My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Dolly Parton

Classic Rewind: Dolly Parton – ‘If I Kiss You (Will You Go Away)?’

Week ending 6/14/14: #1 singles this week in country music history

1954 (Sales): Slowly – Webb Pierce (Decca)

Johnnie and Jack, 19421954 (Jukebox): Slowly – Webb Pierce (Decca)

1954 (Disc Jockeys): Oh Baby Mine (I Get So Lonely) — Johnnie & Jack (RCA)

1964: Together Again — Buck Owens (Capitol)

1974: I Will Always Love You — Dolly Parton (RCA)

1984: Someday When Things Are Good — Merle Haggard (Epic)

1994: That Ain’t No Way To Go — Brooks & Dunn (Arista)

2004: Redneck Woman — Gretchen Wilson (Epic)

2014: Play It Again — Luke Bryan (Capitol)

2014 (Airplay): Play It Again — Luke Bryan (Capitol)

Album Review – Bruce Robison and Kelly Willis – ‘Our Year’

51vcLhbUUYL._SY300_Over the Christmas holiday last year, a friend asked how Texas country was different from Nashville country. I had to stop for a moment and finally came up with an answer – to me Texas country often has more of a back to basics sound, more roots based than the commercial sheen coming out of Music City.

So it always surprises me when Bruce Robison and Kelly Willis record their collaborative projects there, not Austin, where they live, and spend most of their time. Like last year’s Cheater’s Game, Our Year maintains the Texas sound they’ve come to hone, down to the minimalist production and close harmonies.

Instead of a direct sequel, Our Year plays like a companion piece to Cheater’s Game – far shorter in length and less commercial in scope. The absence of production drives the record, giving the ten tracks a demo-like feel that leaves them sounding somewhat unfinished, but no less enjoyable or musically appealing.

No more is this apparent than on their cover of Tom T. Hall’s classic “Harper Valley PTA,” oft-covered in their live shows and the track that spearheaded this album. It opens with a lone acoustic guitar and doesn’t get much more rocklin’, save some dobro riffs, as it goes along. Willis’ strong vocal drives the song and works well to tell the story.

Robison and Willis bring a bluegrass flair to The Statler Brothers’ “I’ll Go to My Grave Loving You,” and while they don’t add anything new to Vern Gosdin and Emmylou Harris’ “(Just Enough To Keep Me) Hanging On,” their version works just as well. A cover of T Bone Burnett’s “Shake Yourself Loose” is pure honky-tonk bliss and a stunning showcase for Willis vocally.

Like Cheater’s Game, Our Year isn’t all country covers. The pair keeps it in the family on “Departing Lousania,” a mandolin driven ballad written by Robison’s youngest sister Robyn Ludwick. Robison appropriately takes the lead, sticking in his wheelhouse of journey songs, and does a bang-up job of bringing the story to life.

The harmonica is out in full force on delightful rocker “Motor City Man,” penned by late Austin singer/songwriter Walter Hyatt. The track breathes some much-needed attitude into the album and gives Willis a chance to deliver a strong and confident vocal.

The title track, a Zombies song written by Chris White, is a staple of their annual Christmas show and features a lovely banjo-driven arrangement and the pair’s signature harmonies.

Robison contributed two of the strongest compositions found on Our Year. “Carousel,” is a glorious steel-front waltz co-written with Darden Smith that concerns the end of a relationship, where a couple has to “step off of the carousel and say goodbye.” “Anywhere But Here” is an ode to youthful innocence and a perfectly articulated number about the restlessness of growing up.

“Lonely For You” is a Willis original, co-written with Paul Kennerley. Willis may be one of the best honky-tonk balladeers recording music today, but she also shines on uptempo material like this, about a woman who’s still holding on to a relationship that’s already come to an end.

Often when an iconic collaborative pairing (the Trio, Kasey Chambers & Shane Nicholson, Robert Plant & Alison Krauss) tries to record a follow-up record the sessions are either marred with drama or the project takes years to see the light of day. It’s even harder, just ask Patty Loveless or Alan Jackson, to follow-up an iconic work with something even half as good as the original.

With Our Year, Robison and Willis have succeeded splendidly on both fronts with an album tighter and even more fully realized than Cheater’s Game. They could’ve done without the Statler Brothers or Gosdin/Harris covers and thrown in two more Robison originals, but there’s no other way this project could be more perfect. Our Year is easily yet another of 2014’s spectacular releases.

Grade: A+ 

Album Review: Dolly Parton – ‘Blue Smoke’

blue smoke albumI raved about the title track of Dolly Parton’s new album when I first heard it a couple of months ago, and in the time since it has not lost its charms for me. The album is a bit more of a mixed bag in terms of the range of musical styles, but Dolly is still a great singer and songwriter. She sounds enthusiastic and invested throughout, and has written some very good new songs for the project.

‘Miss You – Miss Me’ is an excellent song from the point of view of a child begging her warring and separated parents to reconcile for her sake. A delicately understated arrangement of mandolin, guitar and piano supports Dolly’s vulnerable vocal.

