My Kind of Country

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

Classic Rewind: Conway Twitty – ‘We Did But Now You Don’t’

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Album Review: Conway Twitty – ‘Crazy In Love’

One of the reasons for Conway Twitty’s longevity as an artist was his knack for adapting to new musical trends. In the 1980s, as country music entered the Urban Cowboy era and adopted a slicker, more pop-oriented sound, Conway did likewise, and maintained his position at the top of the charts. His new sound was particularly evident on the Warner/Elektra recordings. Interestingly, though, he did not follow country music’s trend back toward a more traditional sound in the latter half of the decade. For whatever reason, it seemed to work. His albums from this era only sold modestly but he continued to have radio hits, although somewhat less consistently, and remained relevant to the genre.

Crazy In Love was Conway’s first full-length album of the 1990s. He produced it with his wife Dee Henry and MCA label chief Jimmy Bowen. Like his other recent efforts, there is nary a fiddle nor a steel guitar to be found, although the album itself encompasses a variety of styles from pop and R&B to more traditional country fare. The title track and lead single was perhaps his most pop-leaning single ever. It had originally been included on a Joe Cocker album in 1984 and Kim Carnes took it to #13 on the AC charts in 1988. Kenny Rogers had a competing version from his 1990 Love Is Strange album, which reached #9 on the AC charts. Conway’s version reached #2 on the country charts, a position where many of his singles had landed since he’d rejoined MCA in 1987. Written by Randy McCormick and Even Stevens, there is nothing even remotely country about this song, but it is very good nonetheless. The upbeat “I Couldn’t See You Leavin'”, written by Rory Michael Bourke and Ronny Scaife reached #3, making it the last bonafide hit single of Conway’s career. None of his subsequent efforts would chart in the Top 20. There was one last single released from Crazy In Love, though — the traditional-leaning “One Bridge I Didn’t Burn”, which peaked at a disappointing #57, despite being the best song on the album. It is, however, a track that is crying out for the fiddle-and-steel treatment. The album cut “What’s Another Goodbye”, written by Kent Robbins is another very good track that would have benefited from more traditional instrumentation.

I wasn’t as enamored by Conway’s cover of the 1978 Dr. Hook hit “When You’re In Love With a Beautiful Woman” (another Even Stevens composition) or the slightly overblown power ballad “Just the Thought of Losing You”, written by Michael Bolton and Jonathan Cain. Both are well executed but with so many good country songs available in Nashville at the time (unlike today), one wonders why these two were chosen. The upbeat closing track “Hearts Breakin’ All Over Town” is not bad but is only truly noteworthy because of its co-writer Pam Tillis who was about to enjoy her own commercial breakthrough.

Conway Twitty’s long career saw him embracing a number of different musical styles and as such it is inevitable that everything he did will be to everyone’s taste. While I wouldn’t rate Crazy In Love as highly as his early 70s albums, it is a solid effort for its era. I don’t think I’ve ever truly hated anything Conway Twitty did — aside from his unfortunate treatment of “Danny Boy” during his rock-and-roll days. Crazy In Love is not essential listening, but it is a worthwhile late career effort from a true legend, who truly was the best friend a song ever had.

Grade: B+

Classic Rewind: Conway Twitty – ‘The Grandest Lady Of Them All’

Classic Rewind: Kathy Mattea – ‘Untold Stories’

Album Review: Conway Twitty – ‘House On Old Lonesome Road’

House On Old Lonesome Road was Conway Twitty’s third album since returning to MCA Nashville after six albums with Warner Bros. The record was released in 1989 and spawned three singles.

The lead radio offering, “She’s Got A Single Thing In Mind.” was a forceful Walt Aidridge-penned ballad that peaked at #2. The title track, a ballad reminiscent of “That’s My Job,” hit #19. “Who’s Gonna Know,” another bland ballad, stalled at #51.

Clinton Gregory had a #25 hit with “Play, Ruby, Play,” an excellent mid-paced number co-written by Tony Brown and Troy Seals when he released it in 1992. Twitty’s version provides the album with a much-desired change of pace. “Private Part of My Heart,” another Seals co-write (this time with Max D. Barnes), returns the album to the sounds of mid-1980s country somewhat successfully. “Pieces of You,” which Barnes co-wrote with Skip Ewing, is far and away the record’s most traditional number, with lovely doses of fiddle throughout.

“Too White To Sing The Blues,” co-written by Lacy J. Dalton, is reminiscent of Waylon Jennings. Karen Staley and Gary Harrison co-wrote the jaunty and ear-catching “Take Me Home to Mama,” a nice slice of modern honky-tonk. “Child With Child” is another of the sappy ballads for which Twitty had come to be known for during this period of his career. “Nobody Can Fill Your Shoes” feels a step out of touch and sounds just a couple years out of date.

