My Kind of Country

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

Classic Rewind: Carl Smith – ‘Don’t Just Stand There’

Album Review: Don Williams – ‘One Good Well’

Don Williams released his first album on RCA Records, One Good Will, in April 1989. The album, produced as per usual by Garth Fundis, prolonged his career with a series of very successful radio offerings.

The title track, a mid-tempo love song composed by Mike Reid and Kent Robbins, was issued as the lead single. It was followed by Bob McDill’s “I’ve Been Loved By The Best,” a gently rolling ballad about a love for the ages. Both songs, of superior quality, peaked at #4.

The third single, “Just As Long as I Have You,” which covered similar ground both thematically and sonically, also peaked at #4. The song, written by Dave Loggins and J.D. Martin, had originally peaked at #72 when Loggins released his own version with Gus Hardin in 1985.

The fourth and final single, “Maybe That’s What It Takes,” was slightly slower and a bit more lush than its predecessors. It stalled at #22 despite a well-written lyric by Beth Nielsen Chapman.

“Learn To Let It Go” is a jaunty pace changer, written by Reid with Rory Bourke. The arrangement, accented with dobro and fiddle, feels so tailor made to Keith Whitley I had to double check he wasn’t one of the track’s co-writers. Williams, unsurprisingly, wears the style well.

He goes uptempo again on “Why Get Up,” co-written by Bill Carter and Ruth Ellsworth. The track, complete with honky-tonk piano and an ear-catching lyric, is reminiscent of “It Must Be Love.”

Williams himself contributed “Cryin’ Eyes,” a gorgeous ballad concerning the reasons couples drift apart. Another of his solely-written numbers, “We’re All The Way” is more optimistic, tackling the well-worn theme of commitment. “Broken Heartland,” by Gene Nelson, keeps the pace slow on a ballad about feeling deflated when love doesn’t work out.

McDill and Bucky Jones are responsible for the album’s final song, “Flowers Won’t Grow (In Gardens Of Stone).” The somber ballad is an excellent steel drenched number, one of the album’s best.

One Good Well is, like all of Williams’ albums, a masterful recording. There isn’t a flaw I can find among these ten songs. I don’t think I’ve encountered another artist who is truly this timeless. You can listen to a Williams recording of any era and feel like it was just recorded today. He is easily one of the most remarkable country singers I have ever heard.

But if I was going to nitpick, I would call out One Good Well for not being memorable enough to stand out. While every song is indeed excellent, there’s nothing truly transcendent among these ten tracks. It’s a slight criticism, which I won’t hold against him, that is worth noting. Only Williams could get away with not taking any chances.

Grade: A+

Classic Rewind: Don Williams – ‘Listen To The Radio’

Album Review: Varous Artists: ‘Gentle Giants: The Songs Of Don Williams’

Don Williams had a very successful career in Country Music and is pretty much beloved throughout the English-speaking world. Don would have a long run of chart singles (46 as a solo artist) that would run from 1973 to 1992, and he would continue to release albums of new music through 2014.

With such a long discography, the task is twofold: (1) find artists whose styles are sympathetic to the honoree’s style without being mere imitations, and (2) find some interesting catalog songs rather than simply covering the biggest hits. Moreover, tribute albums tend to be a mixed bag with some of them being very good, and others merely star vehicles for current stars rather than genuine tributes. Gentle Giants is a genuine tribute to Don.

This project succeeds in both respects. The artists cover a broad range of styles and while the songs are mostly big hits, a few lesser known songs are covered as well.

The album opens up with the Pistol Annies’ version of “Tulsa Time” a song written by Danny Flowers, one of Don’s band members. The arrangement of this 1979 #1 record for Don is considerably funkier than Don’s arrangement.

“I Believe In You” was written by Roger Cook and Sam Hogin, hitting #1 in 1980. This was probably Don’s biggest international hit, even reaching #4 on New Zealand’s pop charts. Brandy Clark does a decent job of the song, although it probably should have been tackled by a more grizzled artist than young Brandy.

“We’ve Got A Good Fire Going” was not one of Don’s bigger hits, only reaching #3 in 1986. Written by master songsmith David Loggins, the song seems perfectly suited for a vocal trio such as Lady Antebellum. The arrangement is very gentle with a light string accompaniment.

