My Kind Of Country

Country music from a fan's point of view.

Tag Archives: Diamond Rio

Favorite Country Songs Of The 80s: Part 6

Here are some more songs from the 1980s that I liked and remember. See if you recall any of these records:

Memory Machine“– Jack Quist
This 1982 song about a jukebox reached #52. I don’t know anything about Jack Quist other than that he originally was from Salt Lake City, but I am familiar with the song’s writer Ted Harris as he wrote such classics as “Paper Mansions” and “Crystal Chandeliers”.

eddie rabbittOn Second Thought” – Eddie Rabbitt
Released in 1989, this song peaked at #1 in early 1990. This was Eddie’s most traditional sounding hit and my favorite of all of Eddie’s recordings.

Don’t It Make Ya Wanna Dance” – Bonnie Raitt
This song was from the soundtrack of Urban Cowboy and reached #42.

Right Hand Man” – Eddy Raven

Eddy had sixteen consecutive top ten records from 1984-1989. This song is my favorite although it only reached #3. Eddy would have five #1 records during the decade with “Joe Knows How To Live” and “Bayou Boys” being the biggest hits.

She Got The Goldmine (I Got The Shaft)” - Jerry Reed
There are few artists that could get away with recording a song with such a title but Jerry Reed was that one of a kind who could. The song reached #1 in 1982, one of Jerry’s few #1 records. There are those who consider Jerry to have been the best guitar player ever (Chet Atkins among them). Jerry passed away a few years ago perhaps depriving the genre of its greatest all-around talent.

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Week ending 10/13/12: #1 singles this week in country music history

1952: Jambalaya (On The Bayou) — Hank Williams (MGM)

1962: Devil Woman — Marty Robbins (Columbia)

1972: Funny Face — Donna Fargo (Dot)

1982: Yesterday’s Wine — Merle Haggard & George Jones (Epic)

1992: In This Life — Collin Raye (Epic)

2002: Beautiful Mess — Diamond Rio (Arista)

2012: Take A Little Ride — Jason Aldean (Broken Bow)

Week ending 9/29/12: #1 singles this week in country music history

1952: It Wasn’t God Who Made Honky Tonk Angels — Kitty Wells (Decca)

1962: Devil Woman — Marty Robbins (Columbia)

1972: I Can’t Stop Loving You — Conway Twitty (Decca)

1982: What’s Forever For — Michael Martin Murphey (Liberty)

1992: Love’s Got A Hold On You — Alan Jackson (Arista)

2002: Beautiful Mess — Diamond Rio (Arista)

2012: Wanted – Hunter Hayes (Atlantic)

You didn’t have a good time: songs about struggling with alcohol

The recent unfortunate news of Randy Travis’s apparently alcohol-fuelled decline has prompted me to bring together these songs about people struggling to give up alcohol.

Randy’s own recording of ‘You Didn’t Have A Good Time’ from his last studio album, 2008’s Around The Bend, now seems heartbreakingly prescient – or an early warning to himself of a problem that he was, one assumes, aware of. The song starts from the standpoint that the first step in tackling the problem is acknowledging its existence:

I bet you don’t remember
Kneeling in that bathroom stall
Praying for salvation
And cursing alcohol
Then went right back to drinking
Like everything was fine
Let’s be honest with each other
You didn’t have a good time

So take a good hard look in the mirror
And drink that image down
I’m truth that you can’t run from
I’m the conscience you can’t drown
And the happiness you want so bad
You ain’t gonna find
Until you start believing
You didn’t have a good time

When you woke up this morning
I guess you just assumed
That you got something out of
The empty bottles in this room
There ain’t an angel that can save you
When you’re listening to the wine
And the demons they won’t tell you
You didn’t have a good time

Trace Adkins ‘Sometimes A Man Takes A Drink’ offers an equally somber warning of the gradual fall from casual social drinking into the prison of addiction, with its melancholy warning, “sometimes a drink takes the man”. (Co-writer Larry Cordle has also recorded a superb version of the song, but Trace’s magnificent vocal edges his cut ahead.)

The same theme appears in George Jones’s bitingly honest ‘A Drunk Can’t Be A Man’, from his 1976 album Alone Again, when he was still drinking heavily himself. In this third person story, George sings of a man whose life is utterly miserable thanks to his drinking but “seems proud to have the devil for his guide”.