I’m going to go out on a limb and reveal how truly out of touch I am. Given that House On Old Lonesome Road was released in 1989, at the height of the new-traditionalist movement, I had fully expected an album not unlike what Keith Whitley and Don Williams were turning out at the time. What I got instead was a kaleidoscope of sounds and textures attempting to showcase Twitty in the many different lights for which he found success that decade. There isn’t any truly outstanding number among these 10 tracks, although Gregory had the good sense to revive “Play, Ruby, Play.”

Grade: B

Classic Rewind: Conway Twitty – ‘Georgia Keeps Pulling On My Ring’

Single Review: Alan Jackson – ‘The Older I Get’

New Country Music Hall of Famer member Alan Jackson reminded current artists and fans of what country music actually sounds like, with his stellar performances of ‘Chasin’ That Neon Rainbow’ and ‘Don’t Rock The Jukebox’ at the recent CMA awards. Now an elder stateman of the genre with no need to chase radio play which would probably not be forthcoming anyway, he is free to record great country music with more mature themes, and unlike some of his peers, he has chosen to do so.

His new single, heralding an album in the New Year, is another outstanding record. Opening with some lovely fiddle, and continuing the gentle melody with an understated arrangement behind Alan’s measured vocals, this is unapologetically country.

The song itself, written by Alan’s nephew Adam Wright with young singer-songwriters Hailey Whitters and Sarah Allison Turner, is a gem. A serene reflection on the lessons learned over time that it is love which really matters in life:

The older I get the truer it is
It’s the people you love
Not the money and stuff
That makes you rich

If they found a fountain of youth
I wouldn’t drink a drop and that’s the truth
Funny how it feels I’m just getting to my best years yet

The older I get
The better I am
At knowing when to give and when to just not give a damn

And if they found a fountain of youth
I wouldn’t drink a drop and that’s the truth
Funny how it feels I’m just getting to my best years yet

If you haven’t heard this lovely song yet I urge you to do so.

Grade: A+

Classic Rewind: Conway Twitty – ‘The Games That Daddies Play’

Album Review: Conway Twitty – ‘Borderline’

Released in March 1987, Borderline marked Conway’s return to MCA after five year interlude with Elektra/Warner Bros. Frankly, other than the Lost In The Feeling album, I really had consistently disliked his recent output.

I received this album as a birthday present in April 1987. While I had high hopes for a return to the earlier Twitty sound my hopes were dashed when I read the back of the album and saw the following:

Musicians:

James Stroud – Drums
Emory Gordy, Jr. – Bass
John Jarvis – Piano
David Innis, Mike Lawler – Keyboards
Richard Bennett – Acoustic Guitar
Reggie Young, Fred Newll – Electric Guitar
Background Harmonies – Vince Gill and Conway Twitty

That’s right – no John Hughey, or any other steel guitar player for that matter.

My expectations suitably lowered I put the album on the turntable and played it. The album opened up with the first single release, John Jarvis-Don Cook song “Julia” which topped out at #2. This song is bland 80s ballad with cocktail lounge production. The song itself is not bad, but the production ruins it for me.

Brent Mason and Jim McBride collaborated on “Lonely Town”, a mid-tempo song about a one night stand. I would have picked this song as for single release. By the standards of this album, this was a country song

She gave into him last night
She thought he was Mr. Right
But he left like all the others
Before the morning came around

Same old story in lonely town
The sun comes up, the heart goes down
She’s tried everything she knows

Come so far and yet so close
She keeps searching for the magic
But it’s nowhere to be found
But that’s how it is in lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone

The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone
The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

Track three was “I Want To Know Before We Make Love” by Candy Parton and Becky Hobbs. Good advice no doubt – no point getting involved with a sociopath – but I think this song works better from the femine perspective. This song also reached #2.

Track four is the title track “Borderline” a decent song marred by cheesy 80s production. Walt Aldridge wrote this song. He wrote several #1 records for the likes of Earl Thomas Conley, Ronnie Milsap, Alabama and Travis Tritt.

Track five (the last track on side one of the vinyl album) concludes with “Not Enough Love To Go Around”  a slow R&B ballad that is nice but ultimately uninteresting.

Track six is “Snake Books”, written by Troy Seals. Troy wrote many great songs, but this wasn’t one of them. This is followed by “I’m For A While” by Kent Robbins, a generic song about a man who swears that he is not looking for a one night stand.