There’s a storm rollin’ over the hill
And the willow trees are blowin’
I’m standin’ here starin’ out the window
Safe and warm
I feel her put her arms around me
And it’s a good feelin’ that I’m knowin’
Oh, I’ve got a good woman and we’ve got a good fire goin’

“Some Broken Hearts Never Mend” comes from the pen of Wayland Holyfield. The song reached #1 in 1977, Dierks Bentley gives the song an acoustic, nearly bluegrass arrangement. I love the song and I love Dierks’ performance of the song.

While there are no complete misfires on the album, “Amanda” seems ill suited for the duo of Chris Stapleton and Morgane Stapleton. I really like Chris but his voice is just wrong for this song. His version is acceptable but both Don and ol’ Waylon did far better versions of the song.

Similarly Alison Krauss makes the mistake of slowing the tempo in “Till The Rivers All Run Dry”. Since all of Don’s songs are taken at slow to medium slow tempos, reducing the tempo on any of Don’s songs is a mistake. Alison provides a gorgeous vocal, but the song just seems to drag. Don co-wrote this song with Wayland Holyfield, his fourth #1 from back in 1976.

I regard John Prine as a talented songwriter but a poor vocalist with his vocal efforts ranging from mediocre to terrible. Somehow “Love Is On A Roll” works. It was a good idea to pair him with Roger Cook, especially since Prine and Cook were the writers on the song. Don took this song to #1 in 1983.

Townes Van Zandt’s “If I Needed You”, as sung by Jason Isbell and Amanda Shires, was a bit of a disappointment, mostly because Amanda Shires is no Emmylou Harris as a harmony singer. I think the song originally was an Emmylou Harris single featuring Don Williams since it was released on Warner Brothers, which was Emmylou’s label. The song only reached #3 but I thought it was an outstanding effort by Don and Emmylou.

“Maggie’s Dream” missed the top ten when released in 1984 but by then Don was staring to lose momentum as a singles artist. Also the album from which the song came, Cafe Carolina, was Don’s least successful album in a decade. Written by David Loggins and Lisa Silver, Trisha Yearwood does a masterful job with the song. I think it has one of the more interesting lyrics that Don ever tackled:

Maggie’s up each morning at four am
By five at the counter at the diner
Her trucker friends out on the road will soon be stopping in
As the lights go on at Cafe Carolina

Maggie’s been a waitress here most all her life
Thirty years of coffee cups and sore feet
The mountains around Ashevill,e she’s never seen the other side
Closer now to fifty than to forty

Maggie’s never had a love
She said she’s never had enough time
To let a man into her life
Aw but Maggie has a dream
She’s had since she was seventeen
To find a husband and be a wife

I am not that familiar with Keb Mo’ but he nailed “Lord I Hope This Day Is Good”, adding a very sincere vocal to an arrangement that is nearly a clone of Don’s original. The song was written by Dave Hanner, best known for his role in the Corbin/Hanner Band. The song reached #1 in 1981.

“Good Ole Boys Like Me”, written by Bob McDill is probably my favorite Don Williams song and Garth Brooks version tells me that Garth definitely grew up on and was inspired by Don’s songs. Billboard had this song dying at #2 but Cashbox and Record World both had it reaching #1.

All said, this is a pretty nice album. Don Williams was a pretty laid back artist and I wish someone had selected some of the more up-tempo songs (admittedly, there were not that many from which to choose). Other than Leon Redbone and Bobby Bare, no one was as good at laid-back as Don Williams.

Grade: B+

Classic Rewind: Don Gibson – ‘(I’d Be) A Legend In My Time’

Album Review: Don Williams: ‘Traces’

Traces was the second of a pair of albums that Don recorded for Capitol during the mid-to-late 1980s.   He co-produced the set with Garth Fundis.  Never one to follow trends, Don began his solo career singing songs with simple, stripped down production in an era when countrypolitan, with its lush string sections and vocal choruses, ruled the day.   By the mid-80s Randy Travis had brought country music back to its roots, with most other mainstream artists following suit.    Don Williams chose this time, however, to release an album that delved a little further into the pop realm.  The difference in sound is sometimes subtle, as is the case on “I Wouldn’t Be a Man”, the sultry lead single that reached a #9 peak.   At other times, it is more pronounced; a prime example is his cover of “Till I Can’t Take It Anymore”.   Originally an R&B hit for Ben E. King in 1968, it was introduced to country audiences by Dottie West and Don Gibson in 1970. In 1990, Billy Joe Royal would take it to #2 on the country charts.  While it works well for a genre-straddling artist like Royal, it is a bit of a stretch for the usually traditional Don Williams. Even more of a stretch is the trainwreck that is “Running  Out of Reasons to Run”, a filler song written by Jim Rushing and Martin Gerald Derstine with a jarring horn section.   It was better suited for Sawyer Brown, who recorded their own version a year later, but it is not a good vehicle for Williams.   “Looking Back”, a 1950s-style pop song is better.

