My Kind Of Country

Country music from a fan's point of view.

Tag Archives: Eddie Rabbitt

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 12/8/12: #1 singles this week in country music history

rabbittgayle1952: Back Street Affair — Webb Pierce (Decca)

1962: Mama Sang a Song — Bill Anderson (Decca)

1972: She’s Too Good To Be True — Charley Pride (RCA)

1982: You and I — Eddie Rabbitt with Crystal Gayle (Elektra)

1992: I Cross My Heart — George Strait (MCA)

2002: These Days — Rascal Flatts (Lyric Street)

2012: We Are Never Ever Getting Back Together — Taylor Swift (Big Machine)

2012 (Airplay): The One That Got Away — Jake Owen (RCA)

Favorite country songs of the 1980s, Part 2

The 1980s were a mixed bag, with the early 1980s producing some of the lamest country music ever recorded, as the Urban Cowboy movie wreaked 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.


“Walk On By“– Donna Fargo
A nice cover of the 1961 Leroy Van Dyke hit, by the time this record was released Donna had already pulled back on her career due to being stricken with Multiple Sclerosis in 1979. Released in March 1980, the song reached #43. Donna is still alive and you can find out more about her at her website www.donnafargo.com


“Crying Over You” – Rosie Flores

Rosie’s never had much chart success but this self-proclaimed ‘Rockabilly Filly’ is a popular concert draw and a dynamic live performer. This song was her career chart highwater reaching #51 in 1987.

“Just In Case ” 
The Forester Sisters
Katie, Kim, June and Christie had a five year run of top ten hits from 1985 through 1989 with fourteen straight top ten records, including this song, their second of five number one records . Released in 1985, this topped the charts in early 1986.

“Crazy Over You”– Foster & Lloyd
Songwriters Radney Foster and Bill Lloyd joined forces as a duo in 1987. This was their first and biggest chart record reaching #4 in the summer of 1987.

“Always Have, Always Will” – Janie Frickie (or Janie Fricke)

This 1986 #1 was her ninth (and last) #1 record. This bluesy number was an excellent record coming after a long string of successful but insubstantial fluff. A former session singer, Janie’s career hit high gear during the 1980s, a decade which saw her tally 26 chart records with 17 top ten records and eight #1s.

“Beer Joint Fever” – Allen Frizzell

A younger brother of both Lefty and David Frizzell, Allen today writes and sings predominantly Christian music, although he will perform a Lefty Frizzell tribute (omitting Lefty’s rowdier songs). This song charted in 1981 – the follow up was titled “She’s Livin’ It Up (and I’m Drinkin’ ‘Em Down)”, neither of them songs Allen would dream of performing today.

“I’m Gonna Hire A Wino To Decorate Our Home” – David Frizzell
The early 1980s were David Frizzell’s commercial peak, both as a solo artist and as part of a duet with Shelly West. This unforgettable 1982 novelty was David’s sole #1 record, although my personal David Frizzell favorites were the follow up “Lost My Baby Blues” and his 1999 recording of “Murder On Music Row”.

“You’re The Reason God Made Oklahoma” – David Frizzell & Shelly West

A huge record, this song came from the Clint Eastwood film Any Which Way You Can and topped the charts in early 1981

“Houston (Means I’m One Day Closer To You)” – Larry Gatlin & The Gatlin Brothers

After a dominant streak from 1975 in which seven songs reached #1 on one or more of the major charts, Larry and his brothers hit a rough patch in which their singles charted, but few reached the top ten. Finally in late 1983 this song reached #1, and kicked off a brief resurgence fueled by a large infusion of western swing. The two records that followed this record (“Denver” and “The Lady Takes The Cowboy Every Time”) would have made Bob Wills proud.

“You and I” – Crystal Gayle & Eddie Rabbitt

Crytal Gayle had a run of thirty-four top ten records that ran from 1974 to 1987. I’m not that big a Crystal Gayle fan but I really liked her 1982 duet with Eddie Rabbitt which reached #1 country / #7 pop.

“Somebody’s Knocking” – Terri Gibbs

Released in 1980, this song peaked at #8 (#13 pop / #3 AC) in early 1989. Blind since birth, Terri really wasn’t a country singer and soon headed to gospel music . This was her biggest hit, one of four top twenty records.

“Sweet Sensuous Sensations” – Don Gibson
Not a big hit, this was Don’s next-to-last chart record, reaching a peak of #42 in April 1980. Don’s chart career ran from 1956-1981. His influence as a songwriter is still felt today.

“Oklahoma Borderline” – Vince Gill
It took Vince a while for his solo career to take off after leaving Pure Prairie League. This song reached #9 in early 1986 and was his second top ten recording. The really big hits would start in 1990 with “When I Call Your Name”.

“A Headache Tomorrow (Or A Heartache Tonight)” – Mickey Gilley
Mickey Gilley was a second cousin to Jerry Lee Lewis and Jimmy Swaggart as his piano playing amply demonstrates. This song reached #1 in 1981. Mickey’s long string of hits consisted of some original material (such as this song and “Doo-Wah Days”) and some covers of pop hits such as his next record “You Don’t Know Me” (a cover of a Ray Charles hit covering an Eddy Arnold hit) and prior hits “True Love Ways” and “Stand By Me”.

“White Freight Liner Blues” – Jimmie Dale Gilmore

Jimmie Dale Gilmore looks like a renegade hippie from the sixties and sounds like one of my honky-tonk specialist from the fifties. He’s never had much chart success (this song reached # 72 in 1988) but his albums are terrific and his vocals solid country through and through. Probably the most underrated performer of my generation.