Most songs written by committees stink, but “Fifteen To Forty-Three” by Don Goodman, Frank Dycus, Mark Sherrill and John Wesley Ryles is a terrific ballad about a fellow sorting through a box of memories and regrets. This has a very country feel to it and would have made a great single.

<blockquote>I just cut the string
On a dusty old shoe box
And opened a door to the past
Now I’m sittin’ here with my souvenirs
And these faded old photographs.

Fightin’ back tears
Lookin’ back through the years
And wonderin’ why dreams fade so fast
Now the young boy I see
Don’t look like the me
Reflected in this old looking glass.

The man in the mirror
Sees things so much clearer
Than the boy in the pictures
With his eyes full of dreams
Oh, the men that I’ve tried to be
From fifteen to forty-three
Never believed that they’d end up like me.

The ninth track “Everybody Needs A Hero” was written by Troy Seals and Max D Barnes. It’s a great song that Gene Watson released as a single. Although Conway does a nice job with the song, it is not quite as nice as Gene’s version (I like the production on Gene’s record better).

The album closes with Gary Burr’s “That’s My Job”, the last single released from this album. The single reached #6 but deserved a better fate. It is one of the best songs Conway ever recorded

I woke up crying late at night
When I was very young.
I had dreamed my father
Had passed away and gone.
My world revolved around him
I couldn’t lay there anymore.
So I made my way down the mirrored hall
And tapped upon his door.

And I said “Daddy, I’m so afraid
How will I go on with you gone that way?
Don’t want to cry anymore
So may I stay with you?”

And he said “That’s my job,
That’s what I do.
Everything I do is because of you,
To keep you safe with me.
That’s my job you see.”

Borderline was one of Conway Twitty’s last big hit albums, reaching #25, higher than any subsequent Conway Twitty studio album would reach. There are some good songs on this album, but the filler truly is filler and the production sounds as phony as most late 1980s country production. This album is somewhere between a C and a C+.

Classic Rewind: Connie Smith – ‘Clinging To A Saving Hand’

In Memoriam: Mel Tillis (1932-2017)

Grand Ole Opry star and Country Music Hall of Fame member Mel Tillis has died at age 85. He began recording in the 1950s and was the CMA’s Entertainer of the Year in 1976. He was also a highly regarded songwriter having written such classics as “I Ain’t Never”, “Ruby Don’t Take Your Love to Town”, “Honey (Open that Door)” and many others. He was also the father of Pam Tillis. Here he is singing “Coca Cola Cowboy”, which was a #1 hit for him in 1979.

Rest in peace, Mel. You will be missed.

Week ending 11/18/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Wake Up Little Susie — The Everly Brothers (Cadence)

1967: It’s the Little Things — Sonny James (Capitol)

1977More to Me — Charley Pride (RCA)

1987: Maybe Your Baby’s Got the Blues — The Judds (RCA/Curb)

1997: Love Gets Me Every Time — Shania Twain (Mercury)

2007: Don’t Blink — Kenny Chesney (BNA)

2017: What Ifs — Kane Brown ft Lauren Alaina (RCA)

2017 (Airplay): Unforgettable — Thomas Rhett (Valory)

Classic Rewind: Conway Twitty – ‘This Time I’ve Hurt Her More Than She Loves Me’

Classic Rewind: Judy Rodman – ‘She Thinks That She’ll Marry’

Album Review: Conway Twitty – ‘Don’t Call Him A Cowboy’

Conway Twitty had maintained his star status through the first half of the 198s0, scoring q string of yop 10 and #1 hits. In 1983 he switched from Elektra to its parent label Warner Brothers, where he stayed until 1986. His most successful album during the Warner Brothers period was 1985’s Don’t Call Him A Cowboy.

The title track was a chart topping single. It is an ironic story of wannabe poseurs of the Urban Cowboy variety:

The toughest ride he’s ever had was in his foreign car…

He’s a Hollywood idea of the wild and woolly west
In his French designer blue jeans and his custom tailored vest
You’re thinkin’ he’s the real thing but I think you oughta know
He can’t even make it through a one night rodeo

‘Between Blue Eyes and Jeans’ peaked at #7. It’s another excellent song, depicting a woman who might mend her badly broken heart while out dancing. ‘Whichever One Comes First’ is another nice song on the same subject.

As we have mentioned before, Conway had a great ear for songs, and a couple of other inclusions could easily have been hits for him, and were subsequently successes for other artists. ‘The Note’, also recorded around this time by Gene Watson, and was a modest hit a decade later for Daryle Singletary (although it deserved to do better). All three men are superb singers and do the song justice. ‘Somebody Lied’ was to become Ricky Van Shelton’s breakthrough hit, in an arrangement virtually identical to Conway’s. ‘Everyone Has Someone They Can’t Forget’ is a wistful ballad with a pretty melody. This song and ‘Somebody Lied’ are flagged on the album cover so were probably considered as potential singles.