Fortunately there are also plenty of country songs on the album.  The detour into pop occurs about halfway through and is preceded by three solid country numbers and followed by three more.   One of the best is “Another Place, Another Time”, a Bob McDill-Paul  Harrison tune that was released as the album’s second single, peaking at #5.   It was followed by the excellent upbeat “Desperately”, written by Kevin Welch and Jamie O’Hara, which reached #7.  The poignant (and extremely well-written) piano and string ballad “Old Coyote Town”, about a small town that has fallen on hard economic times, was the fourth and final single, which also reached #5.   One minor quibble:  I would have made this the closing track instead of giving that designation to the pleasant but pedestrian “You Love Me Through It All”.   A rather sedate rendition of “Come From the Heart”, preceding Kathy Mattea’s hit version by two years, is a pleasant surprise.

With the benefit of hindsight, one could possibly point to Traces as the beginning of Don’s chart decline; it was his first album since 1974’s Volume Two not to produce at least one #1 hit, although the four singles all performed respectably.  According to Wikipedia, the album did not chart, which I find hard to believe considering that it produced four Top 10 hits.  It is a solid album that I enjoyed but due to a few missteps, I have to rank it a little lower than his earlier work.  It is available on a 2-for-1 CD along New Moves, Don’s other album for Capitol.

Grade: B+

Classic Rewind: Paulette Carlson – ‘The Bed You Made For Me’

Paulette sings one of her Highway 101 hits.

Album Review: Zac Brown Band – ‘Welcome Home’

The Zac Brown Band, always eclectic, took that spirit rather too far in their last, terrible, album. Evidently chastened by fans’ lack of enthusiasm for their new direction, they have returned to more organic (though not necessarily paticularly country) sounds on their latest release, their first for Elektra. They have turned to Dave Cobb to produce the album.

The overarching theme is one of home, and family, a mood set by the charming lead single, ‘My Old Man’. A touching tribute to Zac’s late father set to a gentle melody, this is a true delight. The piano-led ‘Real Thing’ is also very good, with a nostalgic look back to a father or grandfather who teaches Zac you can’t substitute for the best, a lesson which he applies to other things in life. (Coca cola, most associated with the title phrase, is not mentioned by name, but the band’s Atlanta background makes it an inescapable point of reference – if Zac’s lucky he might get this picked up for a commercial; if he’s unlucky he could get sued.)

‘Family Table’ is a fond ode to a welcoming home, which I liked. ‘2 Places At 1 Time’ is about the competing lures of home and away, and is a nicely delivered wistful ballad. ‘Long Haul’ is quite pleasant but a little forgettable, with a 70s country-rock-AC ballad feel.

All but one of the songs were composed by the writing team of Brown, Niko Moon and Ben Simonetti, with occasional outside help, not necessarily for the better. Indeed, it is with the co-writes that the album gets off course. Band member Coy Bowles co-wrote the opening tune, ‘Roots’. This is a good but ironically slightly over produced big ballad about the lure of music and a musician’s life. ‘Start Over’, co-written with rapper/producer Pharrell, is one of the band’s signature Caribbean styled tunes, which (although not really my cup of tea) is quite well suited to the lyric (about getting away to the beach as a way of reconnecting with an ex). Some introductory yelping, however, should definitely have been dispensed with – it sets my teeth on edge every time I hear it.

‘Your Majesty’ is a pretty love song, written by the guys with Kenny Habul (an Australian race car driver and solar power entrepreneur, who was mixed up in Zac Brown’s 2016 drugs bust), marred by slightly annoying production, particularly annoying ah-oh interjections. Aslyn, a female pop singer-songwriter from Atlanta with a powerful voice, co-wrote and duets on rock ballad ‘Trying To Drive’. The song is nothing special and not country at all), and the production too heavy, but the vocals are strong in their own style.

The album closes with a fine cover of John Prine’s ‘All The Best’, a pained and subtly bitter farewell to a former love:

Well I guess love
Is like a Christmas card
Decorate a tree
And throw it in the yard
It decays and dies
And the snowman melts
Well I knew love
I knew how love felt

I knew love
Oh, love knew me
When I walked around
Love walked with me
But I got no hate
And I got no pride
Well I got
So much love
That I cannot hide

This is a definite highlight.

