My Kind of Country

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

Week ending 10/22/16: #1 singles this week in country music history

images-111956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Open Up Your Heart — Buck Owens (Capitol)

1976: You and Me — Tammy Wynette (Epic)

1986: Just Another Love — Tanya Tucker (Capitol)

1996: Believe Me Baby (I Lied) — Trisha Yearwood (MCA)

2006: Would You Go With Me — Josh Turner (MCA)

2016: Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

2016 (Airplay): It Don’t Hurt Like It Used To — Billy Currington (Mercury)

Classic Rewind: Joey + Rory – ‘Amazing Grace’

Classic Rewind: Asleep At The Wheel – ‘Ain’t Nobody Here But Us Chickens’

Classic Rewind: Ernest Tubb – I’ll Get Along Somehow’

Album Review: Asleep At The Wheel – ‘Remembers The Alamo’

mi0000402869Asleep At The Wheel released their concept album Remembers The Alamo, thirteen years ago this November. The record is comprised of a hodgepodge of songs pulled from a wide array of sources displaying the breadth of Ray Benson’s research on the titular San Antonio landmark.

The album opens brilliantly, with a bright cover of folk legend Jane Bowers’ “Remember The Alamo,” her account of infamous thirteen-day battle in 1836. The song is from the 1960 John Wayne film of the same name, as does “Green Leaves of Summer,” which features impeccable Spanish guitar licks and a revelatory vocal from Benson. Fiddle and steel dominate the first minute of “New San Antonio Rose,” their gorgeous rendition of the Bob Wills classic.

Among the tracks are five traditional tunes. “Billy In The Low Ground,” “Eighth of January” and “Soldier’s Joy” are fiddle tunes, while “Deguello” is distinguished by the lonesome wails of bugle. For the final one, they turn in a terrific version of “Yellow Rose of Texas.”

“Across the Alley from the Alamo” is a near-perfect facsimile of the version they included eighteen years earlier on their Asleep At The Wheel album. “Ballad of the Alamo” is a delightful folk song, once again about the infamous 1836 battle. Their version of “Ballad of Davy Crockett” is also wonderful although it is borderline cheesy.

The album concludes with two originals composed specifically for the record. Benson co-wrote the insufferable “Don’t Go There,” about the time Ozzy Osborne peed on the Alamo. The comic overtones are terrible and the song is just plain dreck. The other original, “Stout and High” is quite good.

I live in Massachusetts and have never been to Texas apart from layovers, so I have zero connection to anything remotely relating to The Alamo and the state of Texas. So I’m as surprised as any to find I connected with and thoroughly enjoyed this album. The record is fantastic and I highly recommend seeking it out, regardless of where you may be from.

Grade: A

Classic Rewind: Asleep At the Wheel ft Dwight Yoakam – ‘San Antonio Rose’

Album Review: Asleep at the Wheel – ‘Keepin’ Me Up Nights’

0001597610Released in 1990 as their only studio album for Arista Records, Keepin’ Me Up Nights will do just that as it is a interesting effort throughout.

Asleep At The Wheel (“AATW”) can often feature an astounding number of musicians on stage but this album finds the band being comprised of Ray Benson on lead vocals and guitar; Larry Franklin on fiddle, guitar, and harmony vocals; Tim Alexander on piano, accordion and harmony vocals; John Ely on pedal and lap steel; Michael Francis on saxophone, Joe Mitchell on acoustic and electric bass; and David Sanger on drums. The band is augmented by Greg Jennings playing guitars and six string bass.

The album opens with “Keepin’ Me Up Nights”, a bluesy/jazzy number written by James Dean Hicks and Byron Hill.  In the albums notes Benson says the intent was to do a ‘Ray Charles sings western swing’ arrangement. I would say there were successful.

“Boot Scootin’ Boogie” was written by Ronnie Dunn and would prove to be a major hit for Brooks & Dunn two years later. Since I heard AATW’s version jazzy version first, I found myself surprised at the Brooks & Dunn arrangement and frankly I think AATW did it better, albeit quite differently and definitely not suitable for line dancing.

“Dance With Who Brung You” is a Ray Benson original inspired by a phrase used by former Texas football coach Darrell Royal. This song is done as a mid-tempo ballad.

You got to dance with who brung you, swing with who swung you,
Don’t be a fickle fool,You came here with a gal, who’s always been your pal
Don’t leave her for the first unattached girl, it just ain’t cool
You got to dance with who brung you, swing with who swung you,
Life ain’t no forty-yard dash, be in it for the long run,
’cause in the long run you’ll have more fun, if you dance with who brung You to the bash

Ray collaborated with co-producer Tim Dubois on “Quittin’ Time”, a boogie with real nice sax solos by Michael Francis.