‘Unlikely Angel’ is a sweet love song addressed to someone who has rescued the protagonist from a bad situation. It is very charming, set to a pretty melody with an attractive acoustic arrangement and delicately delivered vocal. The impeccably played and sung ‘If I Had Wings’ has a high lonesome bluegrass feel and a gospel message.

The upbeat and nostalgic ‘Home’, which Dolly wrote with her producer Kent Wells, has a little busier production, as Dolly cosily remembers (a sanitized version of) her childhood, without any mention of the poverty she has written about in earlier (and better) songs. ‘Try’ is an inspirational number which comes across a little too much like a self-help book about overcoming adversity, with intrusive backing vocals, but the intense sincerity of Dolly’s vocals helps to sell it.

Dolly exercises her playful pop-country side with a rebuttal to a potential lover who isn’t in it for the long run, only wanting a temporary ‘Lover Du Jour’. It is wittily written and charmingly performed with Dolly showing off a pretty good French accent, but the poppy production and backing vocals verge on the irritating with repeated listens.

Two duets see Dolly teaming up with fellow veterans. ‘You Can’t Make Old Friends’ is a warm hearted tribute to friendship written by Don Schlitz, Caitlyn Smith and Ryan Hanna King, perfectly sung by both Dolly and Kenny Rogers. The production is fuller than it is on the acoustic numbers, with a string arrangement as well as electric instruments but still tasteful and understated. Another old friend, Willie Nelson helps out on Dolly’s own song ‘From Here To The Moon And Back’, a melodic and tender crooned ballad.

An eclectic selection of covers round out the songlist, with variable results. She has written additional lyrics to the traditional ‘Banks Of the Ohio’ to create a framing narrative with herself as a journalist interviewing the incarcerated killer– an inspired addition to the song. She sings it beautifully, supported by the harmonies of Val Storey and Carl Jackson, the latter also taking the odd solo line. An arrangement featuring acappella sections, Stuart Duncan’s fiddle and John Mock’s harmonica at various points combines with the vocals to make this the highlight of the album and one of my favourite versions of this much-recorded tune.

She makes Bob Dylan’s ‘Don’t think Twice, It’s Alright’ sound like one of her own songs, and it gets a pretty acoustic arrangement. Rather less successful is Dolly’s attempt at rock-gospel with a cover of Bon Jovi’s ‘Lay Your Hands On Me’, where the accompaniment is just too loud and drowns Dolly out, although she makes a decent stab at attacking the song vocally until she gets over-excited and starts shouting at the end.

If you get your copy at Walmart, you get four extra tracks, which are generally weaker than those that made the cut for the main release. There is a remake of her ‘Early Morning Breeze’, plus three new songs: the idealistic and inclusive ‘Olive Branch’, the poppy upbeat ‘Get Up, Get Out, Get On’ which I didn’t like, and the Celtic-tinged ‘Angels In The Midst’.

Grade: A

Classic Rewind: Dolly Parton – ‘Why’d You Come In Here Looking Like That?’

Album Review: Mary Sarah & Friends – ‘Bridges: Great American Country Duets’

bridges18 year old Mary Sarah Gross (who has, like many very young performers, dropped her surname for professional purposes) has been performing country music since her childhood. Discovered on Youtube by veterans the Oak Ridge Boys, her debut album, produced by songwriter Freddy Powers, features a number of very starry guests. The style harks back, sometimes to traditional country, but more often to the Nashville Sound and the pop music of that era. Mary Sarah’s voice has quite a light timbre at present, perhaps because of her youth, but she clearly has a lot of potential.

A real highlight is ‘Crazy’, which really suits Mary Sarah vocally, and is performed as a duet with the song’s writer Willie Nelson (offering his usual idiosyncratic vocal), with an arrangement similar to the Cline version. Very impressive.

She tackles Merle Haggard’s ‘Fighting Side Of Me’ with a perky confidence, and is joined by Haggard. A great traditional country arrangement make this very enjoyable although I’m not sure the defiance of the original quite survived. ‘Heartaches By The Number’, sung as a duet with the late Ray Price, is also great, with a wonderful traditional arrangement.

’Go Rest High On That Mountain’, which Vince Gill recorded in memory of Keith Whitley, seems like a curious choice of cover due to the personal and specific nature of the lyrics, but it is beautifully and tenderly sung by Mary Sarah, with Gill’s heavenly harmony the perfect counterpoint.

I took a while to warm up to Mary Sarah’s vocal on ‘Jolene’, despite a nice arrangement and Dolly herself harmonising prettily. I think she just sounds a little too forceful and not quite vulnerable enough, but the version has grown on me over repeated listens.

‘Rose Garden’ works well for Mary Sarah, on which she duets with Lynn Anderson. Tanya Tucker helps out on an energetic take on ‘Texas (When I Die)’. I can’t normally stand Big & Rich, so I was surprised to quite enjoy their contribution to a pretty but rather old fashioned love song. The ballad ‘My Great Escape’. ‘All I Wanna Do Is Sing My Song’, sung with her producer Freddy Powers, is also nicely done.