This is less of a return to form than I had hoped, and there are few standout moments other than ‘My Old Man’ and ‘All The Best’. Those two tunes are definitely worth downloading, and the whole thing is probably worth checking out if you’re a fan. There is also not much variation in tempo. One cannot help wondering if the band’s hearts are really elsewhere.

Grade: B-

Classic Rewind: Don Williams – ‘I Believe In You’

Album Review: Don Williams – ‘New Moves’

Don’s last studio album for MCA, Café Carolina, was released in 1984, although the label continued t package compilations of his work for them for some years. He was still a consistent hit maker, but the label was keen to introduce new stars, and Don may have felt less well promoted than he had done previously, and in 1985 he signed a deal with Capitol Records. The first album for Capitol, released in January 1986, was appropriately entitled New Moves, although there were no significant changes in his music – he even retained an existing co-production partnership with Garth Fundis from his last MCA album. Half the album’s tracks ended up being promoted as singles, and all reached the top 10, proving that there was still a place for Don Williams at the top even as the younger neotraditionalists were sweeping other older artists aside.

The lead single, the Dave Loggins-penned ‘We’ve Got A Good Fire Goin’’, is a very nice love song about the comforts of a settled relationship, with a subtle arrangement, although there are unnecessary and slightly intrusive choir-style backing vocals in the second half of the song. It peaked at #3. The album’s biggest hit, the mid-paced ‘Heartbeat In The Darkness’ (another Loggins song, this time co-written with Russell Smith) was Don’s last ever chart topper, but has not worn very well, with production which now sounds a little dated, although the song itself is pleasant enough.

The pace lifts still further with the lively ‘Then It’s Love’, which peaked at #3. It was written by Dennis Linde, best known for writing Elvis’s ‘Burning Love’, and has a saxophone-dominated arrangement with Don trying out a bit of an Elvis impression at the end, which is quite fun and not typical of Williams’ usual music.

The mainly spoken story song ‘Senorita’, written by Hank De Vito and Danny Flowers, performed less well, but was still a top 10 hit. I found it rather boring. The final single, ‘I’ll Never Be In Love Again’ (written by Bob Corbin) reached #4. To my ears it is the best of the singles, a classic Don Williams gentle ballad about surviving (more or less) the loss of love, with a delicate accompaniment featuring flute and harmonica. Lovely.

A number of artists have recorded Bob McDill’s ‘Shot Full Of Love’ ranging from the Nitty Gritty Dirt Band (my favorite take) to Billy Ray Cyrus, but I don’t think it’s ever been the hit it deserves to be. It’s a very good song, but the lyric, about an outlaw type who has broken a lot of hearts in his time but is unexpectedly felled by love, doesn’t really fit Don’s good guy persona or smooth voice. It still makes pleasant listening, but is not entirely convincing. (The McCarters’ beautiful sounding version ha few years later had the same flaw.) Another McDill tune, ‘We Got Love’, is a pleasant love song but not very memorable.

‘Send Her Roses’, written by Pat McLaughlin, who plays mandolin on the track, is a perky number about abandoning a travelling life (with several allusions to other songs) for a settled home with the protagonist’s wife. It is highly enjoyable.

Don’s own ‘The Light In Your Eyes’ is a pretty romantic piano-led ballad, which is very nice indeed. The mid paced ‘It’s About Time’, another love song, is also pretty good.

Grade: B+

The album has been packaged with Don’s other Capitol album Traces on a 2-4-1 CD.

Classic Rewind: Joey + Rory – ‘I Surrender All’

Week ending 5/20/17: #1 singles this week in country music history

1957 (Sales): Gone — Ferlin Husky (Capitol)

1957 (Jukebox) (tie): Gone — Ferlin Husky (Capitol)
A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys) (tie): Gone — Ferlin Husky (Capitol)
Honky Tonk Song — Webb Pierce (Decca)

1967: Sam’s Place — Buck Owens (Capitol)

1977Some Broken Hearts Never Mend — Don Williams (ABC/Dot)

1987: To Know Him Is To Love Him — Dolly Parton, Linda Ronstadt & Emmylou Harris (Warner Bros.)