Sometimes it seems like a miracle that Jones is still alive in his 80s, given his chequered history with alcohol. This history has been frequently acknowledged in his choice of songs like ‘Wine (You’ve Used Me Long Enough)’, the agonized ‘Wean Me’, ‘If Drinking Don’t Kill Me (Her Memory Will)‘, I’ve Aged Twenty Years In Five’,  ‘Ol’ George Stopped Drinking Today’, and the rueful admission of ‘Wine Colored Roses’. In 1999 it was also the subject of his last solo top 30 hit ‘Choices’, a bleak Billy Yates song about the lifelong effect of bad decisions and putting drinking above those who loved him.

Jones following a 1978 DUI arrest.

One of my uncles was (and I would say he still is) an alcoholic, and while struggling with his problem in his 20s he spent some time living with his older married half-brother (my parents, before I was born). I’ve left out a whole range of songs about the impact of an alcoholic relative on his or her spouse and family, but the role of a loved one in supporting someone through the hard times is also important, and dealt with in a number of country songs. One of my favorites is ‘I’m Trying’, recorded both by Diamond Rio in duet with Chely Wright, and more recently solo by Martina McBride, which movingly shows the middle of the struggle, with a loved one trying to support the drinker.

Someone who can’t admit their problem to their loved ones is clearly not in good shape to turn the corner. Now-disbanded trio Trick Pony were best known for main lead singer Heidi Newfield, but one of their best songs (‘The Devil And Me’), sung by one of her male bandmates, dealt with the struggles of an alcoholic, shamefacedly hiding his used bottles from his wife and children, and confessing,

I’ve battled with the bottle all alone for years

Bleak though the basic situation is, he still hopes things can turn around, affirming in the last verse and chorus:

I’m hoping for a miracle
I know that I can change
No, I’m not giving up
I know there’ll come a day

When I’m not too tired to fight it
Or too ashamed to pray
And I know the Lord won’t be bored
With the promises I’ve made
I won’t live here with my secret
Where no one else can see
No, I won’t keep it
Between the devil and me

Sometimes it takes a catastrophic incident to prompt a change of heart. 80s star T. Graham Brown has recorded a moving plea to God from a man who has reached rock bottom for help to turn the ‘Wine Into Water’. In the brilliant Leslie Satcher song ‘From Your Knees’ (recorded by Matt King  (with Patty Loveless on harmony), later by John Conlee, and ironically, also by Randy Travis on Around The Bend), a wife tired of her man’s “cheating and drinking” finally leaves after 17 years, forcing him to face the truth:

Right then and there in an old sinner’s prayer
He told things he’d kept in the dark
There was no use in lying
Cause the man who was listening
Could see every room in his heart

Sometimes a man can change on his own
But sometimes I tell you it takes

Empty closets and empty drawers
And a tearful confession on the kitchen floor
And burning memories in the fireplace
He had waited too late to say he was wrong

Brother, you would not believe
What you can see from your knees

Another song from his own repertoire Travis might be advised to pay attention to, now he seems to have reached his own rock bottom point.

Before he discovered the beach, Kenny Chesney recorded some strong material, and one of the best was the earnest ‘That’s Why I’m Here’, a #2 hit in 1998. A mature reflection on the damage done to a life “when you lose control”, this seems to have a happy ending as the protagonist has learned his lesson and started attending AA meetings.

However, some damage cannot be undone, as we see from a couple of songs dealing with the effects of addiction to drugs rather than alchol. The video for Jeff Bates’ emotional ‘One Second Chance’ ties it in with his own former drug problem, while Jamey Johnson’s stunning ‘High Cost Of Living’ is one of the finest songs of its kind as it portrays someone whose addiction led to throwing away everything good in his life. Billy Yates’ minor hit ‘Flowers’ (subsequently covered by Chris Young) deals with the literally sobering aftermath of a drunk driving incident in which the protagonist killed his wife or girlfriend; change comes too late. Gravel-voiced singer-songwriter Bobby Pinson included several compelling songs referring to the drunk-driving death of a high school friend on his underrated album Man Like Me ( ‘Don’t Ask Me How I Know’, ‘A Man Like Me’ and ‘I Thought That’s Who I Was’), the culminating effect of which sounds autobiographical. In ‘One More Believer’ on the same album he looks back to a sordid past passing out drunk before finding salvation through the love of a good woman.

Joe Nichols, another star who has struggled with substance abuse in real life, chose to record ‘An Old Friend of Mine’, a moving low key confessional of the day a man gives up drinking:

I never thought I’d be strong enough to leave it all behind
But today I said goodbye to an old friend of mine…
And I heard freedom ring when that bottle hit the floor
And I just walked away not needing anymore

Yet it’s still a struggle to maintain sobriety after making that commitment. My uncle stopped drinking over 40 years ago, but still attends AA meetings regularly and can’t touch a single drop of alcohol in case it sets off the cravings again. George Jones has had the odd lapse in recent years, and it’s well documented that Randy Travis had issues with drinking among other wild behaviour as a teenager before straightening up, so his current woes may be a resurgence of a longstanding underlying problem.

