My Kind of Country

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

Album Review: Little Texas – ‘Big Time’

51tuggiwfdl-_ss500Little Texas’ most successful album was their sophomore disc , Big Time, released in 1993.  It produced four hit singles, three of which reached the Top 10, including their only #1 “My Love”.  The album was produced by Doug Grau, Christy DiNapoli, and James Stroud.

Based on the feedback we received, some of our readers have been less than enthusiastic about our choice to spotlight Little Texas.  I’m by no means a Little  Texas super fan; I remember most of their radio hits from the 90s but prior to this review I’d never listened to one of their albums all the way through.  So I come to this with a fresh set of ears.   Was Little Texas really the Rascal Flatts of their day?  After listening to Big Time a few times, I can only answer with a resounding no.    I expected to enjoy the singles that I remembered from the radio but I wasn’t sure what to expect from the album cuts.   I must say that I’m pleasantly surprised.  The band members had a hand in writing eight of the album’s ten tracks.  Admittedly, they aren’t all particularly memorable, but there is certainly nothing cringe-worthy in a Rascal Flatts sort of way.

The album’s best track by far is the lead single “What Might Have Been”, which rose to #2 on the country chart and enjoyed some success in the adult contemporary format as well, reaching #16 on that chart.   It was followed by the uptempo Texas pride anthem “God Blessed Texas”, which topped out at #4 and is probably their best remembered hit today.  It’s a good song but one I’ve grown slightly tired of over the years, perhaps due to overplaying by radio.   As such, it’s my least favorite of the album’s singles.   The mid-tempo “My Love” seemed like a no-brainer to replicate the AC success of “What Might Have Been”, but oddly it did not appear on the adult contemporary charts.  It is not as good a song as “What Might Have Been”, but that, along with its lack of crossover success did not prevent it from becoming a #1 country hit.   “Stop on a Dime” had originally been the B-side of “What Might Have Been”.  When released as a single in its own right, it fell short of the Top 10, landing at #14.  As the album’s final single, Warner Bros. had perhaps lost interest in promoting it.  It’s a lot countrier than much of what was played on the radio in the mid-90s; it reminds me of something that Diamond Rio might have done.

“My Town” is the only tracks that doesn’t include one of the band members in its songwriting credits.  Written by Michael Stanley, isn’t particularly country but it is catchy and allows the band to showcase its harmonizing capabilities.   “Cutoff Jeans”, written by Troy Seals, Brady Seals and Ronnie Samoset is more traditional but equally infectious.

Little Texas is one of those bands that I didn’t pay a whole lot of attention to when they first arrived on the scene.  They debuted at a time when there was plenty of strong competition within the genre, and that may have contributed to them falling through the cracks to a certain extent.  If they were just getting started today, they’d be head in shoulders above most of their contemporaries on country radio, at least in my book. Big Time isn’t likely to be included on anyone’s list of best country albums, but it exceeded my expectations and is worth giving a spin.

Grade:  B+

Christmas Rewind: Dale Watson – ‘Christmas Love’

Album Review: Rhonda Vincent & The Rage – ‘All The Rage Volume 1’

all-the-rageMost bluegrass bands are at their best live, and great though she is as a recording artist, Rhonda Vincent and her road band The Rage are no exception. Her latest album, the result of a concert at Bethel University in Tennessee in May 2015, really allows her band the chance to shine on a selection of mainly lesser known tunes from Rhonda’s back catalog.

They open with a coruscating version of the Jimmie Rodgers classic ‘Muleskinner Blues’ with Rhonda wailing and yodelling impressively. This is a complete tour de force. In similar vein is ‘Kentucky Borderline’, written by Rhonda herself, while the closing ‘Mississippi River’ comes from the Mark Twain tribute album a few years back.

Slowing down the tempo, ‘Is The Grass Any Bluer (On The Other Side)’ is an affectionate tribute to Father of bluegrass Bill Monroe. There is an excellent version of the Barbara Mandrell hit ‘Midnight Angel’ (originally a bluegrass song, and also recorded by Highway 101). ‘Missouri Moon’ is a beautiful, melancholy ballad. The delicately understated ‘I’ve Forgotten You’ is one of those songs which means the absolute opposite of its title.