“If I Could Only Dance With You” – Jim Glaser

A part of the famous trio Tompall and The Glaser Brothers, Jim’s voice was midway in range between brothers Chuck and Tompall with significant overlap on both ends.  Also, Jim was part of the vocal trio on Marty Robbin’s classic hit “El Paso” and wrote the pop hit “Woman, Woman” (#4 pop hit for Gary Puckett and The Union Gap).  Jim released a number of chart records under his own name form 1968-1977, but his real success began after Tompall & The Glaser Brothers split up (again) in 1982 and Jim signed with Noble Vision Records. After the first three records for Noble Vision went top thirty, this 1984 single reached #10. The follow up “You’re Getting To Me Again” went to #1 but then Noble Vision started having financial problems. Jim would subsequently sign with MCA in 1985 but the momentum had been lost (not to mention that by then Jim was already 47 years old).

“Loving Her Was Easier (Than Anything I’ll Ever Do Again)” – Tompall & The Glaser Brothers

Tompall and The Glaser Brothers were one of the most impressive live singing groups to ever take the stage. Unfortunately, their stage show did not translate into recording success. The group was together from 1959 until about 1974, recording many fine records but only one top ten hit in “Rings” which reached Record World’s #1 slot in 1971. The group briefly reunited in 1980 and had their career record with this Kris Kristofferson song which reached #2 Billboard / #1 Cashbox in 1980.

“Today My World Slipped Away” – Vern Gosdin

Recorded for the small AMI label, this gem reached #10 in early 1983, just as AMI was going down the toilet. It’s hard for me to pick out just one favorite Vern Gosdin song, but this one would be in my top three. From here Vern would go to another small label Compleat where he would have his biggest hit in 1987’s “I Can Tell By The Way You Dance (You’re Gonna Love Me Tonight”).

“Diamonds In The Dust”- Mark Gray

Mark Gray and Vince Gill were the two young male singers most highly touted to make it big in the early 1980s. Both were associated with bands that had some success (Mark was a member of Exile for a few years, Vince a member of Pure Prairie League). Then Nashville took a traditionalist turn leaving Gray, not as versatile a performer as Vince Gill, stranded. Still, Gray almost made it. This song was Gray’s third top ten record, reaching #9 in late 1984. The follow up “Sometimes When We Touch”, a nice duet with Tammy Wynette reached #6. Then came the Randy Travis, Dwight Yoakam, et al floodwaters of 1986.

“When A Man Loves A Woman” – Jack Grayson

Nice 1981 cover of a #1 pop hit for Percy Sledge in 1966. This song peaked at #18 in early 1982. This was Grayson’s only top twenty recording out of thirteen charted records.

“The Jukebox Never Plays Home Sweet Home” – Jack Greene
This 1983 single barely cracked the top 100 for Jack but it was a pretty good recording that probably would have been a big hit had Jack recorded it a dozen years earlier. This was Jack’s thirty-third chart record. He would have three more before fading off the charts for good. His 1966 single was #1 for seven weeks in 1966-1967 and was the CMA Single of The Year in 1967. Jack also took home the Male Vocalist honors for 1967. Jack is now 82 years old and still performs, but mostly on the stage of the Grand Ole Opry.

“I.O.U.”– Lee Greenwood

This single reached #6 in 1983, his fourth consecutive top ten single, and still my favorite Lee Greenwood song. Lee was the first artist to record “Wind Beneath My Wings” and had it planned as the second single from the I.O.U album. Gary Morris dashed into the studio and got his version recorded and released before “I.O.U.” finished its chart run. Lee’ version was better (and better than the pop version that came out in 1989).

“Lone Star State of Mind” – Nanci Griffith

Nanci is a fine songwriter/poet having written many fine songs. As a singer, she’s not much. This song reached #36 in 1987, her biggest chart hit of the 1980s. She did a nice recording of “Love At The Five & Dime”, but even that song was better in a cover version, as recorded by Kathy Mattea.

“Still The Same” – Bonnie Guitar

Nine years after her last chart entry and twenty years after her last top forty recording , country music’s ‘Renaissance Woman’ snuck onto the charts in 1989 with a nice version of a Bob Dylan song.

“Trains Make Me Lonesome”– Marty Haggard
Marty’s career almost ended before it started when he picked up a hitch hiker who shot him and left him for dead. A long recovery followed with an extended period of recovery. This song reached #57 in 1988 for the soon to be defunct MTM label. Written by Paul Overstreet and Thom Schuyler, this song was recorded by a number of artists including George Strait on his 1992 album Holding My Own. Marty’s version is better and would have been a big hit had it been released in 1958 rather than 1988.

“A Better Love Next Time – Merle Haggard

This was Merle’s 100th chart single reaching #4 in 1989. What else is there to say?

“Song of The South” – Tom T. Hall & Earl Scruggs

Tom T. Hall’s days as a hit maker were largely over by 1982 and Earl Scruggs never was a hit maker – he was of far greater importance than that. These two music masters combined for a wonderful album titled The Storyteller and The Banjo Man in 1982 from which emerged this single. Alabama would have a big hit with this song a few years later but the Alabama version lacks the personality and charm of this rendition.

“She Says” – George Hamilton V

The only chart record for the son of George Hamilton IV, this tune reached #75 in early 1988.

“There’s Still A Lot of Love In San Antone” – Connie Hanson with Darrell McCall

A cover of Darrell’s 1974 hit, this version peaked at # 64 in early 1983.

“After The Last Goodbye ” – Gus Hardin

This 1983 recording was the only solo top ten for the smoky voiced Ms. Hardin. A longtime favorite in Tulsa, Gus broke through with a major label contract (RCA) and charted eight solo singles and two duets. Released in 1984, her duet with Earl Thomas Conley “All Tangled Up In Love” peaked at #8 in early 1985. Her 1985 duet with David Loggins “Just As Long As I Have You” reached #72.