Collin Raye’s hit ‘Little Rock’ shows an alcoholic trying hard to make a fresh start and making a good beginning, but only 19 days into his sobriety there’s clearly a long way to go (although his record is 10 days and counting ahead of the protagonist of George Strait’s recent single ‘Drinkin’ Man’. Co-written with Dean Dillon who has had his own issues with alcohol in the past, this searing portrait of a man whose problems go back to his early teens unfortunately proved to be a bit too close to reality for today’s country radio and became the lowest charting single of Strait’s career.  It remains one of the best singles of 2012.

Texan Jason Boland’s ‘Bottle By My Bed’, looking back on the time when “my life was as empty as the bottle by my bed,” also talks about all the false starts, when “each time was the last time, that’s what I always said”, but has the protagonist now on safer ground.

Finally, if anyone reading this thinks they have a problem: please get help. For information and resources, visit the AA.org and Al Anon websites for help for you and/or your loved ones.

Album Review – Vern Gosdin – ‘Out Of My Heart’

Released in 1991 on Columbia, Out Of My Heart was Gosdin’s final album to chart reaching a peak of #41. It wasn’t the overwhelming success of his late 80s efforts and only managed to produce three low-charting singles.

The album was led by “I Knew My Day Would Come,” which reached a peak of #64 in 1991. A gorgeous mandolin-soaked mid-tempo ballad, the song tells the story of a downtrodden man who has nothing to his name but the eternal optimism that his circumstances are going to turn around. The effortless ease of Gosdin’s delivery helps make this a winner and it’s a bit disappointing it wasn’t a bigger hit.

Second single, “The Garden” would fare a little better, peaking at #51. It’s less commercial than the lead single, with the heavy steel guitar working against Gosdin’s thin vocal. The story of a man returning home to his wife in the garden of heaven is good but isn’t enough to have connected with radio listeners in 1991.

The third and finale single, “A Month of Sundays,” peaked at #54. It’s a honky-tonk inspired tune perfectly in keeping with the traditionalist sounds of country radio at the time. The song tells the classic tale of someone partying a little too hard on Saturday night thus needing a month of Sundays to recover. It’s very good, although, the arrangement is a bit stiff for my tastes and the overall recording hasn’t aged well in more than 21 years.

The remaining tracks continue in the same vein as the three singles, bringing in a nice mix of traditional country sounds. Its easy to see why this album wasn’t a huge success since its hard not to feel like Gosdin was just a bit out of touch with the overall feeling of country music at the time. He still had that same great voice, but his music wasn’t warm and inviting in a way that would draw in listeners hearing the youthful exuberance of Trisha Yearwood and Diamond Rio for the first time.

Of the album tracks, the only real standout is “Love Will Keep Your Hand On The Wheel,” a trucker driver’s lament detailing lonely nights on the road and the focus love gives a person to push through in pursuit of home. The moody accompaniment perfectly captures the late-night essence of the song.

Overall, Out Of My Heart isn’t a bad album, just one in need of a jolt of energy. The sound was becoming a bit dated by 1991 as the new traditionalist movement was making way for the commercial boom of the 90s. But even though the album is out of print, the tracks are still worth checking out and can easily be found on YouTube.

Grade: B 

Week ending 6/4/11: #1 singles this week in country music history

1951: I Want To Be With You Always — Lefty Frizzell (Columbia)

1961: Hello Walls — Faron Young (Capitol)

1971: I Won’t Mention It Again — Ray Price (Columbia)

1981: Elvira – The Oak Ridge Boys (MCA)

1991: Meet In The Middle — Diamond Rio (Arista)

2001: Ain’t Nothing ‘Bout You — Brooks & Dunn (Arista)

2011: Old Alabama — Brad Paisley featuring Alabama (Arista)

Album Review: Diamond Rio – ‘The Reason’

Country music has always happily mixed the sacred with the secular, and country musicians have often included religious songs on their records, or released fully fledged Christian albums. With their secular country career floundering in the new millennium and having lost their deal with Arista, Diamond Rio moved to Christian label Word. Although they had previously recorded some religious material in their own style, rather than making a Christian country record for Word, they chose instead to follow the template of Christian radio with 2009’s The Reason. The end result is far from satisfactory, and deeply disappointing.

It is, in fact, extremely disappointing musically, with the band’s trademark harmonies replaced by anonymous praise and worship band unison singing buried some way back in the mix, although lead singer Marty Roe is in good voice and sounds invested in the material. The band’s sparkling instrumental playing is also absent, sounding flat and generic, while the songs themselves are all rather the same.