Lisa Silver (who played fiddle on AATW’s second album), Judy Rodman and Carol Chase join the band to provide background vocals on Bobby Braddock’s lovely “Eyes”, an exquisite slow ballad.

Troy Seals and John Schneider wrote “Goin’ Home” is a ballad about the joys of going home after being away too long. This song has a rhythmic arrangement suitable for line dancing.

Well I’ve got a lot of friends on the West Coast,
Got a lot of memories
Well I want you to know that I won’t forget
Everything you’ve done for me
But it’s been too long, just too long
T-T-T-T-T-Too long, I’m a-goin’ home
New York, Detroit, Chicago
You were really somethin’ else
You treated me just like kinfolk y’all,
And I swear I can’t help myself
But it’s been too long, way too long
T-T-T-T-T-Too long, I’m a-goin’ home

I’m gonna write a letter,
I’m gonna send a telegram
Gonna tell everybody this wanderin’ boy is packing his bags right now
And I’m’a goin’ home

“That’s The Way Love Is” was written by former (and founding) AATW member Leroy Preston in 1989. The song, a mid-tempo ballad with a strong Cajun feel to the arrangement (fiddle and accordion), tells of the ups and downs of life. John Wesley Ryles, briefly a star in his own right, chips in background vocals

“Gone But Not Forgotten” was penned by Fred Knobloch and Scott Miller is an up-tempo western swing song about where money goes. We’ve all lived this story …

The great Harlan Howard wrote “You Don’t Have To Go To Memphis”. The premise of the song is that you don’t have to go to Memphis to get the blues, just fall for the wrong woman. The song features nice piano and fiddle solos

You don’t have to go to Memphis to get the Blues
You just fall in love with the kind of women I do
Well, I’ve had me a dozen but I never had me one that
Did not fall through
You don’t have to go to Memphis to get the Blues
There she goes, here I stand
Watching good love slip away
Once again, I’m all alone
Love has come and gone

“Beat Me Daddy (Eight To The Bar)” is a classic boogie from 1940, originally recorded by Will Bradley’s Orchestra (with Ray McKinley on lead vocals). The song was a huge hit for Bradley and has been recorded many times since Bradley’s recording including Commander Cody, Ella Fitzgerald and The Andrews Sisters. The song was completely written by Don Raye although some other names also show up on the writer’s credits

In a little honky-tonky village in Texas
There’s a guy who plays the best piano by far
He can play piano any way that you like it
But the way he likes to play is eight to the bar
When he plays, it’s a ball
He’s the daddy of them all
The people gather around when he gets on the stand
Then when he plays, he gets a hand
The rhythm he beats puts the cats in a trance
Nobody there bothers to dance
But when he plays with the bass and guitar
They holler out, “Beat me Daddy, eight to the bar”

“Texas Fiddle Man” was written by fiddler Larry Franklin and he takes the lead vocals on this song, which features some extended fiddle solos. The folks at Alabama (the band) contributed the idea for the closing riffs.

The album concludes with “Pedernales Stroll” a gentle instrumental tribute to finger pickers such as Chet Atkins, Merle Travis. The song is the only instrumental on the album and as such, the perfect ending to an exciting album

Grade: A+

Classic Rewind: Randy Travis – ‘Forever And Ever Amen’

Classic Rewind: Asleep At The Wheel – ‘Hot Rod Lincoln’

Album Review: Mo Pitney – ‘Behind This Guitar’

behind-this-guitar23 year old Mo Pitney from Illinois is chasing on the heels of William Michael Morgan as the latest neotraditional country singer to make a mainstream bid for success. (In a bizarre coincidence, they share a name – Mo is short for Morgan). Mo’s singles haven’t achieved the same level of success as that of his contemporary, but he has been building up some grassroots support as he issues his debut album, produced by veteran Tony Brown. Mo is a talented songwriter as well as a fine singer, and cowrote most of the songs here.

I was pleasantly surprised by the lead single ‘Country’ over 18 months ago, and still enjoy its relaxed feel. The second single ‘Boy And A Girl Thing’ is also very pleasant sounding, augmented by harmonies from Lee Ann Womack; as Razor X noted in his review, it has strong echoes of late George Strait to it. Sadly, neither single (both Pitney co-writes) reached the top 40 on the Billboard country chart. Both follow fairly well travelled ground lyrically, and although unambitious, Mo’s vocals and the gentle country arrangements make them worth hearing. Current single ‘Everywhere’ has a fuller, more contemporary sound, but isn’t terribly interesting, even though it is a cowrite with the great Dean Dillon.