“I’m Moving On ” – Emmylou Harris
Emmylou had 26 top ten recordings between 1975 and 1988. This 1983 live cover of Hank Snow’s 1950 hit (in fact, the biggest chart hit in the history of country music) reached #5. During the 1980s, most of Emmylou’s best recordings were duets – “That Loving You Feelin’ Again” (with Roy Orbison) and “If I Needed You” (with Don Williams) come readily to mind, but there were more.

“Sure Thing” – Freddie Hart

After a hugely successful first half of the 1970s, Freddie hits got progressively smaller. By 1979 Freddie had been dropped by Capitol and signed by Sunbird, the same label that launched Earl Thomas Conley. The label failed to re-launch Freddie’s career but did provide a few good recordings, including this song, which reached #15 in 1980 and would prove to be Freddie’s last top twenty hit.

“Key Largo” – Bertie Higgins

Just when it seemed that the ‘Gulf & Western’ subgenre had been strip mined of hits by Jimmy Buffett, along comes this nostalgic hit which became a #8 pop hit in 1982 (topped out at #50 on the country chart).

“Whiskey, If You Were A Woman” – Highway 101

Highway 101 exploded onto the country music scene in January 1987 running off a string of ten consecutive top tens through early 1990. This one is my personal favorite with Paulette Carlson’s voice seemingly tailor made for the song, which reached #2 in 1987. Typical story – Carlson left the band in late 1990 seeking solo stardom and the band never recovered its momentum (plus Carlson did not succeed as a solo act). I was torn between this song and one of the group’s #1 hits “Somewhere Tonight”.

“Jones On The Jukebox” – Becky Hobbs
The inability of the Hobbs to break through at radio has always bugged me. Other than a duet with Moe Bandy (“Let’s Get Over Them Together” – #10 in 1983), Ms Hobbs was unable to break the top thirty. The closest she got was this song, which peaked at #31 in 1988.

“Texas Ida Red” – David Houston
David’s 60th (and next to last) chart record, this recording peaked at #69 on the small Excelsior label in 1981. This was a pretty good western swing record. Houston would have one more chart record in 1989. His 1966 hit “Almost Persuaded” was (according to Billboard) the biggest chart record of the last fifty years, spending nine weeks at #1.

“All American Redneck” – Randy Howard
#84 in 1983 – what more need I say.

“Til You And Your Lover Are Lovers Again” – Engelbert Humperdinck

Engelbert is one of the truly great vocalists of my generation. His greatest decade was the 1960s when he made international huge pop hits out of country classics such as “Release Me”, “There Goes My Everything” and “Am I That Easy To Forget” as well as covering other country songs on his albums. This song peaked at #39 in 1983.

“Oh Girl” – Con Hunley

This cover of a Chi-Lites hit from 1972 reached #12 in 1982 and featured the Oak Ridge Boys on backing vocals. Con’s voice was too smoky and too distinctive to have achieved much success during the early 1980s but this was a fine recording, even if not very country. Con’s biggest hit came the year before when “What’s New With You” peaked at #11.

“Talk To Me Loneliness” – Cindy Hurt

This song reached #35 in 1982. Her biggest hit was “Don’t Come Knocking” which topped out at #28 earlier in the year. Cindy charted seven records between 1981 and 1983, then disappeared.

Spotlight Artist: Vern Gosdin

The April Spotlight Artist is one of the truly great vocalists in the history of the genre, Vern Gosdin. There are very few male recording artists who deserve to be mentioned in the same breath as Geoge Jones, Ray Price and Gene Watson. It takes the ability to convey the depths of despair, the heights of jubilation and the serenity of an abiding faith – that’s all that is required to be known as “The Voice” and Vern was one of the few to fit the bill.

Born in Woodland, Alabama, Vern (1934-2009) and his brother Rex (1938-1983) first surfaced in the American conscious during the 1960s in various capacities in the Southern California music scene. Despite inclusion in the Byrds’ inner circle of musicians and friends, the Gosdin Brothers bluegrass/country/rock hybrid never achieved great success.

The Gosdin brothers grew up with their seven siblings on a farm. Since money was never in great supply, they, like many other poor rural children, turned to music to escape the drudgery of everyday life. Energized by their discovery of the Louvin Brothers, Rex and Vern (and a third brother) started singing together, mastering the art of vocal harmony, and performing regularly on local radio station WVOK as teenagers. In 1953 Vern moved to Atlanta and in 1956 he moved again to Chicago where he ran a country music nightclub. Meanwhile Rex had moved to California.

Vern moved to Los Angeles in 1961, where he joined up with Rex and they expanded their musical horizons as they found their way into a bluegrass group led by Chris Hillman called the Golden State Boys. The group later changed its name to the Hillmen. Their association with master musician Hillman led to their acceptance into the Los Angeles music scene from which the Byrds and such later stars as Poco, Linda Ronstadt and the Eagles emerged. During this period, the Gosdin Brothers picked up gigs when available, performed on recording sessions, and recorded a few songs as a duo. The duo expanded their musical repertoire, moving into an area somewhere between the folk-rock of the pre-Gram Parson Byrds and the Country-Rock that would emerge in the early 1970s.

In 1966 Vern and Rex contributed vocal harmonies to Gene Clark’s album Gene Clark and the Gosdin Brothers. In 1967 a single, “Hangin’ On,” cracked the charts, leading to the release of the duo’s only album, Sounds of Goodbye on Capitol in 1968. The title song, written by up and coming songwriter Eddie Rabbit was a hot commodity-so much so that three different acts recorded and released the song as a single, ensuring that no one would have a big hit with the record, although Opry veteran George Morgan came closest as his version was a big hit in the Southeast and Mid-Atlantic areas. Tommy Cash’s record also made the national charts with the song. The Gosdin Brothers version did not chart nationally, but it did well on the left coast.