There is a dated keyboard backing to ‘Those Eyes’, otherwise another attractive ballad. ‘Except For You’ is a pleasant love song, also a little dated sounding now, but well sung. ‘Green Eyes (Cryin’ Those Blue Tears)’ is okay. Closer ‘Take It Like A Man’ has a blues feel.

Conway is in great voice throughout. Although this album is not currently all that easy to get hold of, it is well worth it.

Grade: A

Classic Rewind: Conway Twitty – ‘Touch The Hand’

Classic Rewind: Garth Brooks – ‘If Tomorrow Never Comes’

Album Review: Conway Twitty – ‘Southern Comfort’

By the dawn of the 1980s, Conway Twitty had collected 23 solo number one singles and another five from duets with Loretta Lynn. Changes were afloat in the new decade, the least of which was a tweak in appearance, from his trademark pompadour hairstyle to the head of curls that would carry him through until his death in 1993.

Twitty parted ways with Decca/MCA Records after fifteen years with the label in 1981. He would release his next two albums on Eleketra, a move that would continue his success and allow Twitty to venture into new realms of his career. His first release for the label, Southern Comfort, would give him two more chart-topping singles. The album was produced by Jimmy Bowen.

The first single, “The Clown” was a slow and prodding ballad, typical of the period, with zero country signifiers. The follow-up, “Slow Hand” had been a big hit for The Pointer Sisters a year earlier. “Boy Next Door,” “Love And Only Love” and “It Turns Me Inside Out” are more of the same mid-paced to slow warmed over balladry.

“When Love Was Something Else” is an excellent change of pace, with twangy guitar added into the mix and noticeable effort to resemble country music. “She Only Meant to Use Him” employed the same techniques for another winning number. “Something Strange Got Into Her Last Night” continues the upward trend and could’ve easily been right at home under the care of Ronnie Milsap. “I Was The First” has an engaging melody I really enjoyed. The title track is an awful throwaway, with a cheesy lyric and intrusive background vocalists.

Despite the two singles, which Conway Twitty pursuits consider low points in his catalog, all hope is not lost with Southern Comfort. The majority of songs on the album are good and engaging, but not earth-shattering or remarkable. I wouldn’t rush to seek out a copy, the album can be easily streamed on YouTube, but it’s better than the singles and album cover would suggest.

Grade: B

Classic Rewind: Conway Twitty – ‘Linda On My Mind’

Album Review: Bradley Walker – ‘Blessed’

Bradley Walker’s second religious album, and third overall, leans towards traditional hymns and other well known material. A beautiful, measured reading of ‘Amazing Grace’ opens the album. Carl Jackson and Val Storey add harmony vocals, and a little steel guitar ornaments the track. A thoughtful, sincere version of ‘The Old Rugged Cross’, also introduced with some gorgeous steel, is even better. Jimmy Fortune and Ben Isaacs help out here.

From the southern gospel tradition, Alison Krauss adds an angelic harmony to ‘Angel Band’. Vince Gill and Sonya Isaacs help on ‘Drifting Too Far From The Shore’, another lovely track. ‘I’ll Fly Away’ has energy and commitment, as does ‘Victory In Jesus’. The Gaithers’ more recent ‘Because He Lives’ is a melodic ballad.

A few classic country and bluegrass gospel tunes are included. The Oak Ridge Boys lead into ‘Family Bible’ with a line from ‘Rock Of Ages’. Some may not know that ‘One Day At A Time’ was co-written by Kris Kristofferson and Marijohn Wilkin). Bradley’s version is earnest and tasteful, with a lovely harmony from Rhonda Vincent. Ricky Skaggs and Sharon White provide harmonies on the Stanley Brothers’ ‘Who Will Sing For Me’.

There is some newer material as well. ‘I Will Someday’, written by two sets of spouses (Morgane Hayes and Chris Stapleton, and Ronnie and Garnet Bowman), is a nice upbeat song about absolute faith. The Isaacs contribute backing vocals, and there is a sprightly acoustic guitar and piano backing. ‘Cast the First Stone’ is an Isaacs song from a couple of decades ago with a Bible based lyric and strong bluegrass feel. Another Isaacs tune is the beautiful ballad ‘Say Something’.

This is a perfect example of a country religious album. The vocals are exceptional and the instrumental backings and arrangements delightful.

Grade: A