Band members did at least contribute to the album by co-writing most of the material assisted by some names which are unfamiliar to me but who are, I presume, Contemporary Christian songwriters. Marty Roe and Jimmy Olander co-wrote six of the songs with their new friends. The single ‘God Is There’ is a little over-dramatic, and the production is heavy-handed and has too much echo. When I originally heard this I was very disappointed with their new direction; but it is, sadly, actually one of the better tracks, as Marty tells us God is present even in the hardest moments of life.

The title track has a nice low-key piano intro, passionate lyric about a penitent sinner who has turned to God, and a heartfelt lead vocal from Roe, but by the chorus it develops into something more like a church modern praise song. The very pop-oriented and over-produced ‘This Is My Life’ (the second single) is almost unlistenable thanks to the technological production tricks. ‘Wherever I Am’ and ‘Into Your Hands’ are decent songs of their kind with likeable vocal performances from Roe, but, once more, the overall mix is far too heavily processed, especially on the latter. ‘Just Love’ is even less listenable.

‘Moments Of Heaven On Earth’ (written by the band’s piano/keyboard player Dan Truman with Don Pfrimmer) is a pleasant pop song about marital love with a bit of religion tacked on in the second verse. Bassist Dana Williams co-wrote the idealistic ‘What Are We Gonna Do Now’, which is not bad.

Worship song ‘Reaching For Me’ is boring, but the other outside songs are better. ‘My God Does’, written by Sarah Buxton, Craig Wiseman and Bob DiPiero, is the only track to sound anything the band’s earlier work, and, while not their best work, is pretty good, and the most listenable track here. ‘In God We Still Trust’ (written by Bud Lee and Bill and Kim Nash) adds a little patriotism by affirming the US to be a Christian nation at heart. They had previously recorded this on their Greatest Hits Vol 2.

Bizarrely, this fundamentally misjudged project, won the band their first ever Grammy (for Best Southern Country or Bluegrass Gospel Album, although I certainly can’t detect much country or bluegrass). If you love the quintessential sound of Diamond Rio, you’ll barely recognize them here, with everything that made the group’s music distinctive missing.

Grade: D

If you’re still interested, used copies are available exceptionally cheaply for such a recent release.

Album Review: Diamond Rio – ‘One More Day’

Diamond Rio’s sixth studio album was released nearly three full years after Unbelievable had dropped at retail stores. To bridge the gap between the projects, the lead single “Stuff” was released in 2000. Admittedly not one of their better efforts, “Stuff” was planned to be the title track of the band’s forthcoming album. Stalling at #36 on the charts, its relative failure came on the heels of another under-performing single, 1999′s “I Know How The River Feels” which topped out at #33. As a result, the planned album was retooled somewhat, which possibly explains the lengthy period between albums.

The band’s next radio effort, “One More Day” did much better. Released in October 2000, it gained in popularity following the February 2001 death of NASCAR driver Dale Earnhardt, and eventually reached #1. Later that year, the wistful, bittersweet tune which is my all-time favorite Diamond Rio song, enjoyed a resurgence in popularity following the terrorist attacks of September 11, 2001. It was the band’s first #1 since 1997′s “How Your Love Makes Me Feel”, and as a result of its success, “One More Day” supplanted “Stuff” as the title track of the new album.

One More Day was finally released in June 2001. The band shared production duties with Mike Clute, as they had done for their past few albums. The result was a somewhat more contemporary song selection, as well as more prominent harmony vocals, which are used to great effect on “The Love Of A Woman” and the excellent bluegrass-flavored “Hearts Against The Wind”. The latter is my favorite cut on the album after the title track. Also noteworthy is “I’m Trying”, (not to be confused with the Trace Adkins song of the same title), on which the guys are joined by Chely Wright.

Unfortunately, the rest of the album is mostly generic and forgettable. The Skip Ewing and Bob DiPiero-penned “You Make Me Feel” is particularly disappointing. Skip Ewing is one of my favorite songwriters but this certainly qualifies as one of his poorer efforts. “Sweet Summer”, which was the follow-up single to “One More Day” is badly marred by an introduction featuring a young child singing an off-key rendition of “Oh, What A Beautiful Morning” from the musical Oklahoma!, which was thankfully omitted from the radio edit.