Since country music was a singles-driven genre, the failure of “The Sounds of Goodbye,” the most radio-friendly cut on the album, spelled finis to their recording career on Capitol. This was truly a pity as the album contains many great harmonies and otherwise worthwhile moments including original material in “For Us To Find” and “The Victim.” While the Gosdin Brothers sounded good collectively, Vern’s sparkling vocals were the highlight of the album. Discouraged, the Gosdin Brothers split up with Vern largely dropping out of the entertainment business for a while when he returned to Atlanta, where he ran a glass and mirror shop. Rex continued to perform.

Never Give Up – The Voice Returns

Vern Gosdin never entirely stopped performing. In 1976, he returned to recording for the Elektra label, charting his first solo chart hit, a solo version of “Hangin’ On” and enjoying Top 10 hits with “Yesterday’s Gone” (both featuring harmony vocals by Emmylou Harris, a friend from his California days) and “Till The End.” By this time he was forty-two years old. He left his sons to run the glass and mirror business and rejoined brother Rex for touring. Unfortunately, Rex died in May 1983 at the age of 45, some two weeks before his own solo recording of “That Old Time Feelin’” entered the charts.

Elektra’s country division folded in 1980 and Gosdin landed on smaller labels AMI (which folded) and Compleat where he enjoyed continued success. After landing with Compleat, Gosdin joined forces with songwriter Max D. Barnes (whose son Max T. Barnes also was a successful songwriter) to write some truly classic honky-tonk laments. In 1983 Gosdin had two top five hits (“If You’re Gonna Do Me Wrong” and “Way Down Deep”) and in 1984 he had his first #1 single with “I Can Tell by the Way You Dance (You’re Gonna Love Me Tonight)” and had two additional top 10 hits.

After 1984, his career hit a temporary lull, but the “New Traditionalist” movement lured Columbia into signing him in 1987 where he justified Columbia’s faith in signing him with a top 10 hit in the tormented “Do You Believe Me Now.” In 1988 Gosdin returned to the top of the charts with his Ernest Tubb tribute “Set ‘Em Up Joe.” The next year “Chiseled In Stone,” co-written with Barnes, won the Country Music Association’s Song of the Year and cemented his reputation as one of the all-time great song stylists. His 1989 album, Alone, chronicled the breakup of his own marriage.

As a solo artist, Vern Gosdin charted 41 country chart hits, with 19 top ten records and 3 chart toppers.

Vern was hospitalized in 1995 with a stroke and subsequently dropped by Columbia. He continued to record sporadically after that, most notably the 2004 album Back In The Swing of Things and the four CD set 40 Years of The Voice issued just months prior to his death in April 2009. In 2005, Gosdin was inducted into the Alabama Music Hall of Fame. Perhaps the Country Music Hall of Fame will see fit to do likewise.

“The Voice” is now silenced but he left behind an incredible legacy of recorded performances. Join us now as we explore the music of April’s Spotlight Artist, the incomparable Vern Gosdin.

Album Review: Tim McGraw – ‘Let It Go’

Like most of Tim McGraw’s albums, 2007′s Let It Go is a combination of the good, the bad, and the mediocre on which Byron Gallimore and Darran Smith returned to share co-production duties. The lead single was the annoyingly fluffy “Last Dollar (Fly Away)” which was written by Big & Rich’s Big Kenny. It’s a mediocre song with a sing-songy chorus that grows tiresome with repeated listenings. The final chorus on which McGraw is joined by his three young daughters only adds to the irritation factor. Nevertheless, it reached the top spot on the charts, becoming McGraw’s first #1 hit since 2004′s “Back When”.

Much more to my liking is the album’s second cut, “I’m Workin’”, written by Darrell Scott and Lori McKenna. It’s a gritty number that in years past would have been a big hit on country radio. From the opening line, “Damn, I hope no one dies on this night shift tonight”, the listener is immediately pulled into the story. The narrator’s profession is never revealed. My first thought was that he was a policeman, but he could just as easily be a paramedic or even an ER doctor. Another song that should have been a single is the album’s best track “Whiskey and You”, a pure country number written by Lee Thomas Miller and then-Steeldrivers member Chris Stapleton. Likely deemed too traditional for country radio, “Whiskey and You” was left to languish in obscurity as an album cut, passed over in favor of schlock like the title track, a boring AC-leaning duet with Faith Hill, and a cover of an Eddie Rabbitt song — one of the songs in the late singer/songwriter’s catalog least worthy of a remake.

Faith Hill makes one of her two guest appearances on “I Need You”, a rather lackluster number written by David Lee and Tony Lane, that reached #8. It’s not nearly as good as “Shotgun Rider”, which is not a true duet but features a prominent harmony vocal from Hill. Written by Anthony Smith, Jeffrey Steele and Sherrie Austin, it’s the best McGraw/Hill song I’ve ever heard. It’s too bad Tim and Faith haven’t done more songs in this vein.

“Suspicions” was a #1 hit for Eddie Rabbitt in 1979, an era when a lot of barely-country sounding songs were big hits. It’s one of my least favorite Rabbitt songs. Tim’s version is very faithful to the original, but it only reached #12, making it one of the very few McGraw singles not to make the Top 10, in spite of Tim’s popularity and country radio’s increasing willingness to play non-country material. The follow-up single was the much more traditional “Kristofferson”, a tribute to one of country music’s greatest songwriters, written by Anthony Smith and Reed Nielsen. It fared even worse on the charts than “Suspicions”, stalling at #16. Tim bounced back, however, with the generic and overproduced title track, which climbed to #2.