1997: One Night at a Time — George Strait (MCA)

2007: Settlin’ — Sugarland (Mercury)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Body Like a Back Road — Sam Hunt (MCA)

Classic Rewind: Emmylou Harris – ‘One Of These Days’

Classic Rewind: Jamey Johnson and Alison Krauss cover ‘Seven Spanish Angels’

Album Review: Don Williams – ‘Especially For You’

Don’s eleventh album, released in June 1981, continued Don’s string of successful albums, reaching #5, his ninth (of eleven) albums to reach the top ten. Three singles were released from the album, all of which made the top ten: “Miracles” (#4 Billboard/ #1 Cashbox ), the exquisite duet with Emmylou Harris “If I Needed You” (#3 Billboard/ #1 Record World) and “Lord, I Hope This Day Is Good” (#1 across the board).

The instrumentation on this album is a bit unusual for a country album of this vintage as a variety of odd instruments appear including such things as bongos, congas, ukulele, shaker and tambourine. Fortunately only the second and ninth tracks feature synthesizer, and Lloyd Green is present on steel guitar to restore order on five of the tracks. Unlike Don’s earlier albums, dobro (or resonator guitar) does not show up in the mix at all, and I definitely miss its presence.

The album opens up with a tune from “The Man In Black” (Johnny Cash) in “Fair-weather Friends”. This is a religiously oriented track, but a nice song

Fair-weather friends, fair-weather sailors
Will leave you stranded on life’s shore
One good friend who truly loves you
Is worth the pain your heart endures

We never know which way the wind will blow
Nor when or where the next turmoil will be
But He’s a solid rock when troubles grow
And He’s holding out a saving hand for me

“I Don’t Want to Love You” comes from the pen of Bob McDill. Bob never did anyone wrong with a song and this song about the human dilemma is no exception

I think about you every minute
And I miss you when you’re not around
And every day, I’m gettin’ deeper in it
I’m scared to go on, but the feelin’s so strong
I can’t turn away from you now

No, no, no, I don’t want to love you
And oh, oh, oh, I’m tryin’ not to
No, no, no, I don’t want to love you
But oh, oh, oh, I think I do

“Years from Now” by Roger Cook and Charles Cochran is a tender ballad with no potential as a single

Still love has kept us together
For the flame never dies
When I look in your eyes
The future I see

Holding you years from now
Wanting you years from now
Loving you years from now
As I love you tonight

Dave Hanner was a familiar figure in the country music as a writer and performer (Corbin/Hanner). His songs have been recorded by the Oak Ridge Boys, Glen Campbell, Mel Tillis and the Cates Sisters but the capstone of his writing career is the classic “Lord, I Hope This Day Is Good”, a chart topper for Don and recorded many times since then including nice versions by Lee Ann Womack and Anne Murray. Don had Corbin/Hanner for his opening act on one tour. Taken at mid-tempo, this is one of the songs that come to mind when Don’s name is mentioned.

Lord, I hope this day is good
I’m feelin’ empty and misunderstood
I should be thankful Lord, I know I should
But Lord, I hope this day is good

Lord, have you forgotten me
I’ve been prayin’ to you faithfully
I’m not sayin’ I’m a righteous man
But Lord, I hope you understand

I don’t need fortune and I don’t need fame
Send down the thunder Lord, send down the rain
But when you’re planning just how it will be
Plan a good day for me

“Especially You”, written by Rick Beresford has an artsy feel to it and has that “Nashville Sound” combination of strings and steel. I think that this song would have made a decent single

I see the rainbow in your eyes,
I see all the colors pass me by
I sure like the things my eyes can do,
Especially when they see you.

I hear the music of this day,
I sure like the songs this world can play
But most of all I like your tune,
When you whisper I love you.

My senses don’t like, I get a definite high
When you’re near I feel clear off the ground
Reach for my arms, and I will give you the stars
There is nothing that is holding us down.

Townes Van Zandt was the source of “If I Needed You”, Don’s successful duet with Emmylou Harris. I am not that much of a fan of Emmylou’s solo endeavors, but she can seemingly blend with anyone. Pair her with a good singer like Don Williams, and the end result is outstanding. I think that this is my favorite Townes Van Zandt composition:

If I needed you, would you come to me?
Would you come to me, for to ease my pain?
If you needed me, I would come to you
I would swim the sea for to ease your pain

Well the night’s forlorn and the mornin’s warm
And the mornin’s warm with the lights of love
And you’ll miss sunrise if you close your eyes
And that would break my heart in two

“Now and Then” (Wayland Holyfield) and “Smooth Talking Baby” (David Kirby, Red Lane) are acceptable album filler, but nothing more.