Rhonda takes the lead on a traditional bluegrass gospel quartet for the cheerfully judgmental ‘You Don’t Love God (If You Don’t Love Your Neighbour)’. She also sings a devout ‘The Old Rugged Cross’.

The guys are allowed to sing lead on several of the songs. The bands newest member Josh Williams, is an excellent singer in his own right, and he takes on the much-recorded rambler’s song ‘Freeborn Man’. Dobro player Brent Burke (one of Rhonda’s sons in law) shows off an attractive tenor voice on ‘The Girl From West Virginia’. Bassist Mickey Harris sings his own ‘If We Would Just Pray’.

A couple of fast paced instrumentals round out the set, a fiddle tune composed by Hunter Berry (Rhonda’s other son in law) and a banjo one by Aaron McDaris respectively.

The concert is also available as a DVD. It is an outstanding set of performances which I warmly recommend.

Grade: A+

Christmas Rewind: Skeeter Davis – ‘C H R I S TM A S’

Album Review: Kevin Moon – ‘The Kevin Moon EP’

kevin-moon-epWe were recently reminded that Kevin Moon (whose Throwback album was one of my favourites of last year) had released new music. One of my minor gripes with that album was that it consisted of rather well worn material, and here he tackles new or lesser known songs. It turns out to be halfway between an EP and a full length album, with eight tracks, and as far as I can see is only available digitally.

The best song is the opening ‘Good Whiskey’, a great song in which the protagonist first rejects alcohol as a cure for his heartbreak:

They don’t make Jack strong enough to get you off my mind
There really ain’t nothin’ they could fix me
I could drink it all but you still wouldn’t miss me
It’d be a waste of good whiskey

‘What If She Don’t’ is a nice love song with the protagonist unsure whether the object of his affections understands the depths of his love. He then explains it to her in the attractive ‘Girl That’s How’. ‘Cowgirl’s Gonna Dream’ is a sweet song about an ordinary Tennessee country boys who manages to land a Texan cowgirl as his wife.

‘Scarecrow’ is an anthroporphic description of the farmer’s friend, and has a certain charm. The relaxed ‘Blue Agave Shore’ dreams of a Mexican vacation but settles for a back porch.

There are a couple of covers, both from the 1970s. Eric Clapton’s romantic ‘Wonderful Tonight’ works surprisingly well as a country song, and has been done by country artists before – David Kersh (now largely forgotten) had a top 20 hit with it in the late 90s. Kevin’s version is tender and convincing, and really very good.

‘Daddy What If’, written by Shel Silverstein, was a hit for Bobby Bare and his 5 year old son. Kevin recruits his three year old, Weston, to sing the child’s part on this rather twee tune. The little boy has a vague approach to pitch, but the overall effect is rather sweet.

Moon has an attractive voice, and while this album has a more modern sound than Throwback, it is still solidly country. A couple of extra songs would have been welcome, but it’s still a worthwhile release.

Grade: A-

Christmas Rewind: Jim Ed Brown – ‘An Old Christmas Card’

Album boxed set review: The Mac Wiseman Story

the-mac-wiseman-storyBorn in 1925, Malcolm “Mac” Wiseman is the renaissance man of county and bluegrass music – singer, songwriter, musician, A&R man, record producer, disc jockey, co-founder of the Country Music Association. Mac was an early pioneer of country music, performing with Molly O’Day, and was a very early member of Flatt & Scruggs’ Foggy Mountain Boys, and later performed with Bill Monroe.

Mac survived polio, changing musical trends, changes in the structure of the recording industry, yet through it all, he has remained “the voice with a heart”, possessor of a slick Irish tenor with just enough “down home” in his voice to enable him to sing any form of music convincingly. Mac Wiseman is my absolute all-time favorite bluegrass vocalist.

Mac was elected into the International Bluegrass Hall of Honor in 1993 and the Country Music Hall of Fame in 2014, one of only three bluegrass acts (the others are Bill Monroe and Flatt & Scruggs) to be inducted.

Mac Wiseman has recorded for a wide variety of record labels with performers as diverse as John Prine, Lester Flatt, Merle Haggard and Doc Watson. It would be presumptuous of any box set comprised of only six CDs and 153 songs to claim to tell the Mac Wiseman story, but this set gives it an awfully good try.