‘What A Difference You’ve Made In My Life’ is in 70s/early 80s pop-country style, with new Hall of Fame inductee Ronnie Milsap harmonising and offering the odd solo line. It sounds a bit dated by today’s standards, and the production is a bit cluttered with strings and belted out vocals without room for much subtlety, but it has a certain guilty pleasure quality about it. ‘Dream On’ featuring the Oak Ridge Boys is more of a disappointment – cluttered sounding and not very interesting, although Mary Sarah sings it well.

I really disliked the retro-pop ‘I’m Sorry’ and ‘Where The Boys Are’, a duet with Neil Sedaka, which has no country influences at all.

The sequencing of the album groups the stronger, and more country, tracks at the start, with the effect that after halfway through it feels like a downhill ride. I’m not sure I quite know who Mary Sarah is an artist, but I enjoyed quite a lot of the album, and she definitely has talent.

Grade: B+

Album Review: Tom T. Hall – ‘Ballad of Forty Dollars and His Other Great Songs’

ballad of forty dollarsTom T Hall had been knocking around Nashville for a few years working with Jimmy Keys, Jimmy C. Newman and Dave Dudley, when Mercury finally signed him to a recording contract in 1967. Although he had been supplying songs to artists such as Jimmy C. Newman, Dave Dudley and Johnny Wright, Tom was such a prolific songwriter that he still had a large song bag of previously unheard material from which to choose for his first album. Unfortunately, it doesn’t seem that Mercury had a clear idea as to how they wanted to market him at the time.

The Ballad of Forty Dollars and His Other Great Songs would not be released until May 1969; however, Mercury would start issuing singles off the album almost immediately. “I Washed My Face In The Morning Dew” made its Billboard chart debut on August 5, 1967. Tom said that he wrote the song for Flatt and Scruggs but they passed on it, so he recorded it himself. While not a giant hit (it spent ten weeks on the charts peaking at #30), it encouraged Mercury to keep moving forward. Moreover, the song was recorded as an album cut by numerous other artists, most notably Porter Wagoner & Dolly Parton on their Just The Two of Us album. Porter loved the song and sang it on the Opry and kept it in his live act for the next thirty-nine years.

The first strange town I was ever in, the county was hangin’ a man
Nobody cared if he lived or died, and I just didn’t understand

(Chorus)
So I washed my face in the morning dew, bathed my soul in the sun
Washed my face in the morning dew, and kept on movin’ along

The next single “The World The Way I Want It” was probably a poor choice for the follow up as thematically, it was too similar to the first single without having the compelling storyline. That, plus the market for songs of social or spiritual conscience was limited:

I’d pay the debts of all the poor and let them start anew
I’d find each man who wants to work a decent job to do
I’d give hope to the hopeless and I’d give the sick their health
I’d give the high and mighty heart to share the nation’s wealth

The song topped out at #66 and charted for only three weeks. The production is marred by unnecessary background singers.

The next single, “Ain’t Got The Time”, fared similarly charting for only four weeks, reaching #68. I think that if it had been the immediate follow up to ‘Morning Dew’ it would have been a bigger success, as it has a very nice melody, in fact it’s one of my favorite Tom T Hall songs. At first listen one may think the song about being selfish but the larger theme is of being true to oneself.

I can tell your heart’s been broken in two you are looking for a shoulder
I’ve found out that other people’s tears just seem to make me older
I’d like to help with your broken heart really I think it’s a crime
But I ain’t got the time ain’t got the time

All that I can give you is a well wish
I hate to be that way I know that it’s selfish
But baby I’ve got a destiny to meet and I know it’s on down the line
Ain’t got the time ain’t got the time

Plantation Records released Jeannie C. Riley’s version of Hall’s composition “Harper Valley PTA” just before “Ain’t Got The Time” was released. By the time the Hall’s next single was due, “Harper Valley PTA” had become a massive international hit and radio programmers were really interested in finding out what else Hall had up his sleeve. The answer was “The Ballad of Forty Dollars”, the first of the great story songs to become radio singles.

While the song nearly has been forgotten, at the time it was released, the song was a sensation and many prominent country artists recorded it as an album track – I have at least thirty such covers in my record collection. Told from the perspective of a day laborer, it makes a very mundane (but very important) event come to life

The man who preached the funeral said it really was a simple way to die
He laid down to rest one afternoon and never opened up his eyes
They hired me and Fred and Joe to dig the grave and carry up some chairs
It took us seven hours and I guess we must have drunk a case of beer

And the surprise twist

Well, listen ain’t that pretty when the bugler plays the military taps
I think that when you’s in the war they always had to play a song like that
Well here I am and there they go and I guess you’d just call it my bad luck
I hope he rests in peace, the trouble is the fellow owes me forty bucks

“The Ballad of Forty Dollars” reached #4 and stayed on the charts for eighteen weeks.