The success of the title track notwithstanding, One More Day marks the beginning of Diamond Rio’s commercial decline. “Sweet Summer” failed to capitalize on the title track’s success, peaking at #18, while the energetic but fluffy “That’s Just That” became the first Diamond Rio single to fail to crack the Top 40, leveling off at #42. Though the band would go on to enjoy two more #1s from their next album, they would never again crack the Top 10 after that. One More Day did reach #5 on the album chart, making it Diamond Rio’s highest charting entry on the Billboard Top Country Albums chart up to that time. It failed to reach platinum-level sales, but it did earn gold certification, as both IV and Unbelievable had done. Though it is a somewhat uneven collection, it is worth buying, if only for the track “I’m Trying” which is not available for individual download.

Grade: B

Inexpensive copies can be purchased from Amazon.

Classic Rewind: Diamond Rio – ‘I Believe’

Album Review: Diamond Rio – ‘Unbelievable’

The band’s last release of the 1990s was 1998’s Unbelievable. They were a well-established act by now, and had released their first Greatest Hits set. The new album was slick but played on the group’s strengths to create a radio-friendly yet organic blend. The songs (none of which were written by band members) range from great to mediocre. But even when the material falls short, as it does at times, the record always sounds good, thanks to the band’s harmonies, playing, and the slick but not overdone production (courtesy of the band with Michael D Clute).

The first two singles were both big hits. The one truly great song on the album, the devastating bereavement ballad ‘You’re Gone’, opened the album’s campaign on the singles chart, where it peaked at #4. The disconsolate narrator opens strikingly,

I said “Hello, I think I’m broken”

That facetious initial pickup line draws us into the soaring chorus, set in the present day, when he really is partly broken by the loss of his loved one:

Now I know God has His reasons
But sometimes it’s hard to see them
When I awake and find that you’re not there…

I bless the day I met you
And I thank God that He let you
Lay beside me for a moment that lives on
And the good news is I’m better
For the time we spent together
And the bad news is you’re gone

The song was written by Jon Vezner (husband of Kathy Mattea) and pop songwriter Paul Williams, and remains one of my favorite Diamond Rio recordings, with a beautiful, understated emotion expressed in Marty Roe’s vocal.

The lyrically slight but energetic, charming, and very catchy title track (penned by reliable hit makers Al Anderson and Jeffrey Steele) did even better, just missing the top spot. Disappointingly, the third and last single was then a flop. The understated ‘I Know How The River Feels’ (previously cut by Ty Herndon) failed to make the top 30, making it the band’s worst performing single to date. While its languid pace was admittedly not very radio-friendly, it has a sensitive vocal, pretty tune and tasteful string arrangement, which make it worth listening to.

The frustrated plea to Love, ‘What More Do You Want From Me?’, written by Bob Regan and Mark D Sanders, is very catchy and another favorite of mine. It had been the sole (and non-charting) single from Rhonda Vincent’s very underrated Trouble Free album a year or two earlier. Both versions are great, but Diamond Rio’s harmonies give this version an added force. Also good is the tuneful Bill and Sharon Rice ballad ‘Long Way Back’, in which the protagonist regrets his past choices a little too late to save his relationship, and is stuck brooding in a cafe.

‘Two Pump Texaco’ (written by Michael Dulaney and Neil Thrasher) is a nicely detailed and affectionate laid-back portrait of a country boy who is the third generation in his family to work at the titular gas station. The young man in this song is much more fleshed out as a character, and hence much more realistic, than those on most of today’s radio offerings playing on rural life.

Unfortunately, there is more than a little filler. ‘Miss That Girl’, ‘Hold Me Now’, and the closing ‘(I Will) Start all Over Again’ are all nicely sung, well-played and prettily harmonized, but completely forgettable. ‘I Thought I’d Seen Everything’ is a dull love ballad, written by Shania Twain’s husband Mutt Lange and 80s rocker Huey Lewis, lifted only by the harmonies.

Overall, then, this is certainly not the band’s best work, but it is pleasant listening, with some shining moments, particularly ‘You’re Gone’. It sold well enough, and has been certified gold. It is easy to get hold of cheap copies, but it may be an example of a record best digitally cherry-picked.

Grade: B

Album Review: Diamond Rio – ‘IV’

While riding high on the success of three gold and platinum albums, a consistent run of hit singles and shelves of industry awards, Diamond Rio issued their fourth Arista album, appropriately titled IV in 1996. It would continue their run at the top with 3 more top 5 hits and another hitting the top 20, and would quickly be certified gold.

Lead single ‘Walkin’ Away’ features an easy melody and implores lovers to hold it together, “baby don’t go there, love don’t get nowhere, walkin’ away“. Steel guitar flourishes propel the melody and Marty Roe’s vocal, and helped send it to #2 on the Country Singles chart. ‘That’s What I Get For Loving You’ follows closely to the first single, so much that they mirror one another when played back to back. This track doesn’t follow a disagreement between lovers, but celebrates the pair’s union, and became Diamond Rio’s 11th top 10 hit when it peaked at #4.