The Mac Wiseman Story is comprised of all of the albums that Mac recorded for the CMH (originally County Music Heritage) label from 1976 to 1982, plus some recordings Mac obtained from minor labels.

Disc One is comprised of The Mac Wiseman Story, a collection of twenty songs recorded with the Shenandoah Cutups, the band which accompanied the late great Red Smiley after his split from Don Reno. These are amiable straight-ahead bluegrass recordings of Mac’s most famous songs such as “Love Letters In The Sand”, “I Wonder How The Old Folks Are At Home” and “Tis Sweet To Be Remembered”. I think these are Vetco recordings from 1976-1977, but whatever the source, these are fine recordings.

I should note that in order to ensure that each disc is chock full of music, that tracks from the 1979 CMH double album The Essential Bluegrass Album (with the Osborne Brothers ) are scattered at the end of CDs 1,2,4,5 & 6.

Disc Two is comprised of Country Music Memories and Mac Wiseman Sings Gordon Lightfoot. The former is a 1976 set of classic, mostly 1950s, country music songs ably backed by Arthur “Guitar Boogie” Smith and Clay Smith as well as some other acoustic instruments. The latter, released in 1977, contains Mac’s renditions of some of Canadian folk Singer Gordon Lightfoot’s classic songs as well as some lesser known songs. In addition to Arthur & Clay Smith on guitars, Eddie Adcock appears playing five string banjo.

The entirety of Disc Three is given to one of my favorite albums, The Clayton McMichen Story. Clayton McMichen (January 26, 1900 – January 4, 1970) was an American fiddler and country musician, whose band, the Georgia Wildcats, played a mix of country, pop, jazz and swing tunes. Clayton was regarded as one of the hottest fiddlers of his time. This album, in reality a tribute to Clayton and his band, finds Red Herron taking the role of Clayton McMichen, with Mac taking the role of vocalist Jack Dunnagan, Joe Maphis as tenor banjo player Jerry Wallace and Merle Travis as guitarist Slim Bryant. This album is a cohesive representation of what Clayton and his band sounded like, with an assortment of the reels, rags, blues and thirties pop tunes played.

Disc Four contains the excellent 1982 album Grassroots To Bluegrass. Some of the songs come from the early days of country music before bluegrass split off from country music. Included in this group would be “Kentucky”, “Short Life of Trouble”, and “Don’t Give Your Heart To A Rambler” and the rest are early bluegrass songs such as “I’m Using My Bible For A Roadmap”. Mac is accompanied by a stellar band that includes Eddie Adcock (banjo, guitar), Kenny Baker and Jim Campbell (fiddle), Martha Adcock (rhythm guitar), Josh Graves (dobro), Jesse McReynolds (mandolin) and Missy Raines (bass)

Disc Five finds Mac in the role of hard country/western swing artist on the 1980 album Songs That Make The Jukebox Play. The musicians with Mac on this album include a bunch of guys that played with Bob Wills or with Merle Haggard during his big band days – Johnny Gimble (fiddle & co-producer) , Jim Belken (fiddle), Dick Gimble (bass), Will Briggs (sax), Curley Hollingsworth (piano) , Herb Remington (steel guitar), Eldon Shamblin (lead guitar) and Bill Stone (trumpet). If you ever wondered how Mac does with western swing, wonder no more. Other than Hank Thompson and Tommy Duncan, I can’t think of any better swing vocalists than Mac Wiseman. I bought the vinyl version of this when it came out and kept hoping that Mac would revisit the genre. Among the classics covered are “Bubbles In My Beer”, “Time Changes Everything” , “Driving Nails In My Coffin” and “Wild Side of Life”.

Disc Six is a so-called bonus disc titled Mac Wiseman – Most Requested. This album contains a few songs not found earlier in the box set, plus it contains the remaining track from the Wiseman – Osborne Brothers collaboration.

This box set is released under the Wise Records label which is Mac’s own label. Mac has apparently obtained the rights for many of his recordings from the past. This set retails for $49.98 but you can obtain it for about five bucks less online.

Maybe this isn’t quite a comprehensive account of Mac’s career, but it is a really fine collection and an excellent place to start if you would like to explore Mac’s music. One thing is for sure – after listening to this collection, you will have no doubts as to why he is known as “the voice with a heart”.