At the time this album was released, rarely were more than two singles issued from an album, and many albums of the day would have but one single released. Consequently, possibly the strongest song on the album, “That’s How I Got To Memphis” was not released as a Tom T Hall single. That doesn’t mean that the song got lost. Far from it as label mate Bobby Bare would take it to #3 in the summer of 1970 and Deryl Dodd would get the song on the charts again in 1996. Significant album cuts on the song include Solomon Burke on his 2006 album Nashville and Rosanne Cash on her 1982 album Somewhere In The Stars:

If you love somebody enough
You’ll go where your heart wants to go
That’s how I got to Memphis
That’s how I got to Memphis
I know if you’d seen her you’d tell me ’cause you are my friend
I’ve got to find her and find out the trouble she’s in

If you tell me that she’s not here
I’ll follow the trail of her tears
That’s how I got to Memphis
That’s how I got to Memphis

“Cloudy Day” is a tale about an apartment Hall had in Nashville, although the song is more about how it feels when you’re having a really bad day:

It doesn’t matter who you are , we all must have a cloudy day sometimes
Days we can’t seem to win, days when we ain’t got a friend,
We all have days and I guess this is mine

“Shame On The Rain” is a jog-along ballad with too much “Nashville Sound” production. As Hall said ‘the thing about rain is,like tap water, you’d like to turn it on and off but you can’t do it’

After I’ve Lost such a heartbreaking game
You’d think the sub would shine, shame on the rain

“Highways” is a rather poetic traveling song:

Highways never reach above the ground and cannot know the things a cloud knows
In a million volumes they have never written to express my love

“Forbidden Flowers” is another jog-along ballad that uses the metaphor of flowers as lovers

You can pick forbidden flowers
The are ways and there are means
If you pick forbidden flowers
You may shatter someone’s dreams

“A Picture of Your Mother” is the story of a father trying to tell his little daughter about her mother, who passed away three years earlier. Although very sentimental, the song contains a universal beauty that only a true poet can capture

My little girl and I lost Mama just three years ago
And now that she is older there are things she wants to know
She said, “Please Daddy tell me ’bout my mother ’cause I miss her.”
I said, “Get pen and paper and I’ll help your draw her picture.”

I said, “First draw a heart so big there’s room for little else
Then write a million for the things that she denied herself
Draw a rose the kind of which there’ll never be another
And when you finish you will have a picture of your mother

There was never the slightest chance at the time of the song being released as a single and I don’t know of any cover versions, but this song is worthy of being revived.

“Over And Over Again” is a simple admission of wrongdoing and the promise to be faithful in the future. For some reason, this song sounds like something Roger Miller might have written.

“Beauty Is A Fading Flower” sounds like a song a bluegrass band should record. Physical beauty, of course is a temporary thing, subject to the ravages of the aging process (or worse yet, the plastic surgeon’s scalpel) but inner beauty lasts more enduringly. As Tom T Hall puts it,

Beauty is a fading flower
Love goes on and on

Ballad of Forty Dollars and His Other Great Songs is not a great album, although it is a good one. All of the songs are at least good and several of them are classics. Producer Jerry Kennedy tried a number of settings and arrangements for Hall’s distinctive vocals. By the next album, he would be 90% there and after that he had it completely zeroed in. This album would not chart but the next eighteen albums (including two hit collection) would find their way onto the charts.

Album Review: Johnny Cash – ‘Out Among The Stars’

johnnycashThere hasn’t been any shortage of “new” Johnny Cash music in the decade since the Man In Black’s death. But unlike most of those releases, this week’s Out Among The Stars isn’t a reissue, an alternate take, a demo or a recording made during the singer’s declining years when he was long past his vocal peak. Rather, Out Among The Stars is a full-fledged studio album that was mostly recorded in the 1980s and produced by Billy Sherrill. The nearly completed album was discovered two years ago by John Carter Cash, who was in the process of mining the Sony archives while trying to catalog his parents’ extensive discographies. He brought in some additional musicians, including Marty Stuart, Buddy Miller and Carlene Carter, to bring the project to completion. The final product was released last week.

Normally, news of this sort would be cause for great celebration but any excitement about the album had to be tempered with the knowledge that the 1980s were, as even the most die-hard Cash fans will admit , a period in which the singer released mostly less than stellar work. Add to that the fact that Billy Sherrill had been the producer behind “The Chicken In Black”, widely regarded to be one of the worst singles of Cash’s career, and no one was quite sure what to expect.

Considering that Out Among The Stars was mostly recorded in 1984, while Cash’s career was in the middle of a long dry spell and just two years before Columbia dropped him from its roster, it isn’t surprising that the album was forgotten. But those who were braced for the worst will be pleasantly surprised because it is far superior to most of his output from that era. So far the album has produced one non-charting single, “She Used To Love Me a Lot”, which David Allan Coe took to #11 in 1984. It was written by Charles Quillen with Dennis W. Morgan and Kye Fleming. Morgan and Fleming were one of Nashville’s top songwriting teams of the day, having written many hits for Ronnie Milsap, Barbara Mandrell and Sylvia.