Dillon also co-wrote ‘Take The Chance’, which has a very pretty melody and arrangement, and grows on repeated listens.

One of the album’s highlights is the deeply affecting ‘Just A Dog’ (written with Jimmy Melton And Dave Turnbull). It is the story of a stray dog who becomes the protagonist’s best friend. Another favorite is ‘I Met Merle Haggard Today’. Unlike some Haggard tributes, this one makes a (successful) effort to sound like the man himself, with the song structured like some of Haggard’s conversational style numbers, and Mo’s vocal echoing Hag’s stylings. It relates a real life meeting with Mo’s hero in 2013.

The excellent ‘Cleanup On Aisle Five’ (written by Mo with Wil Nance) has a nicely detailed story of a chance encounter with an ex in the supermarket leading to a man’s emotional breakdown:

If I wasn’t standing in that store I might have laid right on that floor and cried

‘Come Do A Little Life’ is a nice mid-tempo everyday love song (written with Nance and Byron Hill); ‘When I’m With You’, written with David Lee Murphy, is along the same lines. ‘Love Her Like I Lost Her’ is a strong song about realising the fragility of life and importance of love, which Mo wrote with bluegrass songwriter Dennis Duff.

Mo has a very strong religious faith, and includes the understated contemporary Christian ‘Give Me Jesus, set to a very stripped down acoustic arrangement. This (written by Fernando Ortega) is one of only two songs Mo did not help to write. The other, oddly enough, is the title track, which was written by Casey Beathard, Don Sampson and Phil O’Donnell, despite sounding as if it must be autobiographical. It’s a charming folky song about being a musician:

Behind this guitar is just a boy who had a dream in his heart
Behind this guitar is just a guy who can’t believe he got this far

Well, I’ve always said that I’ve been blessed
Why me is anybody’s guess
Well, I don’t know
But I’m well aware the man upstairs could have answered any other’s prayers
And let mine go
But thanks to Him, my family, friends, and those that got me where I am
(You know who you are)
And with that in mind the truth is I’m not the only one
Behind this guitar

This is a very promising debut, perhaps a little more traditional and less commercial than that of William Michael Morgan. I do hope that both young men do well in their careers.

Grade: A-

Classic Rewind: Johnny Cash – ‘After Taxes’

Album Review: Asleep At The Wheel – ‘Western Standard Time’

western-standard-time1988’s Western Standard Time, the band’s last for Epic, included various covers from the worlds not just of western swing, but country and R&B. As usual, it is played well and enthusiastically, making an entertaining listen.

It produced three modestly performing singles. My favourite is a very nice retro-styled cut on country classic ‘Walk On By’, which reached #55. The follow-up, ‘Hot Rod Lincoln’, a fun spoken rockabilly tune about a car, made it ten places lower. They recruited Willie Nelson to share the vocals on a likeable, relaxed ‘Chattanooga Choo Choo’ which was the last, non-charting, single.

The band takes on a couple of Western Swing standards – Bob Wills classic ‘San Antonio Rose’ may be the quintessential Western Swing tune, while the quirky ode to a fat child, ‘Roly Poly’, allows the band to stretch out.

‘That’s What I Like About The South’ comes from the jazzier end of western swing – Bob Wills did record it but it was written by a New York based jazz musician. The bluesy ‘That Lucky Old Sun (Just Rolls Around Heaven All Day’ gets a soulful treatment.

‘Don’t Let Go’ is a rather dull R&B hit from the 1950s which is the one track that left me cold.

The final track is a great version of ‘Walking The Floor Over You’, with Ray Benson doing his best Ernest Tubb impression.

Although there is nothing new here, this is great music, and worth hearing.

Grade: B+

Classic Rewind: Dolly Parton – ‘Precious Memories’

Week ending 10/15/16: #1 singles this week in country music history

hqdefault-91956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Blue Side of Lonesome — Jim Reeves (RCA)

1976: The Games that Daddies Play — Conway Twitty (MCA)

1986: Both to Each Other (Friends & Lovers) — Eddie Rabbitt with Juice Newton (RCA)

1996: Believe Me Baby (I Lied) — Trisha Yearwood (MCA)

2006: Would You Go With Me — Josh Turner (MCA)

2016: Forever Country — Artists of Then, Now & Forever (MCA)

2016 (Airplay): It Don’t Hurt Like It Used To — Billy Currington (Mercury)