“I’ve Got You to Thank for That” by Blake Mevis and Don Pfrimmer is an upbeat mid-tempo love song song that grows on you over time. Blake Mevis had considerable success as a songwriter but may be best remembered as the producer of George Strait’s early albums.

I’ve got Sunday school to thank for Jesus
Got educated thanks to mom and dad
I can borrow money thanks to banker Johnson
Thanks to me I’ve spent all that I have.

I quit smoking thanks to coach Kowalsky
Thanks to lefty Thomson I can fight
It took a while learning all life’s lessons,
But I learnt about love just one night.

Honey I’ve got you to thank for that
It’s good from time to time to look back
It always reminds me that I love it where I am at
Honey I’ve got you to thank for that

The album closes with the first single released from the album “Miracles”. Written by Roger Cook, the song is yet another slow ballad. In the hands of anyone other than Don Williams, the song would seem turgid, but Don sells the song effectively. The use of strings with steel enhances the dramatic presentation

Miracles, miracles, that’s what life’s about
Most of you must agree if you’ve thought it out

I can see and I can hear, I can tell you why
I can think and I can feel, I can even cry
I can walk, I can run, I can swim the sea
We had made a baby son and he looks like me

I don’t think Don Williams is capable of issuing a bad album. It appears that Especially For You was only briefly available on CD (I’ve been reviewing from a vinyl copy), but is currently unavailable.

I prefer the more acoustic sound of Don’s earlier albums, but this is a good album that I would give a B+. Did I mention that I really missed that dobro?

Classic Rewind: Don Williams – ‘Good Ole Boys Like Me’

Single Review: William Michael Morgan – ‘Missing’

Last year, I threw the William Michael Morgan’s single “Missing” into my year-end Top Ten. It had just been released as a single and had caught my year for its unapologetic nod to traditionalism. “Missing” is the kind of song that even seven years ago would’ve been a massive hit.

George Strait likely would’ve been the one to propel it up the charts, and it probably would’ve been a “B” single in his hands, against his catalog. But it’s a winner for Morgan, who turns in a performance that measures up to Strait and rightfully stands on its own.

To my ear there isn’t a negative thing I can say about this record. It’s currently my favorite song at country radio and one of the only bright spots going into this summer season.

Grade: A+

Classic Rewind: Dan Seals – ‘Those’

Album Review: Don Williams – ‘Expressions’

Don Williams released his eighth album, Expressions, in August 1978. He co-produced the album, once again, with Garth Fundis.

Expressions contains three of Williams’ most iconic singles. “Tulsa Time,” written by Danny Flowers, is a honky-tonk barnburner that took Williams out of his signature sound with ease and sophistication. He was back in his comfort zone for the beautiful self-penned “Lay Down Beside Me,” one of his most beloved ballads. The final single, Bob McDill’s “It Must Be Love” was another gorgeous uptempo number. “Tulsa Time” and “It Must Be Love” hit #1 while “Lay Down Beside Me” peaked at #3.

The singles each have versions by other artists. Eric Clapton and Pistol Annies both have versions of “Tulsa Time” and Alan Jackson brought “It Must Be Love” back to #1 in 2000. Kenny Rogers lent his voice to “Lay Down Beside Me,” as did Alison Krauss, in an ill-advised duet with rock singer John Waite.

“I Would Like to See You Again” is a lovely mid-tempo ballad accented beautifully with gentle mandolin flourishes. “You’ve Got a Hold on Me,” about a love gone by, is an AC-leaning mid-tempo number with nice accents of steel.

“Tears of the Lonely” is a lush ballad with striking piano and ear-catching percussion. “All I’m Missing Is You” picks up the tempo nicely and tells the story of a guy who does the things he used to do with an old love, missing her all-the-while. “Give It to Me” is a nice, lush song about love. He showcases his exceptional talents as a vocalist on the masterful “When I’m With You,” one of the strongest of the album’s ten songs.

Expressions captures a master at the height of their prowess when the artistic and the commercial are in near perfect balance. He also won his only industry awards as a result of this album – CMA Male Vocalist of the Year (1978) and ACM Single Record of the Year (“Tulsa Time,” 1979).

Expressions is as close to a flawless album as I’ve ever heard, from an artist who has never hit a sour note in his career. It’s just an exceptional record through and through.

Grade: A+

Classic Rewind: Loretta Lynn – ‘Let’s Get Back Down To Earth’