Many other top 80s songwriters teams are also represented. Ed and Patsy Bruce contributed “After All”, a pop-tinged ballad that was a departure from Johnny’s usual fare and Paul Kennerley and Graham Lyle wrote “Rock and Roll Shoes”. Johnny himself contributed the sentimental “Call Your Mother” and the inspirational “I Came To Believe”, which was written while Johnny was struggling with addiction and completing a stint at the Betty Ford Center. Bobby Braddock and Curly Putman wrote the tongue-in-cheek “If I Told You Who It Was” about a country music fan who has a fling with a female Opry star after changing her flat tire. No names are named, but the lady’s identity is revealed (for those old enough to recognize it) by an uncredited vocal appearance near the end of the song. It’s not Dolly Parton; that’s all I’m going to say.

Although traditionalists like to claim Cash as one of their own, The Man In Black was no purist and frequently pushed the boundaries of the genre. In this collection he sticks close to his country roots, and unlike many of his records, there is plenty of steel guitar on this album. Among the most traditional tunes are two excellent duets with June Carter Cash — “Baby, Ride Easy” and a cover of Tommy Collins’ “Don’t You Think It’s Come Our Time”. Johnny sounds relaxed and refreshed on these tracks, and June is also in fine vocal form. “Baby, Come Easy” features harmony vocals by Carlene Carter and “Don’t You Think It’s Come Our Time” features some excellent picking by Sam Bush, Jerry Douglas, and Bryan Sutton. Waylon Jennings joins Johnny for a faithful-to-the-original cover of the Hank Snow classic “I’m Movin’ On”. Jennings’ presence elevates a performance that otherwise wouldn’t be particularly memorable.

The album closes with a remixed version of “She Used To Love Me A Lot” that was produced by Elvis Costello. Not surprisingly, this version isn’t country but it is in keeping with some of Cash’s genre-pushing efforts. It doesn’t really add anything to the album, however, and I could have done without it. “I Came To Believe” would have been a more appropriate closing track, but that is the only negative thing I can say about an otherwise exceptional album.

It is unlikely that Out Among The Stars would have fared well commercially had it been released thirty years ago. It was not then and is not now what mainstream Nashville wanted. It won’t produce any big radio hits, but now there is a greater appreciation of Johnny Cash than there was in 1984. Sony is giving the release the promotional effort it deserves and I imagine it will sell quite well.

Grade: A+

Single Review: Dolly Parton – ‘Blue Smoke’

blue smokeYou never know quite what to expect from a Dolly Parton record. Her career has spanned the gamut from, quite literally the sublime to the ridiculous, and the purest traditional sounds to the most blatant of pop. Happily her new single is Dolly at her most traditional, and it’s an excellent song too – the best thing I’ve heard from her since 2008’s ‘Backwoods Barbie’. She wrote the song herself, and it combines a joyful sound with a complicated emotional mood, with the protagonist positive about moving on from a bad relationship as he heads on up the mountains withe her “suitcase full of heartaches”

Opening with instrumentation copying the sound of a train, the song uses the metaphor of a train journey as the protagonist leaves a failed relationship.

I know I’m gonna miss you but I hope it ain’t for long
And i wonder if youll even gonna notice that im gone
Oh It hurts to know you cheated and it hurts to know you lied
But it hurts me even worse to know you never even tried
I packed my suitcase full of heartaches headin’ for the train depot
And I bought a one-way ticket on the train they call Blue Smoke

Dolly’s vocal is bright and engaged throughout (she sounds a generation younger than her chronological age). Halfway through the mod lifts with gospel style backing vocals and handclaps, as though the act of leaving and going back home has cheered her up. The arrangement is brilliantly played bluegrass. Leaving on a one way ticket never sounded so good.

The album of the same title has already been released in Australia, where Dolly has started her current world tour, and is out elsewhere in May. It sounds as though the album is likely to be more eclectic, but this single is fabulous. You can download it now, and I strongly recommend doing so. Radio may ignore it, but that’s their loss.

Grade: A+

Classic Rewind: Holly Dunn ft Dolly Parton – ‘Daddy’s Hands’

Classic Rewind: Porter Wagoner and Dolly Parton – ‘That’s When Love Will Mean The Most’

Album Review: Holly Dunn – ‘The Blue Rose of Texas’

HollyDunnTheBlueRoseofTexasShortly after the dissolution of MTM Records, Holly Dunn landed a contract with Warner Bros. and her career enjoyed a resurgence from both an artistic and commercial standpoint. Her Warner Bros. debut, 1989’s The Blue Rose of Texas was produced by Holly and her brother and songwriting partner Chris Waters, and is by far the finest album of her career. Her first single for her new label was “Are You Ever Gonna Love Me” which she wrote with Waters and Tom Shapiro. The uptempo number, which finds her frustrated by an overly cautious new love interest, became her first Billboard #1 hit in May 1989. It’s one of the few concessions to radio in what is mostly a very traditional album. Another uptempo number “There Goes My Heart Again”, which features background vocals by Joe Diffie who co-wrote the tune with Lonnie Wilson and Wayne Perry, was the album’s second single, which peaked at #4.

