The friendly folks at Cracker Barrel have released something I thought I would never see – a new album of Faron Young recordings.
This album is somewhat similar to CONNIE SMITH – THE LOST TAPES in that it is taken from live takes, old radio shows and some studio recordings that never were released. Unlike the Connie Smith recordings, these were one track recordings, not in a finished state.
Producer Scott Oliver of Country Rewind Records, took the incomplete tracks and added additional instrumentation, vocal backings and some orchestration to create recordings that would fit comfortably on country radio during the last wave of neo-traditionalism (roughly 1986-2001). Many of the tracks were cut on acetate pressings that were intended for a single play on the radio. As such, some of the tracks required painstaking repair efforts. If I had to guess. most of the vocals were originally recorded in one take resulting in vocals that sound spontaneous and alive.
The basic sound is crisp and clean and modern. Faron’s vocal performances are very good. There is no information as to the additional musicians used on the collection, but Faron’s son Robyn Young wrote the liner notes. I would guess the original radio tracks and demos came from the mid-to-late 1960s as none of the songs feature hits from the 1970s. Because the tracks were meant for radio shows, a few of the tracks run under two minutes (“Alone With You” runs only ninety seconds) so the total playing time of the disc is just over 35 minutes.
The songs are as follows:
“I’ve Got Five Dollars (and It’s Saturday Night)” – this song was #4 hit for Faron in 1956 (the duo of George Jones & Gene Pitney also had a hit with it in 1965) and is taken at a very brisk tempo.
“Hello Walls” – this Willie Nelson-penned song was Faron’s biggest seller spending nine weeks at #1 in 1961 and selling over a million records. The 1961 hit recording was not very country, having been aimed squarely at the pop charts (it reached #12). This recording turns it back into a country song with country fiddles and steel guitar being featured prominently in the mix.
“A Place For Girls Like You” – this song was Faron’s third chart single, reaching #8 in 1954. This version picks up the tempo a bit from the original version.
“She Went A Little Bit Farther” – Faron recorded for Capitol; Records until 1962, switching over to Mercury in 1963. This song reached #14 for Faron in 1968. Faron’s chart success was very up and down during his first five years with Mercury as he sought to repeat the pop success of “Hello Walls”. In 1969 Faron went back to being a traditional country singer. This version is a little faster than the recorded single version and a little more country.
“You Don’t Know Me” was written by the legendary Cindy Walker from an idea supplied by Eddy Arnold. Eddy had a top ten hit with the song in 1956 and Ray Charles had a #2 pop hit with it in 1962. This recording would have made a great single for Faron had it existed and been released during Faron’s lifetime.
“I Guess I Had Too Much To Dream Last Night” – I love the steel guitar work on this recording. Faron’s 1967 single only reached #48. This is a much better recording, a likely top five record had this been the released version.
“Goin’ Steady” was Faron’s first charted single in 1953, probably written by Hank Williams (1). The single reached #2 in its first trip to the charts. Apparently Faron wasn’t completely satisfied with the original hit version as he re-recorded the song numerous times during the next decade, gradually picking up the tempo until he issued a new single of the song for Mercury in 1970. The Mercury version reached #5 and features aggressive use of fiddles and steel guitar. On the version featured here, Faron’s vocals have just about reached the tempo of the Mercury recording, Although I like the Mercury version better than this recording, this is a very good recording
“Unmitigated Gall” reached #7 in 1966 for Faron. This is a good version although not a revelation and not terribly different in its net effect from the released single version
“I Miss You Already” went top five for Faron in 1957. This version was taken from a radio show and is quite good, again nothing revelatory but quite interesting. Nice steel and fiddle work
To younger minds, it must be impossible to conceive of this song being a hit single. Be that as it may, “I Just Came To Get My Baby (Out of Here)” went to #8 for Faron Young in 1968. The arrangement here is a little more country sounding that the hit single.
Faron Young had the first hit single on “Sweet Dreams” back in 1956, charting about six weeks before writer Don Gibson’s version hit the charts. Faron’s version reached #2 on the charts. This is a solid country version. For my money Faron Young was the best interpreter of this song, better than Don Gibson, Patsy Cline or anyone else that followed.
“If You Ain’t Lovin (You Ain’t Livin’)” was Faron’s fourth chart single back in 1954 reaching #2 in early 1955. This Tommy Collins tune was recorded by many artists during the 1950s and 1960s. I like this version very much.
“Alone With You” – according to Billboard, this was Faron’s biggest hit spending thirteen weeks at #1 in 1958. This version is taken at a very fast tempo, finishing up in ninety breath-taking seconds. Very solid fiddle and steel guitar on this track. I love this track, I just wish it lasted a little longer.
I don’t remember “You Had A Call” – it wasn’t a single and if I heard it before, it passed by unnoticed. Not so this version, which caught my attention the within the first few notes. Unlike most of the songs on this collection, this is a slow ballad with a mostly understated arrangement that lets Faron’s voice take center stage.
“Live Fast Love Hard Die Young” was Faron’s first #1 single back in 1955, spending three weeks atop the charts. This version, from a radio show, is slightly faster than the original recording. The instrumental breaks on the recording are very good and very country. The song is a perfect ending to a very entertaining album. I just wish they had found a few more songs to lengthen the album a bit.
(1) The legend says Hank gave Faron the rights to “Goin’ Steady” in exchange for which Faron would give up dating Billie Jean Eschelman, a young lady both had been dating. Billie Jean would become the second Mrs. Hank Williams and in a bizarre twist of fate, would also be the widow of Johnny Horton.
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