Records, and an unexpected late-career resurgence.

His first release for the label was “Holes In The Floor Of Heaven”, which Steve had written with Billy Kirsch. The sentimental ballad struck a chord with radio programmers and listeners, becoming Steve’s career record, some 20 years after he’d released his first record. It peaked at #2, his highest chart performance as a solo artist since “I Got Dreams” reached the top spot nine years earlier. It was also awarded the Single of the Year and Song of the Year awards by the Country Music Association in 1998, marking the first time Steve had won any awards from that organization.

Steve’s debut album for Capitol was Burnin’ The Roadhouse Down, which he produced himself. It consisted of 11 new tracks written by Steve with a variety of co-writers, along with “What If I Said”, which had been originally been included on Anita Cochran’s album. Although there were no huge radio hits to follow “Holes In The Floor Of Heaven”, the album is one of the stronger entries in the Wariner discography. For the title track, a lively Western swing number, Steve reunited with Garth Brooks, but even Garth’s tremendous star power couldn’t propel the record into the Top 20. Too retro for country radio, it stalled at #26 despite top-notch performances from both Steve and Garth. The more contemporary “Every Little Whisper” was chosen as the third single. Though it was more radio-friendly than “Burnin’ The Roadhouse Down”, it is not one of the stronger tracks on the album. It was possibly chosen because like “Holes”, it was written with Billy Kirsch, and the label may have thought they would strike gold a second time. It peaked at #36 and no more singles were released.

There are several excellent tracks — and a few mediocre ones — among the album cuts. My favorites are “I Don’t Know How To Fix It”, which was written with Bill Anderson, “A Six Pack Ago”, which was written with Jim Rushing, and “Big Ol’ Empty House”, which was written with Mac McAnally. “Road Trippin’”, written with Marcus Hummon is a lightweight tune with fluffy lyrics and catchy beat that seems like it would have been a good choice for a single release. “Big Tops”, a circus-themed number which was also written with Hummon, has a folk feel to it and sounds like something Nanci Griffith might have released a decade earlier. The two tracks that fail to deliver are “Love Me Like You Love Me” and “Smoke From An Old Flame”, which are pleasant but slightly dull.

The inclusion of “What If I Said” as a bonus track, under license from Warner Bros., was a pleasant surprise. Though thoroughly contemporary in style, the Anita Cochran-penned and produced track is beautifully written and beautifully sung by both performers. It was Cochran’s first record and only Top 40 country hit, and is on my short list of favorite Steve Wariner tracks.

Though Burnin’ The Roadhouse Down only spawned one big radio hit, it did quite well at retail. Peaking at #6, it was his highest-charting entry on the Billboard Top Country Albums chart. It also went on to become his second gold album. I don’t like it quite as much as I Am Ready, but I would rank it a close second.

Grade: A

Burnin’ The Roadhouse Down is available from Amazon and other major retailers.

Classic Rewind: Clint Black – ‘Better Man’

Week ending 2/5/11: #1 albums this week in country music history

1966: Eddy Arnold – My World (RCA Victor)

1971: Ray Price – For The Good Times (Columbia)

1976: C.W. McCall – Black Bear Road (MGM)

1981: Kenny Rogers – Greatest Hits (Liberty)

1986: Kenny Rogers – The Heart Of The Matter (RCA)

1991: Clint Black – Put Yourself In My Shoes (RCA)

1996: Shania Twain – The Woman In Me (Mercury)

2001: Tim McGraw – Greatest Hits (Curb)

2006: Carrie Underwood – Some Hearts (Arista)

2011:Taylor Swift – Speak Now (Big Machine)

Spotlight Artist: Steve Wariner

This month’s Spotlight Artist is a multi-talented performer who has been neglected in recent years. Armed with a fine tenor voice, impressive guitar skills lauded by his peers, and no mean songwriting chops, Steve Wariner was one of the few artists to move successfully from mid 80s pop-country to the neo-traditional period, and across several major label deals.