Suprisingly, Warner Bros. opted not to release any further singles from the album, despite a warm reception from radio. One track, “No One Takes The Train Anymore”, a ballad beautifully written by Chris Waters and exquisitely performed by Holly, was included on her 1991 greatest hits package Milestones. It became a single in 1991 in the aftermath of the “Maybe I Mean Yes” debacle, but overshadowed by controversy of its predecessor, it became the first Holly Dunn single not to chart. Despite its lack of commercial success, it has always been one of my favorites. It finds Dunn pondering an impending breakup and lamenting the fact that the fast pace of modern life, which includes traveling by car or plane rather than sea or rail, leaves little opportunity for the party that is leaving to change his mind.

The album’s remaining songs are exceptionally strong, even though none of them were released as singles. Approximately half of them were written by one or more members of the Dunn/Waters/Shapiro team with the rest being supplied by some well known outside songwriters. It’s hard to pick favorites, but if pressed I would narrow the list down to three: the Dunn/Waters/Shapiro-written title track, which includes some excellent electric guitar work, the Don Schlitz and Paul Overstreet song “There’s No Heart So Strong”, and “Most of All, Why”, which contains some beautiful harmonizing by its writer Dolly Parton. Originally included on Dolly’s 1975 album The Seeker/We Used To, the regret-filled ballad asks the poignant questions:

How did we get here,
Where did it start,
When did we walk out of each other’s hearts?
Where did we lose it,
How did love die,
When, where and how, but most of all, why?

I like all of Dunn’s albums, but this is the one that I play all the way through most often. It’s one of the ten essential albums I’d want with me if I were stranded on a desert island and I’ve never quite understood why it didn’t sell better than it did. I don’t think it is still in print, but copies are still available on Amazon. Pick one up while you still can.

Grade: A+

Classic Rewind: Porter Wagoner and Dolly Parton – ‘Milwaukee, Here I Come’

Classic Rewind: Glen Campbell and Dolly Parton – ‘Amazing Grace’

Week ending 2/1/14: #1 singles this week in country music history

clay-walker-111954 (Sales): There Stands The Glass — Webb Pierce (Decca)

1954 (Jukebox): There Stands The Glass — Webb Pierce (Decca)

1954 (Disc Jockeys): Bimbo – Jim Reeves (Abbott)

1964: Love’s Gonna Live Here — Buck Owens (Capitol)

1974: Jolene — Dolly Parton (RCA)

1984: The Sound of Goodbye — Crystal Gayle (Warner Bros.)

1994: Live Until I Die — Clay Walker (Giant)

2004: There Goes My Life — Kenny Chesney (BNA)

2014: Drink A Beer — Luke Bryan (Capitol)

2014 (Airplay): Sweet Annie — Zac Brown Band (Southern Ground/Atlantic)

Predictions for the 54th Annual Grammy Awards

1015599-grammy-award-617-409The most significant aspect of the 54th annual Grammy Awards (airing Sunday night on CBS) is who isn’t nominated. Those looking for bro-country kingpins Florida Georgia Line and Luke Bryan among the nominees are out of luck. “Cruise” was easily a contender in many categories, but thankfully was completely shut out. Instead we’re left with country nominees that still hold strong allegiances to mainstream country music, but aren’t a celebratory party for the dreck Music Row has been spitting out for years now.

Country Nominations

American Roots Nominations

Here are my predictions for Sunday’s big night:

Best Country Solo Performance

528c0c3f7cdadGiven what was popular in mainstream country in 2013, this is a spectacularly solid list of recordings that received airplay but didn’t embarrass the history of the genre. What’s surprising is the category’s diversity; only Miranda Lambert has won previously, while category heavyweights Taylor Swift, Carrie Underwood, Brad Paisley, and Keith Urban were shut out. It’s just too bad Kacey Musgraves, who has four other nominations, wasn’t included here as well for “Merry Go Round,” the best mainstream single of the eligibility period.

Should Win: “I Drive Your Truck” – Lee Brice gives an incredibly heartfelt vocal and proves he can pull off as close to a traditional ballad as country radio would play in 2013 

Will Win: “I Drive Your Truck” – The force of this song will propel it to victory

Make A Case For: “Mine Would Be You” – There’s been a lot of chatter that Blake Shelton is the only coach on The Voice who’s yet to win a Grammy Award. That’ll definitely change this year and I hope it does here, allowing a far more deserving nominee to pick up Best Country Album.