The very best of the album’s seven singles was not included on the album when it was initially released. “If You’re Reading This”, on which Tim shares a rare songwriting credit with Brad and Brett Warren, was performed on the 2007 Academy of Country Music Awards telecast. It tells the heartbreaking story of a fallen soldier, in his own words, in a letter to his wife, to be sent to her in the event of his death. It was one of the best performances of Tim’s career and was so well received that the song entered the Billboard charts from unsolicited airplay of the audio from the telecast. This prompted Curb to release the live recording as a single, between “I Need You” and “Suspicions” and to include it on subsequent pressings of the album. “If You’re Reading This” peaked at #3; I was surprised that it didn’t go all the way to #1.

Mid-2008 was about the time when Curb Records began playing games to prolong Tim’s contract. Instead of releasing a new album, they opted to release a seventh single, “Nothin’ To Die For”, a preachy and overproduced “don’t drink and drive” number that reads like a public service announcement that somehow climbed to #5 on the charts.

The rest of the album is mostly generic filler, with the exception of “Between The River and Me”, which tells the story of a son’s revenge against an abusive father. It’s a southern Gothic number in the traditon of “Ode To Billy Joe”, “Fancy” and “The Night The Lights Went Out In Georgia”, but unlike those classics, “Between The River and Me” is ruined by over-the-top production that renders it almost unlistenable. To call it bombastic would be an understatement.

Though it has its share of duds, Let It Go is one of the stronger album’s in Tim’s discography and has enough good songs on it to make it worth recommending. It is easy to find at reasonable prices.

Grade: B

Favorite country songs of the 1970s: Part 6

For part six of this series, as always, just some songs I liked, one song per artist, not necessarily the biggest hit, (although I feel free to comment on other songs by the artist).

Forgive and Forget” – Eddie Rabbitt (1975)

Prior to this, Eddie was known, if at all, as a songwriter. This record got to #12, but did better than that in some markets, and gave Rabbitt his first significant hit. The next song “I Should Have Married You” got to #11; after that the next 33 singles would crack the top 10 with 19 of them getting to #1 on either Billboard and/or Cashbox.

Ladies Love Outlaws” – Jimmy Rabbitt and Renegade (1976)

The title track of a 1972 Waylon Jennings album, for some reason RCA never issued the song as a Jennings single, although it got considerable airplay (it didn’t chart because Billboard did not track non-singles airplay at the time). Jimmy’s version was good (Waylon’s was better) and got to #80, his only chart appearance.

Ain’t She Something Else” – Eddy Raven (1975)

Eddy’s second chart single reached #46 and became a #1 record for Conway Twitty in 1982. It took Raven eight years and 16 singles to have his first top 10 hit. Can you imagine any artist being given that much slack today

“Whatcha Gonna Do With A Dog Like That” – Susan Raye (1975)

Susan Raye had the Buck Owens organization behind her, was very pretty, and sang well. Despite those advantages, she never really became a big star, probably because her heart wasn’t in it. This song got to #9, one of six solo top tens she was to enjoy. In theory “(I’ve Got A) Happy Heart” was her biggest hit, reaching #3, but she got so much pop radio action on “L.A. International Airport” that it sold a million copies.
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Week ending 2/18/12: #1 singles this week in country music history

1952: Give Me More, More, More of Your Kisses — Lefty Frizzell (Columbia)

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

1972: One’s On The Way — Loretta Lynn (Decca)

1982: Someone Could Lose A Heart Tonight — Eddie Rabbitt (Elektra)

1992: What She’s Doing Now — Garth Brooks (Capitol)

2002: Good Morning Beautiful — Steve Holy (Curb)

2012: All Your Life — The Band Perry (Republic Nashville)

Favorite country songs of the 1970s: Part 5

For part five of this series, as always, just some songs I liked, one song per artist, not necessarily the biggest hit, (although I feel free to comment on other songs by the artist).

Let’s All Go Down To The River” – Jody Miller & Johnny Paycheck (1972)

A nice country cover of an old gospel song – how could you go wrong with this duo? Jody Miller would have a number of hits during the 1970s, although her single biggest record was in 1965 when “Queen of The House” (an answer song to Roger Miller’s “King of The Road”) went #12 pop / #5 country. I don’t know that Jody viewed herself as a country singer, but she had a sassy & sexy voice and was quite easy on the eyes.

Tom Green County Fair” – Roger Miller (1970)

Roger Miller’s career had largely run out of steam by this time, but the imagery in this song makes it one of my favorites. Alas, this song only reached #38. Roger would experience a significant renaissance in the mid-1980s writing the music for the Broadway play Big River.

Music Box Dancer” – Frank Mills (1979)

I have no idea why this song charted country as Frank Mills was an orchestra leader and this instrumental song was no more country than Lady Gaga. It was a huge pop hit reaching #3 and selling millions in the process.

Pure Love” – Ronnie Milsap (1974)

Written by Eddie Rabbitt, this was Ronnie’s first #1. How can you not like a song that contains a line like “Milk and honey and Captain Krunch and you in the morning?”

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Classic Rewind: Eddie Rabbitt – Two Dollars In The Jukebox’

Country Heritage Redux: Eddie Rabbitt (1941-1998)

Edward Thomas (Eddie) Rabbitt had a seventeen year run as a recording artist on the Billboard country charts with some success on the pop charts. He also enjoyed success as a songwriter, writing many of his own hits and supplying songs to other artists. Ultimately, 20 of his recordings reached #1 on either Billboard or Cashbox (usually both).

Rabbitt was the son of Irish immigrants, born in Brooklyn, New York, but raised in nearby East Orange, New Jersey. His father was an oil refinery worker who played accordion and fiddle, and who performed Irish and country music in local venues. Surrounded by music, Rabbitt learned the guitar at an early age and by 12, he had become quite proficient. By his teen years, Rabbitt was extremely knowledgeable on Irish and country music; in fact, to the end of his life he regarded country music as an extension of Irish music, and often used minor chords to create an Irish feel.