Steve was born in Indiana on Christmas Day, 1954 (hence his seasonal middle name, Noel), and paid his dues playing in his father’s band. By the time he was 17 was working as Dottie West’s bass guitarist, and made his first appearance on record playing on her 1973 hit ‘Country Sunshine’. After three years with Dottie, Steve then worked with rockabilly-turned-country performer Bob Luman. Both sideman jobs helped him develop his performance skills and at just 21 he signed to RCA on a singles basis. The label was patient developing him, and it was another five years before he began to break through, during which time he also played bass guitar for guitar maestro Chet Atkins in the latter’s personal band. Atkins was later to name him one of a mere handful of musicians worthy of his own nickname CGP (Certified Guitar Picker).

The early 80s saw Steve’s first #1 hit single and a couple of modestly selling albums, before he moved to MCA in 1984. This was a canny move, as with MCA’s support, Steve became a mainstay of country radio, scoring a series of hits, many of them hitting the top of the chart. He won his first Grammy nomination at the same time for his hit duet with Glen Campbell, ‘The Hand That Rocks The Cradle’. In 1991, he made another decisive move when he signed to Arista and released his first platinum-selling record, I Am Ready, perhaps his finest artistic achievement, which bridged the shift from 80s pop-country to more traditional sounds.

For some years Steve’s public persona had concentrated on his vocal prowess and, to a lesser extent, his songwriting, but during the Arista years, his instrumental gifts came once more to the fore. He was one of the artists selected to guest on fiddler extraordinaire Mark O’Connor’s New Nashville Cats album, which celebrated the instrumentalists of Nashville, and this earned him a shared Grammy for ‘Restless’, where he, Vince Gill and Ricky Skaggs shared vocals as well as playing on the track. He has subsequently won Grammy’s for instrumental collaborations with Asleep At The Wheel and Brad Paisley. His final release for Arista was his own first instrumental album, No More Mr Nice Guy.

After his exit from Arista in 1996, Steve concentrated on songwriting for a while, penning hits for Garth Brooks (‘Longneck Bottle’) and Clint Black (‘Nothing But Taillights’) among others. Labelless, he even helped Anita Cochran to her only chart hit by duetting on ‘What If I Said’, which went all the way to #1. He was rewarded by his fourth major label deal, with Capitol, where he scored another brace of hit singles around the turn of the millennium.

The 21st century has been less successful commercially, but Steve is still active, releasing music on his own label, including another instrumental album, a tribute to his mentor Chet Atkins, in 2007. A third instrumental record is due out this month. He has also continued writing, and was responsible for Keith Urban’s 2001 hit ‘Where The Blacktop Ends’.

We hope to share some of the highlights of Steve’s career with you over the next month.

Week ending 1/29/11: #1 albums this week in country music history

1966: Eddy Arnold – My World (RCA Victor)

1971: Ray Price – For The Good Times (Columbia)

1976: C.W. McCall – Black Bear Road (MGM)

1981: Kenny Rogers – Greatest Hits (Liberty)

1986: Kenny Rogers – The Heart Of The Matter (RCA)

1991: Clint Black – Put Yourself In My Shoes (RCA)

1996: Shania Twain – The Woman In Me (Mercury)

2001: Tim McGraw – Greatest Hits (Curb)

2006: Carrie Underwood – Some Hearts (Arista)

2011:Taylor Swift – Speak Now (Big Machine)

Week ending 1/15/11: #1 albums this week in country music history

1966: Eddy Arnold – My World (RCA Victor)

1971: Ray Price – For The Good Times (Columbia)

1976: C.W. McCall – Black Bear Road (MGM)

1981: Ronnie Milsap – Greatest Hits (RCA)

1986: Kenny Rogers – The Heart Of The Matter (RCA)

1991: Clint Black – Put Yourself In My Shoes (RCA)

1996: Garth Brooks – Fresh Horses (Capitol)

2001: Tim McGraw – Greatest Hits (Curb)