Best Country Duo/Group Performance 

2009-10-27-kenny-dolly-duet-fullThe Grammys were criticized in the 2000s for veering too far away from mainstream country and thus seeming out of touch with what was popular. They’ve since gone to extremes in the other direction, but it’s nice to see The Recording Academy hasn’t lost their artistic touch completely, as the solid nominees in this category prove.

Should Win: “You Can’t Make Old Friends” – thirty years after the pair was nominated (and lost) in this same category for “Islands In The Stream,” Kenny Rogers and Dolly Parton show up again with their second duet in as many years. The indelible magic is still there, even if the tempo has slowed with time.

Will Win: “Highway Don’t Care” – The Recording Academy loves Tim McGraw, Taylor Swift, and Keith Urban separately, the trio has 14 Grammys between them, and so collaboration between them will likely be too difficult for voters to resist.

Best Country Song

Merry_go_'roundIt says a lot about the overall quality of writing on Music Row these days when four of the nominees in this category show up twice among these five nominees. But it speaks volumes that half of Kacey Musgraves’ four nominations are found here, proving she’s more then just your average recording artist.

Should Win: “Merry Go Round” – I’d been waiting for just such a song for years and Musgraves, Shane McAnally, and Josh Osborne didn’t disappoint with their fantastic ode to suffocating small town life.

Will Win: “I Drive Your Truck” – the poignancy of this true story about a dad, the son who died in war, and the truck he left behind was too much for the CMA to ignore, and the same will prove true of the Recording Academy.

Best Country Album

UnknownThis is the weakest field of nominees in any of the country categories by a mile. The fare here is far too mainstream, clichéd, and sound-alike. I genuinely feel for those who’ll use this list as a benchmark of excellence for country music in 2013. Without the likes of Ashley Monroe among the nominees, that just isn’t fair.

Should Win: Same Trailer Different Park – given Musgraves’ competition, this shouldn’t even be a close call. She’s in a class of her own that the likes of McGraw, Shelton, and Jason Aldean couldn’t ascend to on their best day.

Will Win: Red – it’s general logic: if you’re nominated for Album of The Year, you usually take home your genre prize as a consolation or in some cases you win both. It isn’t always true, in which case Based On A True Story will take this, but it happens more often then not.

Best Americana Album

8fb2d908A solid list, although I expected to see Jason Isbell nominated here for Southeastern given the media blitz the CD was given. If he had been included, I would’ve been rooting for his win. Isbell’s album is just that good.

Should Win: Old Yellow Moon – Emmylou Harris is a Grammy Favorite and has released her strongest collection in years. That it’s also a duets project with Rodney Crowell more than forty years in the making only makes it sweeter.  

Will Win: One True Vine – Mavis Staples has won similar categories in the past few years and remains a Grammy favorite. I don’t see a reason to bet against her here.

Best Bluegrass Album 

0011661914124Without an eligible album in the running from Alison Krauss, the category is left without a ‘celebrity’ name to carry a win. Alan Jackson’s bluegrass project made the eligibility cut by a week, but was likely too new (despite the availability of advanced copies) to score a nomination.

Should Win: Streets of Baltimore

Will Win: Brothers of the Highway

Best New Artist 

imagesAn odd list, given that Lorde was left off while James Blake and Ed Sheeran were included despite not being new. Name recognition, and a plump spot on Taylor Swift’s tour, could propel Sheeran to the podium but he faces tough competition from Macklemore and Ryan Lewis, who had a breakout year.

Should Win: Kacey Musgraves – I have to stick with country music on this one. Of these nominees she’s the most well rounded mixing country with folk sensibilities in all the best ways. Plus, can any of the other acts claim half their nominations were for songwriting?

Will Win: Macklemore and Ryan Lewis – easily the most talked about duo in popular music in all of 2013. They may’ve hit it big with “Thrift Shop,” but their martial equality anthem “Same Love” showed their true artistry. Look for that to give them the edge over their competition.

Classic Rewind: Dolly Parton – ‘Letter To Heaven’

Album Review: Various Artists – ‘Christmas Grass: The Collection’

christmas grassThis two-disc compilation of the best tracks from a series of three Christmas Grass albums released in 2002, 2004 and 2007 respectively comprises equal parts instrumentals and vocal tracks, and mixes the reverent with the fun/nostalgic side of the season. Most of the material is fairly well known, but the impeccable, cleanly played arrangements and excellent vocals make these versions a welcome addition to your Christmas playlists.

Dolly Parton gets things going to a bright and cheery start with her perkily irresistible reading of ‘Christmas Time’s A-Comin’’, backed by the harmonies of Dailey & Vincent. The duo also back up Russell Moore on the briskly cheerful ‘Christmas Time Is Near’.

A charmingly nostalgic look back at Christmases past in Tom T Hall’s likeable ‘Oh Christmas Candle’ is attractively sung by the trio of Jamie Dailey, Barry Scott and Doyle Lawson. Rhonda Vincent is warm and tender on Amy Grant’s Southern-themed ‘Tennessee Christmas’, while the Larkins take on a bluegrass version of Alabama’s ‘Christmas In Dixie’, which is quite nice.