When Rabbitt was 16, his parents divorced. After the divorce he dropped out of school, hoping to make music his career. Later, however, he would take courses at night school and earn his diploma.

Rabbitt was employed briefly as a mental hospital attendant during the late 1950s, performing music locally whenever possible. As a result of winning a local talent contest, he was given an hour of Saturday night radio show time to broadcast a live performance from a bar in Paterson, New Jersey. In 1964, Rabbitt signed his first record deal with 20th Century Records and released the singles “Next to the Note” and “Six Nights and Seven Days,” neither of which charted.

In 1968, Rabbitt moved to Nashville where he began his career as a songwriter. According to legend, on his first night in Nashville, he wrote “Working My Way Up to the Bottom,” which Roy Drusky recorded as an album track for his In A New Dimension album. In order to survive, Rabbitt worked at miscellaneous odd jobs such as driving a truck and picking fruit. Eventually, he was hired as a staff writer for the Hill & Range Publishing Company and received a reported salary of $37.50 per week.

The first blush of real success for Eddie Rabbitt occurred in 1969 when Elvis Presley recorded his song “Kentucky Rain.” The song charted #16 pop and #31 country for Elvis, selling over a million copies in the process. Rabbitt continued to write, with the next milestone occurring with a song idea that came to him while eating some breakfast cereal. Something about the lyric “…Milk and honey and Captain Krunch and you in the morning…” appealed to record producer Tom Collins, who was working for Charley Pride at the time. Collins saw Rabbitt perform the song live, and brought the song to Pride, who thought it would be perfect for Ronnie Milsap, at that time opening shows for Pride. “Pure Love” would hit #1 for Milsap in 1974, and lead to a contract offer from Elektra Records for Rabbitt later that year.

His first single for Elektra, “You Get To Me,” hit #34 and the next two singles, both released in 1975, “Forgive And Forget” and “I Should Have Married You,” barely missed the top 10. These three songs, along with a recording of “Pure Love,” were included on Rabbitt’s self titled debut album in 1975.

The next single, the very traditional “Drinkin’ My Baby (Off My Mind),” kicked off a long series of hits that included four songs that also charted among the top 10 pop songs “Drivin’ My Life Away,” “Step By Step,” “You And I”” (with Crystal Gayle), and “I Love A Rainy Night.” The latter song also topped Billboard’s pop and adult contemporary charts.

As the seventies wore on, Eddie’s music began drifting away from traditional country music into the more pop-flavored sounds of the 80s, such as the three biggest pop hits cited above. After 1982’s “You And I,” his singles and albums were issued on the Warner Brothers label, the result of a label merger with Elektra. In late 1985, Eddie moved over to RCA, where his success continued unabated. Following the death of his infant son in 1985, Rabbitt put his career on hold, although RCA had some recordings to release, issuing four top ten singles. In 1986, a duet with Juice Newton, “Both To Each Other” soared to #1.

Rabbitt returned to recording in 1988, scoring #1 records with “I Wanna Dance With You” and a remake of Dion Denucci’s 1961 pop hit “The Wanderer.” In 1990, he moved to Universal/Capitol, and with the leap came a return to a more traditional country sound; especially notable from this era is “On Second Thought,” his last #1 and my favorite of all of his recordings.

Eddie Rabbitt would issue four albums on Capitol before exiting the label.

In 1997, Rabbit was diagnosed with lung cancer. While seemingly on the rebound he issued his final album titled Against All Odds on the Intersound label. Sadly, it was not to be. Rabbitt passed away in May, 1998, at the age of 56.

For his career, Eddie placed forty-three songs on the Billboard country charts (twenty-six top five entries), with fourteen of his songs placing on Billboard’s pop charts.

Rabbitt was one of the phalanx of Nashville songwriters who entered into the realm of more introspective and contemplative material. He felt a personal responsibility as an entertainer to serve as a good role model and was an advocate for many charitable organizations including the Special Olympics, Easter Seals, Muscular Dystrophy Association and United Cerebral Palsy. Rabbitt was active in politics and gave permission to Senator Bob Dole to use his song “American Boy” during Dole’s presidential campaign in 1996.

Discography

Vinyl

Eddie Rabbitt issued many vinyl albums. Since he was a big seller, most of his albums should be available online (or, perhaps, in your favorite used record store). The earlier albums (1970s) are more traditional sounding than their later (post 1978 counterparts), until you get to his output on Capitol. All of his albums contain interesting songs; the variable is the production and the way they are framed. Unfortunately, Eddie did not live long enough to recast his later Elektra/Warner Brothers recordings with more traditional settings, or perhaps as bluegrass.

CD

Currently, Rabbitt is woefully under-represented on CD, with only some Greatest Hits collections being available (mostly of the Elektra/Warner Brothers years, but also some Intersound remakes). During his lifetime, many of Rabbitt’s later recordings were released on cassette and CD, so used record shops may have copies of music from the RCA and Capitol years. None of the Capitol or RCA material is in print.

The best available collection is the Rhino Platinum Collection which has twenty-two songs from the Elektra/Warner Brothers years of 1975-1980, including Eddie’s version of the rarely reissued “Pure Love”, which was a major hit for Ronnie Milsap. This collection is about half hits and half album tracks. Among the more significant omissions is “Step by Step”, Eddie’s second biggest pop hit.

A few years ago, there was a better representation of Eddie Rabbitt material available on CD. Most of the following CDs are out of print, although it may be possible to find them in used record shops or from online dealers specializing in cutouts and used discs. Among the treasures worth searching for are the Warner Brothers albums Horizon (“I Love A Rainy Night” and “Drivin’ My Life Away”); Rocky Mountain Music (title song plus “Two Dollars In The Jukebox” and “Drinkin’ My Baby”); and 36 All-Time Greatest Hits. Formerly available from places like Costco, Sam’s Club and Collector’s Choice Music, the three-disk 36 All-Time Greatest Hits is misnamed as it has only about a dozen actual hits, with the rest being album cuts from the Electra/Warner Brothers years. Several double-packs of his Elektra/Warner Brothers albums also were issued in recent years.