Classic Rewind: Jay Lee Webb – ‘A Whole Lot Of Nothing (But Memories Of You)’

The brother of Loretta Lynn and Crystal Gayle:

Classic Rewind: Asleep At The Wheel – ‘House Of Blue Lights’

Album Review: Asleep at the Wheel – ’10’

61uxgwzhcdl-_ss5001987’s 10 marks the beginning of Asleep at the Wheel’s second brief stint with Epic Records and a commercial resurgence of sort, perhaps fueled by Nashville’s renewed interest in traditional country music. 10, however, is hardly a traditional album; like the band’s other recordings, it is a fusion of country and 1940s swing music. Produced by Ray Benson, it was released following a period when the group had all but disbanded due to financial difficulties. It earned the band a Grammy for Best Country Instrumental, presumably for the track “String of Pars” which is the only instrumental number on the album. The great Johnny Gimble is once again featured as a guest artist.

The album produced four singles, beginning with the excellent Billy Joe Shaver-penned “Way Down Texas Way”, which peaked at #39, becoming the band’s first Top 40 hit in nearly a decade. It was followed by a cover of “House of Blue Lights”, which had twice been a hit in 1946: once for Freddie Slack and Ella Mae Morse and again for The Andrews Sisters. It is not even remotely country, and as such was an odd choice for a single at the height of the New Traditionalist movement. Nevertheless, it rose to #17, marking the second and final time that an AATW album would reach the Top 20. Country it is not, but it is very good. Ray Benson’s composition “Boogie Back to Texas” was the third single. It too was more swing than Western and charted at #53. The fourth single, Guy Clark’s “Blowin’ Like a Bandit” is easily the best song on the album. One has to marvel that “House of Blue Lights” reached the Top 20 while a song that was much more in line with the mainstream tastes of the day topped out at #59.

The musicians are excellent, as always, and their talent goes a long way towards compensating for the occasional weaknesses in the material: a cover of Huey Lewis and The News’ “I Want a New Drug”, which of and by itself is not a great song, and “Big Foot Stomp”, which is also not a great song but obviously not meant to be taken too seriously.

This is short album, clocking in at just over 29 minutes, and it seems to go by even quicker. It’s a wonderful listen and worth seeking out.

Grade: A-

Classic Rewind: Keith Whitley – ‘She’s Making Plans’

Single Review: George Strait – ‘Goin’ Goin’ Gone’

goin-goin-gone-cover-artBeyond a few dates in Las Vegas with Kacey Musgraves, George Strait has remained dormant for the better part of the last year. Cold Beer Conversation has continued his downward trend as country radio continues to find little room for many with traditional-leanings. In the past few weeks Strait has returned, sitting down with The Dallas Observer (the interviewer, surprisingly, is no relation to me) for a must-read interview and mining his most recent album to release “Goin’ Goin’ Gone,” a honky-tonk rocker co-written by Wyatt Earp and Keith Gattis.

The lyric finds the protagonist down on his luck, with little savings:

I put in my forty and they take out way too much


I ain’t got no 401, ain’t got no benefits

They don’t hand out stock options, not down here in the pits

Despite his grim financial situation he is determined to forget his troubles, even if he only digs himself deeper:

I’m overdue so throw it on the card

Bartender, keep it open, I’m just getting started

Come Monday morning, I just might be overdrawn

But it’s Friday night, so, I’m goin’, goin’ gone

Even without a solid foundation, he does find the silver lining:

Might not be the big dream but I guess I can’t complain

It pays the rent but that’s about all that it pays


But I’ve got old glory hanging by my front porch light

Might not be the perfect world but then again, it might

Blue-collar anthems, once a staple of country music, have fallen by the wayside as the Nashville Machine went into overdrive to deemphasize the harsh realities of life in modern country songs. At its core, “Goin’ Goin’ Gone” is a drinking song dosed in realism, with the writers gifting us intent behind his need to keep throwing ‘em back.

While I do find the record infectious, and Strait sounds as high-energy as ever, the execution is lacking the uniqueness that would take this single over the top. Plus the arrangement, while excellent, feels a tad loud in the final mix.

“Goin’ Goin’ Gone” may have appeared on Cold Beer Conversation but MCA has serviced it as the promotional push for Strait Out of The Box: Part 2. Strait’s second boxed set (3 CDs), a Wal-Mart exclusive, will be released on November 18. In that case, “Check Yes or No” this is not. But it is very good.

Grade: B+

Classic Rewind: Patty Loveless – ‘The Lonely Side Of Love’