Larry Sparks lends an unexpectedly wistful melancholy to ‘I Heard The Bells Ring On Christmas Day’ (with a lyric comprising a Longfellow poem), which I liked very much. My favourite track is the most downbeat one, ‘Merry Christmas Ho Ho Ho’, about a man facing his first Christmas alone, sung with a gentle sadness by Ronnie Bowman with supporting harmonies from Darrin Vincent and Sharon White.

John Cowan provides some variety by contributinga sultry soul-style vocal on ‘Please Come Home For Christmas’, which works surprisingly well with the bluegrass instrumentation.

On the religious side of things, Dailey & Vincent sing a quietly reverent and beautifully harmonised version of ‘Beautiful Star Of Bethlehem’, set to a simple guitar and mandolin backing. This must be one of their earliest recordings together. Sonya Isaacs sounds lovely on ‘Mary, Did You Know?’, while Sarah Jarosz is pleasantly soothing on ‘One Bright Star’.

3 Fox Drive get two tracks, both rather forgettable: ‘I’ll Be Home For Christmas’ and ‘The Christmas Song’, which I usually find boring anyway.

Approximately half the tracks are instrumental versions of well-known Christmas tunes (the first of the three albums this compilation draws on was all-instrumental). I was initially a little disappointed by this, even though they are all flawlessly played, but they make for contemplative interludes. My favourite is a gently melodic performance of ‘What Child Is This’ (the Renaissance tune ‘Greensleeves’), featuring Alison Krauss on fiddle and Ronnie McCoury on mandolin, which is quite lovely. The stately melody of ‘Silent Night’ (one of my favourite carols) is also very fine, while a bouncy ‘Santa Claus Is Coming To Town’ is fun.

This is a very tasteful bluegrass collection, leaning more to the mellow and contemplative sides of Christmas than to revelry. I would recommend it to all fans of bluegrass and acoustic music at this time of year.

Grade: A

Spotlight Artist: Heather Myles

Heather+MylesWhen Dolly Parton asked, “Why don’t more women sing honky-tonk songs?” she clearly was not referring to Heather Myles; the Riverside, California native, who was born on July 31, 1962, is one of country music’s few female honky-tonkers and one of an even smaller number of female artists associated with the Bakersfield sound. Her parents owned a horse ranch, and from an early age Heather was exposed to the music of Hank Williams, Merle Haggard, and Loretta Lynn. Unlike many other country artists, however, she was no child prodigy. She didn’t own her own guitar until she was 21, she was 24 before she finally joined a band, and she was 30 when her first album was released. That project, 2002’s Just Like Old Times, consisted mainly of her own original songs and was the first of a pair of album’s released by HighTone Records. Her second album Untamed was released in 1995.

By the mid-90s country music had moved in a more pop direction, making it difficult for Heather’s music to gain any mainstream traction. HighTone’s lack of an adequate distribution system also made it difficult for fans to find Heather’s music and ulitmately led to her departure from the label after the release of Untamed. Though she wasn’t enjoying much commercial success at home, she developed a loyal following in Europe and spent the better part of the next four years in the United Kingdom. The European country music fan base, though small, tends to favor more tradition-based music, which was a good fit with Heather’s musical style. Her 1996 live album, Sweet Little Dangerous, was recorded in England and released on Britain’s Demon label.

By 1998 Heather had signed with Rounder and released Highways & Honky Tonks, which included a duet with Merle Haggard. 2002’s Sweet Talk and Good Lies paired her for a duet with Dwight Yoakam. Her most recent album In The Wind, was reviewed by Occasional Hope when it was released in 2010.

Mainstream success has continued to elude Heather, in no small part due to her refusal to alter her sound in concession to the pop-flavored country currently in vogue. However, her cult following in Europe and the exposure she’s received on Americana radio stations, have enabled her to eke out a respectable living from her music. IF you like your country straightforward and unapologetic, Heather’s the girl for you. We hope you’ll enjoy the coverage as we spotlight her career during December.

Week ending 11/9/13: #1 singles this week in country music history

rebalinda1953 (Sales): I Forgot More Than You’ll Ever Know — Davis Sisters (RCA)

1953 (Jukebox): Hey Joe!– Carl Smith (Columbia)

1953 (Disc Jockeys): I Forgot More Than You’ll Ever Know — Davis Sisters (RCA)

1963: Love’s Gonna Live Here — Buck Owens (Capitol)

1973: We’re Gonna Hold On — George Jones & Tammy Wynette (Epic)

1983: Islands In The Stream — Kenny Rogers & Dolly Parton (RCA)

1993: Does He Love You — Reba McEntire with Linda Davis (MCA)

2003: Who Wouldn’t Wanna Be Me — Keith Urban (Capitol)

2013: That’s My Kind Of Night — Luke Bryan (Capitol)

2013 (Airplay): It Goes Like This — Thomas Rhett (Valory)

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