Grade: A+

Christmas Rewind: Terri Clark – ‘O Little Town Of Bethlehem’

In Memoriam: Mark Gray (1952-2016)

Singer/Songwriter Mark Gray has passed, aged 64. The onetime member of Exile wrote ‘The Closer You Get,’ which was recorded by Alabama and hit #1 in 1983. Another notable recording, ‘Sometimes When We Touch’ paired him with last month’s spotlight artist Tammy Wynette. The song peaked at #6 in 1985. It would be her final Top Ten charting single. His biggest solo single, “Please Be Love” peaked at #7 the same year.

 

Album Review: Little Texas – ‘First Time for Everything’

177460_1_fLittle Texas released their debut album, First Time for Everything, in March 1992. The record, co-produced by James Stroud, came a little more than three years into their contract with the Nashville division of Warner Bros.

The band’s debut single was recorded in December 1990, but released in September 1991. “Some Guys Have All The Love” is an excellent piano and percussion laced mid-tempo ballad with ear-catching harmonies from the group. The song’s official title is ‘love’ but I have heard it called “Some Guys Have All The Luck,” as well. The track peaked at #8.

The B-side of their debut, the album’s title track, was issued as the second single. The track is a countrified power ballad I never really hated, but finally analyzing the lyrics for this review proves otherwise. “First Time For Everything” is weak, and justifiably peaked at #13.

“You and Forever and Me” was the album’s most successful single, and remains one of my favorite songs Little Texas released during their heyday. The track retains their formula, yet succeeds on the winning melody, Tim Rushlow’s wonderful lead vocal, and the band’s harmonies. The song peaked at #5.

The final two singles were ones I never even knew about until digging into Little Texas for this review. Both charted in the low teens, so their exclusion from the band’s Greatest Hits album is justifiable. “What Were You Thinkin,’” a bland mid-tempo in similar vein, peaked at #17. The final single, the warmed over pop ballad “I’d Rather Miss You” didn’t do much better, reaching #16.

The five remaining numbers showed Little Texas playing with a wider array of sonic textures. The best of the bunch is “Down In The Valley,” a barnburner solely written by Brady Seals that gives Ricky Skaggs a run for his money. The worst is “Better Way,” a gravely mess.

I’ve always really enjoyed the first three singles from this album and never bothered to check out the rest until now. It’s hard to see where Little Texas fits into the greater conversation of the early-90s, especially with this album, which makes few concessions to stake a claim as anything resembling country music. I wasn’t aware, or at least I’d forgotten about the hair and fashion, which is enough to make Billy Ray Cyrus want to puke. The look and sound aren’t gelling with me.

But I’ve always really enjoyed Little Texas and some of my favorites from them come from this album. First Time for Everything is far from a fine album but it isn’t atrocious, either. I don’t think the melodies have aged too much and I still find the whole proceedings listenable. Those high marks say a lot about an album released almost twenty-five years ago.

Grade: B

Christmas Rewind: The Mavericks – ‘Silent Night’

Week ending 12/3/16: #1 singles this week in country music history

life_tillisjump121615_16350281_8col1956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Somebody Like Me — Eddy Arnold (RCA)

1976: Good Woman Blues — Mel Tillis (MCA)

1986: Touch Me When We’re Dancing — Alabama (RCA)

1996: Strawberry Wine — Deana Carter (Capitol)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): A Little More Summertime — Jason Aldean (Broken Bow)

Classic Rewind: Little Texas – ‘First Time For Everything’

Classic Rewind: Patty Loveless – ‘You’ll Never Leave Harlan Alive’

Album Review: Travis Tritt – ‘A Man and His Guitar (Live From The Franklin Theater)’

travis-tritt-a-man-and-his-guitar-album-coverOne of the hallmarks of a great singer, as well as a great song, is the ability to strip away the slick production and studio wizardry, down to the bare bones: one voice and one instrument, without any loss of impact on the listener. It used to be taken for granted that most country music artists could do this, but in the age of music videos and autotune it’s become a dying art. Travis Tritt shows the younger generation how it’s done in his new live album, A Man and His Guitar, which was recorded over two nights in Franklin, Tennessee. The two disc set is being sold on CD and DVD exclusively through his website. The audio is also available for download through the usual online outlets (Amazon, iTunes, et al).