The Intersound album Beating The Odds was reissued after Rabbitt’s death as From The Heart–The Last Recordings. It had six new songs and six pretty decent remakes of older hits. Until recently, it was the only place to get any CD versions of two of the Capitol hits “On Second Thought” and “American Boy.”

In 2009, Rhino released Eddie Rabbitt: Number One Hits, which contains the original versions of all of Eddie’s hits to chart at number one on Billboard. This is the album to get if you want only one Eddie Rabbitt CD. Unfortunately, it seems to have gone out of print, so if you see a copy, grab it.

Week ending 10/22/11: #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: How Can I Unlove You — Lynn Anderson (Columbia)

1981: Step By Step — Eddie Rabbitt (Elektra)

1991: Keep It Between The Lines — Ricky Van Shelton (Columbia)

2001: Where I Come From – Alan Jackson (Arista)

2011: Long Hot Summer — Keith Urban (Capitol)

Week ending 10/15/11: #1 albums this week in country music history

1966: Bill Anderson – I Love You Drops (Decca)

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

1976: Linda Ronstadt – Hasten Down The Wind (Asylum)

1981: Eddie Rabbitt – Step By Step (Warner Brothers)

1986: Randy Travis – Storms Of Life (Warner Brothers)

1991: Garth Brooks – Ropin’ The Wind (Capitol)

1996: LeAnn Rimes – Blue (Curb)

2001: Martina McBride – Greatest Hits (RCA)

2006: Alan Jackson – Like Red On A Rose (Arista)

2011: Lady Antebellum – Own The Night (Capitol)

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

1966: David Houston – Almost Persuaded (Epic)

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

1976: Linda Ronstadt – Hasten Down The Wind (Asylum)

1981: Eddie Rabbitt – Step By Step (Warner Brothers)

1986: Janie Fricke – Black and White (CBS)

1991: Garth Brooks – Ropin’ The Wind (Capitol)

1996: LeAnn Rimes – Blue (Curb)

2001: Martina McBride – Greatest Hits (RCA)

2006: Kenny Chesney – Live Those Songs Again (BNA)

2011: Lady Antebellum – Own The Night (Capitol)

Country Heritage: Leonard Slye (1911-1998)

The Billboard Chart career of Leonard Slye ran from 1946 to 1991, a lengthy span of time that only resulted in a total of twelve chart records of which only four hit the top ten and only three more reached the top twenty. Moreover, there were some long gaps in charting records. After a #8 record in 1950 with “Stampede”, Leonard would not chart again until 1970 when “Money Can’t Buy Love” reached #35, followed in 1971 by “Lovenworth” (#12), “Happy Anniversary” (1971 – #47), “These Are The Good Old Days” (1972- #73) and “Hoppy, Gene and Me” (1975 – #15). After that only two more chart singles, one in 1980 and one in 1991 a duet with Clint Black on “Hold On Partner”.

This sounds like I am writing about a singer on the fringes of stardom, and based solely upon his Billboard success, that might be a fair assessment. But please read on …

Leonard Franklin Slye was born in Cincinnati, Ohio, although he raised and grew up in Lucasville, Ohio. In 1921, young Leonard traveled to California where he joined a western group called the Rocky Mountain Pioneers. While with the group, Leonard met Bob Nolan and Tim Spencer, fine singers and writers both. In 1933 Leonard, Bob and Tim split off and formed the Pioneer Trio and performed on KFWB radio. Leonard played guitar and sang lead on many of the trio’s songs. As the group expanded, adding additional musicians and singers, the name was changed to The Sons of The Pioneers. Under this name, the group had many hit records, most occurring before the advent of Billboard’s Country Charts on January 1, 1944.

The Sons of The Pioneers were major recording stars during the period 1935-1949. Moreover, they had the opportunity to appear in many films of the newly emerging “singing cowboy” genre, including major roles in films starring Gene Autry. In at least one of these films, Leonard was billed as Dick Weston and played a villain who turned into a good guy by the end of the film.

In 1938, a studio dispute between Autry and Republic Pictures, left Republic without a star for the upcoming film Under Western Skies. Republic transformed Leonard Slye into Roy Rogers and a star was born. From that point forward Roy left the Sons of The Pioneers as a member but continued his association with them through numerous recordings and films.

Other than Gene Autry, Roy Rogers was the most successful star of western movies and there were years in which Roy was the top dog. Roy was listed in the Motion Picture Herald ‘Top Ten Money-Making Western Stars’ poll, for fifteen consecutive years from 1939 to 1954, holding first place from 1943 to 1954. He was in the top ten for all movie genres in 1945 and 1946. So big a star was Roy, that most of his post-war films were shot in color when most western films were still shot in black and white.

Roy’s first wife Arline died in childbirth in 1946 during the birth of Roy “Dusty” Rogers, Jr. Prior to that, Roy and Arline had a daughter and had adopted a daughter. In late 1947, Roy married Dale Evans, an actress who had appeared in a film with Roy in 1944. They remained married and maintained largely joint careers until Roy’s death in 1998. Roy and Dale adopted several children during their marriage, and had a daughter with Downs Syndrome who died at age two from complications of the mumps. They remained active in charity work and as active advocates of adoption throughout their lives.

Roy’s films were always kid-friendly so it was natural that Roy Rogers would emerge as one of the early stars of television, moving his radio show of nine years duration to television, where it ran from 1951-1957.