The stand-out single was the cheeky ‘It’s All In Your Head’, penned by the great Reese Wilson with Tony Martin and Van Stephenson. With its swampy beat and masterful grasp on the idiosyncracies of the devoutly religious, it is my favorite song from Diamond Rio. It tells the story of a “sidewalk, soapbox preacher lookin’ forward to the end of the world” who marries a “messed up, dressed up waitress with a slightly tarnished heart of gold” from the point of view of the preacher’s caustic son. The preacher is finally felled by snake venom “stronger than his faith“, and he goes out of the world repeating his conspiracy-theory mantra. It was also the album’s least successful single, stopping at #15 on the charts in the Summer of 1996.

IV is characterized by the group’s tight harmonies as they wrap them around their trademark breezy melodies, which elevate even the lesser tracks like “She Sure Did Like To Run” and “Love Takes You There”. The album is not without a few clunkers either. “Is That Too Much To Ask” glides along smoothly with the electric guitar jamming throughout, but its repetitive chorus and mundane lyrics about “wanting it all” leave the entire effort a bore to listen to.

The best tracks come from a pair of ballads. Released as a single in Germany, “She Misses Him On Sunday The Most” tells the story of a widow and the grief she feels most on Sunday mornings, sitting alone in the church pew as a tinkling piano is complimented by an acoustic guitar. “Just Another Heart” makes good use of its card-playing analogies and is a well-written song all around, from the writing team of Skip Ewing and Tim Johnson.

While IV was less successful than its predecessor – it didn’t go platinum – and while it had some definite soft spots, it is still an essential addition to their discography, and a solid effort from the group.

Grade: B

Buy it from amazon.

Classic Rewind: Diamond Rio – ‘Love A Little Stronger’

Blake Shelton and Miranda Lambert are getting married today in Texas. To celebrate the occasion, here’s a love song from our Spotlight Artists Diamond Rio, introduced by Reba McEntire:

Album Review: Diamond Rio – ‘Love A Little Stronger’

The success of Diamond Rio’s first album caused the band to return to the studio to record the follow-up a little sooner than they would have liked. By their own admission, Close To The Edge was a somewhat rushed affair, though I thought it was an enjoyable album. It achieved gold status, but that was considered somewhat of a failure in the early 90s, especially after following a platinum debut. As a result, the band took more time in recording their third album, Love A Little Stronger, which was released in July 1994, nearly two years after Close To The Edge’s release.

Love A Little Stronger was produced by Tim DuBois and Monty Powell, as Diamond Rio’s first two albums had been. This time, however, they were joined by another co-producer, Mike Clute. The title track was the first single released, and it was also the album’s biggest hit, peaking at #2. It was the band’s first trip into the Top 10 since the previous year’s “Oh Me, Oh My Sweet Baby” topped out at #5. Written by Chuck Jones, Billy Crittenden and Gregory Swint, “Love A Little Stronger” has a slightly more polished sound than the band’s previous work. The second single, a cover of Dennis Linde’s “Night Is Falling In My Heart” — one of my favorite Diamond Rio songs — also has some glossy production but it also allows the band to show off their impressive harmony skills. It reached #9 on the Billboard country singles chart.

Love A Little Stronger followed Close To The Edge’s pattern of producing two top ten hits followed by two lower-charting singles. “Bubba Hyde”, a somewhat hokey semi-novelty song about a straight-laced guy who undergoes a personality transformation on Friday nights, only made it to #16, while the excellent “Finish What We Started”, written by producer Monty Powell with Mike Noble, stalled out at #19. This one definitely deserved to chart higher.

The collection also includes some very good album cuts, such as “Into The Wild Blue Yonder”, which I would have released as a single in lieu of “Bubba Hyde”. “Into The Wild Blue Yonder” seems tailor-made for radio, but was perhaps overlooked because it was felt that radio would be more receptive to a more uptempo tune. “Gone Out Of My Mind” is one of those songs that has been recorded a number of times without ever becoming a big hit. It had previously been included as an album cut on Steve Wariner’s 1989 album I Am Ready. I still consider Doug Stone’s 1998 rendition to be the definitive version, but Diamond Rio’s take is quite good as well. “Appalachian Dream” follows the precedent established by Diamond Rio’s previous two albums, of including one instrumental track to allow the band to show off their picking skills. The album closes with the somewhat somber but quite enjoyable “Kentucky Mine”.