For the most part the album is like a greatest hits collection, with a few choice album cuts, and a few tributes to his musical influences, thrown in. Travis was never as traditional as most of his fellow Class of ’89 alumni, but his love and respect of country music have never been in doubt. While his real rockers like “Put Some Drive In Your Country” (which doesn’t appear here) wouldn’t translate well in an unplugged, it’s surprising how well others like “T-R-O-U-B-L-E’ do. It’s no surprise that the ballads — always his musical strength — work exceptionally well. “Help Me Hold On”, “Drift Off to Dream”, “Anymore”, and “Best of Intention (possibly my all-time favorite Travis Tritt song) are all represented here. So are mid- and uptempo numbers such as “It’ A Great Day to Be Alive”, “Here’s a Quarter (Call Someone Who Cares)” and “Modern Day Bonnie and Clyde”.

Singer-songwriter James Otto joins Travis on “Lord Have Mercy (On The Working Man)” and his good friend Marty Stuart shows up for “The Whiskey Ain’t Workin'” and an instrumental number called “Pickin’ At It”. There is a lot of banter, joking and reminiscing between the two old friends.

One of the biggest applause lines comes at the end of “Country Ain’t Country No More”, an underperforming single released in 2003 near the end of his chart reign. The song laments the loss of the country lifestyle and as it is winding up to a close, Tritt explains to the audience that there were some additional lyrics that were left off the studio version:

“You turn your radio on
And you wonder what for
‘Cause country ain’t country no more ….”

Amen, brother!

Tritt also spends a good bit of time paying homage to his musical heroes — Hank Williams, Jr (“The Pressure Is On”), Bobby Bare (“Five Hundred Miles Away From Home”), and Waylon Jennings (“Are You Sure Hank Done It This Way” and “Mamas Don’t Let Your Babies Grow Up To Be Cowboys”). He also does a very slowed-down version of “I Walk The Line”, which works surprisingly well as a ballad, but nothing can compare to Johnny Cash’s original version.

Travis’ voice sounds a little gravelly in spots but it hasn’t lost any of its power or its ability to touch the listener’s soul. This is a generous collection that plays for nearly two hours and there’s not a dull moment to be found. I highly recommend it.

Grade: A

Classic Rewind: Ray Price – ‘For The Good Times’

Spotlight Artist: Little Texas

dsc003271The founding members of Little Texas got their start in music 1983 when Porter Howell and Duane Propes joined forces while still in High School. Tim Rushlow and Dwayne O’Brian began playing together in Arlington, Texas the following year. They first came together, with additional members, as The Varsities, performing both on the road and at Opryland as a 1950s show band.

The band concept eventually dissolved and the guys invited old friends Brady Seals and Del Gray, who started as musicians in country singer Josh Logan’s backing band, to join them in their new venture as a country/southern rock band. They started playing 300 dates a year around the United States. The six of them officially became Little Texas, named for a place outside Nashville where they used to rehearse, in 1988.

They caught the ear of Warner Bros. and were signed to the label in 1989. The band released their debut album, First Time For Everything, in 1991. The album went gold and garnered the hits “Some Guys Have All The Love” (#8), “You and Forever and Me” (#5) and the title track, which peaked at #13.

Their biggest success came in 1993 with their 2x platinum, Big Time, which spawned “What Might’ve Been (#2), “God Bless Texas” (#4) and their sole chart topper “My Love.” The band’s rendition of “Peaceful Easy Feeling” was included on Common Thread: Songs of the Eagles, which won them the CMA Award for Album of the Year.

The Academy of Country Music named Little Texas their Top Vocal Group in 1994. Kick A Little came in September, with both the title track and “Amy’s Back in Austin” charting in the Top 5. The band also went through a regime change when Seals, who had co-written all the band’s biggest hits, departed to embark on a solo career. Their Greatest Hits album would feature their final Top 5, “Life Goes On” the following year.

With the band now in transition, they contributed “Kiss A Girl,” from The Little Mermaid to the various artists collection The Best of Country Sings the Best of Disney. Another tribute track, “Beast of Burden” was featured on Stone Country: Country Artists Perform The Songs of the Rolling Stones. They also collaborated with Jeff Foxworthy on “Party All Night” from his Crank It Up: The Music Album.