All told Roy Rogers appeared in over ninety movies, sold countless millions of records, both as a member of The Sons of The Pioneers and as a solo artist. While best remembered today for his television show and his theme song “Happy Trails To You” (written by his wife Dale Evans), Roy Rogers was a giant figure in the world of county music. Roy was elected to the Country Music Hall of Fame as part of the original Sons of The Pioneers in 1980 and elected as a solo artist in 1988, the only artist elevated to the pantheon twice.

DISCOGRAPHY

VINYL
Roy Rogers was most active as a recording artist during the 1930s and 1940s, meaning that much of his original output was on 78 rpm records. During the 1950s and later relatively few albums were issued, including some aimed at children and some religious album. To be honest, I don’t have much Roy Rogers vinyl in my collection.

COMPACT DISC
Roy is fairly well represented on CD. My usual source, the Ernest Tubb Record Shop currently has eight titles available. I’d recommend the following

The Best of Roy Rogers (Curb Records) collects all of Roy’s Capitol singles from the early 1970s, including “Money Can’t Buy Love”, Lovenworth”, “Happy Anniversary” and “These Are The Good Old Days” plus some covers of some classic county songs. Twelve songs in all – budget priced.

Biography: Musical Anthology (Capitol Records) – this was the soundtrack, so to speak, for an episode of television show Biography. This album is a mixed bag, some Capitol songs from the 1970s, some songs with Dale Evans from the 1950s including two songs (“Happy Trails” and “The Bible Tells Me So”) that will always be associated with Roy, and some songs from the 1940s including his biggest Billboard charting record, “My Chickashay Gal” which hit #4 in 1947.

A Cowboy Has To Sing – three CDs – 43 songs – I don’t know the source material but it’s nicely priced and the titles sound like they are from the 1940s.

Other titles have been available in the past and may be found with a little effort. CDs of the Sons of The Pioneers from 1935-1937 often feature lead vocals by Roy Rogers, as well as fabulous harmonies and hot instrumental work.

Not currently in print, but worth finding:

Roy Rogers Tribute – issued in 1991 by BMG. Although not so credited, I think the driving force behind this CD was Clint Black, whose duet with Roy, “Hold On Partner”, was the single released from the album. Other duet partners on the album include The Kentucky Headhunters, Randy Travis, KT Oslin & Restless Heart, Emmylou Harris, Ricky Van Shelton, Willie Nelson (of course), Kathy Mattea, Lorrie Morgan & The Oak Ridge Boys and Dusty Rogers. Riders In The Sky provide background vocals on some of the songs and “Happy Trails” features everyone named earlier plus Daniele Alexander, Baillie & The Boys, Holly Dunn, Roger Miller, Johnny Rodriguez, Eddie Rabbitt and Tanya Tucker.

Week ending 1/22/11: #1 singles this week in country music history

1951: The Shotgun Boogie — Tennessee Ernie Ford (Capitol)

1961: North To Alaska — Johnny Horton (Columbia)

1971: Rose Garden — Lynn Anderson (Columbia)

1981: I Love A Rainy Night — Eddie Rabbitt (Elektra)

1991: Unanswered Prayers — Garth Brooks (Capitol)

2001: Born To Fly — Sara Evans (RCA)

2011: Felt Good On My Lips — Tim McGraw (Curb)

Week ending 8/28/10: #1 singles this week in country music history

1950: Goodnight Irene — Red Foley & Ernest Tubb (Decca)

1960: Alabam – Cowboy Copas (Starday)

1970: Don’t Keep Me Hangin’ On — Sonny James (Capitol)

1980: Drivin’ My Life Away — Eddie Rabbitt (Elektra)

1990: Next To You, Next To Me — Shenandoah (Columbia)

2000: What About Now — Lonestar (BNA)

2010: All About Tonight — Blake Shelton (Reprise)

Week ending 5/22/10: #1 singles this week in country music history

1950: Long Gone Lonesome Blues — Hank Williams (MGM)

1960: Please Help Me, I’m Falling — Hank Locklin (RCA)

1970: My Love — Sonny James (Capitol)

1980: Gone Too Far — Eddie Rabbitt (Elektra)

1990: Walkin’ Away — Clint Black (RCA)

2000: The Way You Love Me — Faith Hill (Warner Bros.)

2010: The Man I Want To Be — Chris Young (RCA)

Week ending 2/27/10: #1 singles this week in country music history

1950: Chattanoogie Shoe Shine Boy — Red Foley (Decca)

1960: He’ll Have To Go — Jim Reeves (RCA)

1970: It’s Just A Matter Of Time — Sonny James (Capitol)

1980: Years — Barbara Mandrell (MCA)

1990: On Second Thought — Eddie Rabbitt (Universal)

2000: My Best Friend – Tim McGraw (Curb)

2010: Why Don’t We Just Dance — Josh Turner (MCA)

Week ending 2/20/10: #1 singles this week in country music history

1950: Chattanoogie Shoe Shine Boy — Red Foley (Decca)

1960: He’ll Have To Go — Jim Reeves (RCA)

1970: It’s Just A Matter Of Time — Sonny James (Capitol)

1980: Love Me Over Again — Don Williams (MCA)

1990: On Second Thought — Eddie Rabbitt (Universal)

2000: Cowboy, Take Me Away — Dixie Chicks (Monument)

2010: Why Don’t We Just Dance — Josh Turner (MCA)

Week ending 8/8/09: #1 singles this week in country music history

charleypride1949: I’m Throwing Rice (At The Girl I Love) — Eddy Arnold (RCA)

1959: Waterloo – Stonewall Jackson (Columbia)

1969: All I Have To Offer You Is Me — Charley Pride (RCA)

1979: Suspicions – Eddie Rabbitt (Elektra)

1989: Why’d You Come In Here Lookin’ Like That — Dolly Parton (Columbia)

1999: Amazed – Lonestar (BNA)

2009: Alright – Darius Rucker (Capitol)

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