My Kind of Country

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

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

Advertisements

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 “Nobody Can Fill Your Shoes” feels a step out of touch and sounds just a couple years out of date.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

Classic Rewind: Conway Twitty – ‘I See The Want To In Your Eyes’

Album Review: Conway Twitty – ‘Hello Darlin’

Note: I never owned this album on vinyl so I am working off a CD released on MCA Special Products in 1991, The songs are the same as on the initial vinyl release but the sequence of the songs is different on the CD.

Issued in June 1970, Hello Darlin’ was the ninth solo studio album released by Conway Twitty on Decca. The album was Conway’s first #1 country album and was eventually certified “Gold”. It also reached #65 on Billboard’s all genres chart, the highest that any of Conway’s country albums would reach, although reporting of country albums on the all-genres chart was very suspect and country albums were frequently under-reported by record shop personnel.

The CD opens with the Felice & Boudreaux Bryant classic “Rocky Top”. At the time, “Rocky Top” was a fairly new song that had not been covered to death. The Osborne Brothers had a hit with the song in 1968 and the combination of Doug Dillard, Gene Clark and Donna Washburn had a really nice version of the song on a Dillard & Clark album from that same year. Conway’s version has a banjo on it with what is otherwise an up-tempo Nashville production. Needless to say, Conway sings the song very well although he changes the words very slightly to accommodate his own phrasing.

Next up is “I’ll Get Over Losing You” a song written by Conway, a somewhat generic ballad about lost love. As always Conway sings it well, making for pleasant listening.

Conway also penned “Up Comes The Bottle” a mid-tempo song about the effects of alcohol. It’s a good song, well sung by Conway

Up comes the bottle and down goes the man

I can’t help him but I can understand

When up comes the bottle

And down, down, down, goes the man.

 

You may find him anywhere there’s heartache and despair

With loneliness so heavy you can feel it in the air

And the only thing that matters is the drink in his hand

Then up comes the bottle

And down, down, down, goes the man.

Bill Anderson wrote “You and Your Sweet Love”, which charted for Connie Smith in 1969, While I prefer Connie’s version, it would have made a good Conway Twitty single, one of many such songs stranded as album tracks on the early Conway Twitty albums. I seem to recall that Connie Smith wrote the liner notes for the vinyl album’s back cover.

The self-penned “Hello Darlin’” is the song for which Conway is best remembered, although “It’s Only Make Believe” was a huge pop hit in 1958 and by far his biggest seller. “Hello Darlin’“ reached #1 and stayed there for four weeks. The song is about a man who runs into an old flame, reigniting old feelings in the process. This was the only single released from the album.

 Hello darlin’

Nice to see you

It’s been a long time

You’re just as lovely

As you used to be

 

How’s your new love

Are you happy?

Hope you’re doin’ fine

Just to know means so much to me

 

What’s that darlin’

How am I doin’?

I’m doin’ alright

Except I can’t sleep

I cry all night ’til dawn

 

What I’m tryin’ to say is

I love you and I miss you

And I’m so sorry

That I did you wrong

Conway would revisit the theme with his next single “Fifteen Years Ago”. I saw Conway in concert several times before this song was released and several times after. From 1971 onward, this was his opening number and “It’s Only Make Believe” his closing number, perfect bookends for a great show.

“Rose” (not to be mistaken for the maudlin Amanda McBroom composition “The Rose” that Bette Midler would record later and Conway would cover) was written by L.E. White, a staff writer for Conway’s publishing company. This song is a ballad about a brother whose sister has strayed off-track in life.

“Reuben James” was a top thirty pop hit for Kenny Rogers and The First Edition (it went top ten in Canada, New Zealand and Australia) that was covered by a large number of American country artists. This is a nice mid-tempo track.

Bill Anderson also wrote “I Never Once Stopped Loving You”, which reached #5 for Connie Smith in 1970, Again, I prefer Connie’s version, but Conway does a nice job with this ballad

It is difficult to find a country album of the late 1960s-early 1970s that does not contain a Dallas Frazier composition. This album features “Will You Visit Me On Sundays” which was a top twenty single for Charlie Louvin in 1968, and the title track of a 1970 George Jones album. I can’t say that Conway’s version is better than Charlie Louvin or George Jones (the lyric seems perfect for Charlie’s weathered voice) but this would have made a good Conway Twitty single.

 Just outside these prison bars

The hanging tree is waitin’

At sunrise I’ll meet darkness

And death will say hello

Darling, touch your lips to mine

And tell me you love me

Promise me again before you go

 

Will you visit me on Sundays?

Will you bring me pretty flowers?

Will your big blue eyes be misty?

Will you brush away a tear?

Fred Rose write the classic “Blue Eyes Crying in The Rain”, a song that both Hank Williams and Rof Acuff had recorded. Since Willie Nelson had yet to record this song (Willie’s version would be released in 1975), this was not a cover of somebody else’s hit single, but simply case of Conway going “deep catalog” in finding a song that he liked. Conway’s version is not the sparse recording that Willie released but a normal Owen Bradley production applied to a classic Fred Rose composition from the 1940s.

The album closes with “I’m So Used To Loving You”, the fourth of Conway’s own compositions on the album. This is a good song that somebody somewhere should have released as a single.

I’m so used to loving you sweetheart

You’re on my mind each minute we’re apart

And I love you more each day that we go through

You’re my life and I’ll live it loving you

 

I’m so used to loving you it seems

I can’t stand the thought of losing you not even in my dream

Hold me close and tell me what I’d do without you

I couldn’t take it, I’m so used to loving you

Conway Twitty was a good and prolific songwriter who would use his own compositions on his albums, but, unlike some singer-songwriters, only if they were good songs. Through this album, the highest number of Conway Twitty and/or Mickey Jaco compositions on an album was four. There would be one future album in which he wrote eight of the ten songs (there must be a story behind this since it is a complete outlier) and several on which he wrote one or none of the songs

None of the Conway Twitty compositions that I’ve ever heard were duds, and many of them fell in the very good-to-great category

This album is a solid A with solid country production throughout