Little Texas released their self-titled fourth album, the band’s final for Warner Bros., in 1997. Coming three years after Kick A Little, they had lost their momentum and thus weren’t able to regain traction with country radio. Shortly thereafter the band officially disbanded. Rushlow went on to a one-hit-wonder solo career when the excellent Alzheimer’s themed “She Misses Him” peaked at #8 in 2000.

Propes, Gray, Howell and O’Brian resurrected Little Texas in 2004, but faced pushback from Rushlow and Jeff Huskins, who sued in a failed attempt to block them from using the ‘Little Texas’ name. This second incarnation has produced two studio albums – Missing Years (2007) and Young For A Long Time (2015). A concert album, The Very Best of Little Texas: Live and Loud has also been released.

I hope you enjoy our look back at Little Texas throughout the month, sprinkled amongst our Best of 2016 coverage.

Classic Rewind: Tammy Wynette – ‘Your Love’

Album Review: Tammy Wynette – ‘Heart Over Mind’

515m5b-5vol-_ss500There comes a point in even the most respected and revered artist’s career when the hits stop coming. Tammy Wynette’s commercial success began tapering off in the 1980s. 1985’s “Sometimes When We Touch”, a duet with Mark Gray, was her last Top 10 record. 1987’s Higher Ground found her embracing the New Traditionalist movement. That disc spawned two Top 20 hits. 1989’s Next To You was in many ways a throwback to the style for which she was known in the 1960s and 1970s. Neither of that album’s two singles reached the Top 40. Wynette never stopped trying to get back to the top of the charts, and her label, to its credit, stuck by her. 1990’s Heart Over Mind, produced by Bob Montgomery, was an attempt to modernize her sound without sacrificing the element that made her identifiable and unique. And for a brief moment, it appeared that the strategy might actually work.

The album’s lead single “Let’s Call It a Day Today” was one of those tear-jerkers that Tammy sang like no one else could. It finds her packing her things and plotting her escape from a floundering marriage while her soon-to-be ex sleeps. Her voice was showing some signs of age, but the production was contemporary and fresh. And country radio, which had ignored her last several releases, seemed to be paying attention. I heard the record quite a lot on my local station when it was first released. Unfortunately, it soon lost its momentum and topped out at #57. The songs lyrics make reference to the couple’s children and imply that Wynette is taking them with her, but the video which was directed by Tammy’s former lover interest Burt Reynolds, shows her leaving them behind, casting her in a slightly less sympathetic vein.

The second single “I’m Turning You Loose” is a light-hearted uptempo kiss-off written by Sonny Throckmorton and Curly Putman. It failed to chart. The third and final single “What Goes With Blue” is another uptempo number which finds Tammy picking out a wardrobe as she prepares to re-enter the dating scene. It charted at #56. It is the fourth song on the album and I’ve always thought of it as the follow-up to the story told in the album’s third track, “Suddenly Single”, a ballad which finds Tammy still picking up the pieces following a break-up.

Although it produced no hits, Heart Over Mind is a consistently strong effort from beginning to end, from the bouncy title track to “Half the Way Home”, a poignant look back at al lifelong friendship, and “If You Were The Friend”, which finds Tammy agonizing over whether to tell her best friend that her husband is cheating on her, and wondering what the friend would do if the situation were reversed.

Heart Over Mind was valiant effort to regain Wynette’s commercial momentum, but sadly it confirmed for once and for all that radio was through with her. With the exception of “Where’s The Fire”, which is ill-suited for Tammy’s voice, there are no missteps. Although she continued to record until almost the end of her life, this was her final solo album. Her subsequent releases were all collaborative efforts: 1993’s Honky Tonk Angels teamed her up with Dolly Parton and Loretta Lynn, 1994’s Without Walls found her singing with a variety of guest artists from both within and outside the country music community, and 1995’s One reunited her with George Jones. Epic also released a three disc boxed set, Tears of Fire, in 1992 to commemorate Wynette’s 25 years with the label. None of the tracks from Heart Over Mind were included, and it’s highly likely that this album was overlooked by some fans. It’s well worth a listen if you’ve missed it.

Grade: A

Classic Rewind: Tammy Wynette – ‘Cowboys Don’t Shoot Straight (Like They Used To)’