I’ve always been a casual Diamond Rio fan, and didn’t pay much attention to the band in the 90s, aside from what I heard from them on the radio. But as is often the case, the radio hits don’t tell the whole story. Love A Little Stronger is a solid collection, with no weak tracks aside from “Bubba Hyde”. Like the band’s eponymous debut album, it reached #13 on the Billboard Top Country Albums chart and earned platinum certification. It is still easy to find from vendors such as Amazon at reasonable prices.

Grade: A-

Album Review: Diamond Rio – ‘Close To The Edge’

Diamond Rio’s second album was rush-released in October 1992. It was produced as before by Monty Powell and Tim Dubois along broadly similar lines to its predecessor. Although not quite as consitently high quality as the songs on their debut, the chosen material showcases the band’s trademark harmonies and sparkling playing well. Although, apparently they had only a month to pick the songs, and felt they had fallen short of their debut, everything is presented with verve and I think it stands up well today.

The first two singles had downbeat lyrics about failed relationships. The ballad ‘In A Week Or Two’ (one of my favorite tracks) was received well at radio and hit #2. The rueful protagonist has been blindsided when he kept on putting off those romantic gestures, only to find his lover loses patience and leaves him. Equally regretful in the face of a vanished lover, the bouncily catchy ‘Oh Me, Oh My Sweet Baby’ was another top 5 hit, with particularly strong harmonies and picking. The perky ‘This Romeo Ain’t Got Julie Yet’ about a thwarted teenage couple (co-written by the lead guitarist Jimmy Olander), the slightest of the album’s singles, did less well, peaking at an unlucky 13.

My favorite of the singles then disappointingly failed to crack the top 20. Set to an understated but pretty tune, it offers a pensive reflection on the lost innocence of childhood:

When we knew Jesus was the answer
And Elvis was the King
‘Blue Suede Shoes’ and ‘Rock Of Ages’
Were the songs we learned/loved to sing
Innocence went out of style
We just watched it go
Yesterday got left beneath
The dust of Sawmill Road

We learn the protagonist’s brother was mentally destroyed by service in Vietnam, and he keeps minimal contact with the sister, who now has three failed marriages behind her. Only the narrator remains living in the eponymous ‘Sawmill Road’, where the three siblings “were raised up on the path of righteousness” so long ago. The song was written by the band’s keyboard player Dan Truman with Sam Hogin and Jim McBride.

It leads appropriately into an appeal to the lonely and lost in life, ‘Calling All Hearts (Come Back Home)’, an idealistic number written by Monty Powell, Kent Blazy and Wade Kimes, which I also like a lot.

My absolute favorite track, though, is the high lonesome ‘Demons And Angels’. Written by former singer Judy Rodman and Ronnie Samoset, the song portrays the intense struggle of a man(and his wife) fighting his addiction to alcohol,

He swore it was over and all in his past
A few hours later his hand’s round a glass
A voice on the left says,
“There’s peace in the wine”
From the right a voice whispers,
“Don’t do it this time”
When he looks for the answer
Down in his heart
Demons and angels tear him apart

There’s not much that’s sweeter
Than a new life begun
Ain’t much that’s sadder
Than a promise undone
He stares at the bottle,
Longs for her arms
While demons and angels tear him apart

‘Old Weakness (Coming On Strong)’ is not the song of that title recorded by both Tanya Tucker and Patty Loveless, but an intensely sung ballad about struggling with the thought of encountering an old flame he’s not really over, written by Powell with Chapin Hartford. A cheery riposte to old friends comparing the fun of bachelor life to the protagonist’s newlywed happiness, ‘It Does Get Better Than This’ is unremarkable lyrically, but is lifted by the charming vocal and instrumental performance, and could be a hit today.

The love songs ‘I Was Meant To Be With You’ (co-written by Dubois and Powell with Debi Cochran and Diamond Rio’s lead singer Marty Roe) and Jimmy Olander’s ‘Nothing In This World’ (co-written with Eric Silver) are pleasant filler, performed exceptionally well. The upbeat title track (written by the band’s mandolin and occasional fiddle player Gene Johnson with Carl Jackson) is also fairly forgettable lyrically, but it has a great groove and lets the band show off their chops , closing the album on a high.

The record has been certified gold, so it did not sell quite as well as their debut. However, despite the band’s own misgivings about the quality of the material, I think it compares pretty well, and there are some outstanding moments. Cheap used copies are easy to find, and it is also available digitally.

Grade: A-

Classic Rewind: Larry Cordle – ‘Mama Don’t Forget To Pray For Me’

The songwriter shares his version of the classic Diamond Rio hit single:

Happy Mothers’ Day.