2006: Carrie Underwood – Some Hearts (Arista)

2011:Taylor Swift – Speak Now (Big Machine)

Week ending 1/8/11: #1 albums this week in country music history

1966: Connie Smith – Cute ‘N Country (RCA Victor)

1971: Ray Price – For The Good Times (Columbia)

1976: C.W. McCall – Black Bear Road (MGM)

1981: Kenny Rogers – Greatest Hits (Liberty)

1986: Kenny Rogers – The Heart Of The Matter (RCA)

1991: Clint Black – Put Yourself In My Shoes (RCA)

1996: Garth Brooks – Fresh Horses (Capitol)

2001: Tim McGraw – Greatest Hits (Curb)

2006: Carrie Underwood – Some Hearts (Arista)

2011:Taylor Swift – Speak Now (Big Machine)

Week ending 1/1/11: #1 albums this week in country music history

1966: Connie Smith – Cute ‘N Country (RCA Victor)

1971: Johnny Cash – The Johnny Cash Show (Columbia)

1976: C.W. McCall – Black Bear Road (MGM)

1981: Kenny Rogers – Greatest Hits (Liberty)

1986: Kenny Rogers – The Heart Of The Matter (RCA)

1991: Clint Black – Put Yourself In My Shoes (RCA)

1996: Garth Brooks – Fresh Horses (Capitol)

2001: Tim McGraw – Greatest Hits (Curb)

2006: Carrie Underwood – Some Hearts (Arista)

2011:Taylor Swift – Speak Now (Big Machine)

Christmas Rewind: John Denver, ft Patty Loveless and Clint Black – ‘Christmas For Cowboys’

Week ending 9/25/10: #1 albums this week in country music history

1965: Roger Miller – The 3rd Time Around (Smash)

1970: Charley Pride – Charley Pride’s 10th Album (RCA)

1975: Glen Campbell – Rhinestone Cowboy(Capitol)

1980: Eddie Rabbit – Horizon (Elektra)

1985: Ronnie Milsap – Greatest Hits Vol. 2 (RCA)

1990: Clint Black – Killin’ Time (RCA)

1995: Shania Twain – The Woman In Me (Mercury)

2000: Various Artists – Coyote Ugly: Original Soundtrack (Curb)

2005: Brooks & Dunn – Hillbilly Deluxe (Arista)

2010: Lady Antebellum – Need You Now (Capitol)

Week ending 9/11/10: #1 albums this week in country music history

1965: Connie Smith – Connie Smith (RCA Victor)

1970: Charley Pride – Charley Pride’s 10th Album (RCA)

1975: Waylon Jennings – Dreaming My Dreams(RCA)

1980: Various Artists – Urban Cowboy: Original Soundtrack (Asylum)

1985: Ronnie Milsap – Greatest Hits Vol. 2 (RCA)

1990: Clint Black – Killin’ Time (RCA)

1995: Shania Twain – The Woman In Me (Mercury)

2000: Various Artists – Coyote Ugly: Original Soundtrack (Curb)

2005: Brad Paisley – Time Well Wasted (Arista)

2010: Little Big Town – The Reason Why (Capitol)

Week ending 9/04/10: #1 albums this week in country music history

1965: Connie Smith – Connie Smith (RCA Victor)

1970: Charley Pride – Charley Pride’s 10th Album (RCA)

1975: Charlie Rich – Every Time You Touch Me (I Get High)(Epic)

1980: Various Artists – Urban Cowboy: Original Soundtrack (Asylum)

1985: Hank Williams Jr. – Five-O (Warner/Curb)

1990: Clint Black – Killin’ Time (RCA)

1995: Shania Twain – The Woman In Me (Mercury)

2000: Various Artists – Coyote Ugly: Original Soundtrack (Curb)

2005: Brad Paisley – Time Well Wasted (Arista)

2010: Trace Adkins – Cowboy’s Back In Town/a> (Show Dog/Universal)