Album Review: Diamond Rio – ‘Diamond Rio’

Diamond Rio’s eponymous debut album was released 20 years ago this month.  The disc catapulted the band to country stardom when their first single, the infectious “Meet In The Middle” became the first chart-topping debut by a group in the history of Country Singles chart.  Four more singles hit the top 10 and the album went on to sell more than a million copies.  It also introduced the melodic energetic sound of Diamond Rio, and showcased the band’s tight musicianship on record.

“Meet In The Middle” features Tim DuBois’ bouncy production in a lyric that simply celebrates compromise, and uses the sweet story of a boy and girl meeting halfway between their homes as the analogy of meeting halfway once again as a means to end their future squabbles.  Marty Roe’s solid vocal hits as hard as the snappy drums and Gene Johnson’s mandolin make for a great track, which sailed to #1 for 2 weeks.

Also making waves at radio was the bluesy “Mirror Mirror”, with its clever wicked queen hook it became the band’s second top 5.  Also hitting the top 5 is the blistering “Norma Jean Riley”, with its dry humor and talking instruments, it recalls the best of Alan Jackson’s similar witty tunes.  Sandwiched in between that pair at radio is the elegant “Mama Don’t Forget to Pray For Me”, which recounts a traveling musician calling home to talk to his folks.  It’s memorable melody and heartstring subject matter pushed it to #9 on the charts.

The final single – and my favorite track – is the smart and direct second person narrative “Nowhere Bound”.  This mid-tempo gem sounds like it would be at home in Mary Chapin Carpenter’s songbook, right down to its wry lyrics:

Where to now, do you know?
One thing’s for certain, gonna reap just what you sow
And all you planted was heartache and pain
Don’t look now, but it looks like rain

“Nowhere Bound” was written by co-producer Monty Powell and Jule Edders, and went to #7 on the singles chart in 1992.

Also notable are the tale of two top-notch musicians dueling for the title of “best around” in the fast-paced “Ballad of Billy and Conley (The Proof’s in the Pickin’)”, which allows the boys to show off their dexterity with their respective instruments, much like the closing instrumental track “Poultry Promenade”.  The driving “Pick Me Up” tells of a man who feels lower than bottom – “pick me up so I can fall again” – and is set to another infectious melody.

Produced by Tim DuBois and Monty Powell, Diamond Rio’s debut album served to not only kickstart the band’s hit-making career, it also served as the template that would come to characterize the band’s sound, with their own crack musicianship in the studio, tight harmonies, and breezy melodies.  Diamond Rio is a great showcase of ’90s country at its best.

Grade: A

Buy it from amazon.

Classic Rewind: Diamond Rio – ‘The Ballad Of Conley And Billy (The Proof Is In The Picking)’

Spotlight Artist: Diamond Rio

Diamond Rio’s run of platinum albums and chart-topping singles was a success story that almost ended before it started.  Tim DuBois acquired the group for the new Nashville division of Clive Davis’ Arista imprint in 1989, but various and serious accidents and health problems kept 3 of the band’s members out of the recording studio for nearly a year.  Then, in 1991, their first single made history by becoming the first ever debut single by a group to hit #1, and started the rise of one of the most successful groups in country music history.

The group’s traces its roots back to Opryland’s now-defunct theme park, following a meeting of lead singer Marty Roe and keyboard player Dan Truman.  The pair formed a bluegrass band, and as the lineup increased from 2 to 4 to 6, the name was shuffled from The Grizzly River Boys to Tennessee River Boys, and finally to the one that stuck, a misspelling of the Diamond-Reo truck manufacturer.

Bouncy rhythms and three-part harmonies characterized the band’s singles, but their generous use of mandolin and inclusion of bluegrass instrumentals on their albums reveal their more traditional leanings.  Between 1991 and 2002, they earned 16 top 10 country hits, including 5 #1′s, and notched 3 U.S. Top 40 hits.  More impressive is that every one of the band’s country albums has earned a gold or platinum certification, as did their 1997 Greatest Hits, for combined sales of over 12 million.  Diamond Rio was also named the CMA’s Vocal Group of the Year 4 times, and won the same prize from the Academy of Country Music

After parting with Arista in 2006, the guys signed with Nashville-based contemporary Christian label Word Records, and released their first gospel album in 2009.  The Reason went on to win 2 Dove Awards, and the band’s first Grammy.

Throughout the month of May, we’ll be revisiting the songs that made Diamond Rio the most popular group during country’s booming 90s, so be sure to stop back and reminisce with us.

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 3/12/11: #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: Do You Love As Good As You Look — Bellamy Brothers (Warner Bros./Curb)

1991: I’d Love You All Over Again — Alan Jackson (Arista)

2001: One More Day — Diamond Rio (Arista)

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

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