Country music from a fan's point of view since 2008
Released in December 1967, Charley’s third album was his first to reach #1 on Billboard’s Country Albums charts and even hit #199 on the all-genres chart, starting a run of fourteen consecutive top ten albums, all but one of which were top five or better.
The album opens up with the Jack Clement composition “Too Hard To Say I’m Sorry”, a plodding ballad that in the hands of (almost) anyone else, would have been a complete misfire. In Charley’s hands this song of self recrimination conveys the story of a man whose pride gets in the way of apologizing and perhaps salvaging the most important relationship in his life.
Just two words were all that she would ask of me
And I could have the world and all it holds for me
Of love and tender care, not the pain and the sorrow
That will be mine tomorrow, but I just can’t seem to say it – I’m sorryI know exactly what I should do admit I’m wrong, it wouldn’t take long
And she’d forgive me
And I know exactly what I ought to say, but I’m not built that way
Wish that I could say I’m sorry
Next up is another Jack Clement ballad, “The Little Folks”, a song that assesses who the real losers are in a divorce. I’ve heard Willie Nelson perform the song but I’m not if he ever recorded the song.
“Crystal Chandeliers” was written by Ted Harris, but the hit went to the great songwriter Carl Belew. For whatever reason, other than “Kiss An Angel Good Morning”, this has become Charley’s most requested song, even though it was never a Charley Pride single in the USA (I think it was a single for Charley in parts of Europe). Charley would repeat the song in his Live At Panther Hall album released in January 1969.
Oh, the crystal chandeliers light up the paintings on your wall
The marble statuettes are standing stately in the hall
But will the timely crowd that has you laughing loud help you dry your tears
When the new wears off of your crystal chandeliers
“Act Naturally” was a cover of a huge Buck Owens hit from a few years earlier. Johnny Russell wrote the song and certainly saw considerable royalties from the records sold by Buck and The Beatles, let alone all the other covers. Charley’s version is good but not electrifying as was Buck’s version.
“Does My Ring Hurt Your Finger”, a Robertson/Crutchfeld/Clement collaboration, reached #4, his third straight top ten single. This song of a wayward wife just drips with understated irony.
Does my ring hurt your finger when you go out at night?
When I bought it for you, darling, it seemed to be just right
Should I take it to the jeweler so it won’t fit so tight?
Does my ring hurt your finger when you go out at night?Did you enjoy yourself last night, dear, how was the show?
You know that I don’t mind it when you go
I understand sometimes we all need time alone
But why do you always leave your ring at home?
This is followed by “Mama Don’t Cry For Me” which the underrated Johnny Seay (or Sea) released as a non-charting single a few years later. I really liked Seay’s version, and Charley does a fine job with the song as well, although with a slightly less dramatic reading of the song. Fred Foster and Johnny Wilson wrote this song:
I’ve seen the big fish jumping, mama, I’ve heard crickets sing
And I’ve felt my heart start pounding at the side of New Orleans
I’ve seen the New York City with her lights aglow
I’ve been a lot of places always on the go
I’ve seen most everything I cared to see, so mama, when I’m gone, don’t cry for me …I’ve climbed the highest mountains covered with snow
I’ve seen most everything I cared to see, so mama, when I’m gone, don’t cry for me
I’m sending you this message, mama, I must say goodbye
I live the life you gave me, mama, I’m not afaid to dieEven though I’m dying, mama, the hands of death are strong
I don’t want you crying, mama, after I’m gone
I’ve seen all of this old world I cared to see, so mama, when I’m gone, don’t cry for me
So mama, when I’m gone, don’t cry for me
The second single released from this album was the Jerry Foster/Bill Rice collaboration “The Day The World Stood Still”. This ballad of lost love reached #4.
For one day in my life
You brought me happiness
You stopped the lonely world
With all your tendernessI can’t get over you
I guess I never will
Time was a precious thing
The day the world stood still
The next song, another Jack Clement composition, is one of my favorite Charley Pride recordings. In the middle of the song Charley calls out ‘here’s Big Joe Talbot and his electric Hawaiian steel guitar’ by way of introducing Big Joe’s instrumental break. Charley did not release this song as a single but later in the year, the Jack Clement produced Tompall & The Glaser Brothers released it as a charting single, and they too made the same introduction of Big Joe Talbot (and basically used the same arrangement).
Someday I think I’ll take up thinking and try my best to understand
How she could be loving me forever and leaving on the other hand
Last night I thought I’d see a movie to help me get my thoughts in hand
I think what I saw was the western preacher or James Bond on the other hand
I placed the ring upon one finger of her left hand
The one who said she’d stay forever is gone on the other hand
Next up is a sad ballad about a love that can’t be, written by Country Johnny Mathis. “You Can Tell The World” is pleasant enough listening, but would never be regarded as singles material.
Mel Tillis and Danny Dill provided “I’ll Wander Back To You”. This song is a cover of the Earl Scott single that reached #30 in 1965. It’s a nice, but not terribly exciting, tale of wanderlust:
They say I’m like my daddy, always on the roam
I know he loved my mama but he couldn’t stay at home
I vowed to not be like him but somewhere I went wrong
Cause I’m a thousand miles from nowhere and the girl I love at home
One of these days I’m gonna quit my wandering
One of these days I’ll wander back to you
Younger listeners may remember Ricky Van Shelton’s 1988 #1 single of the Harlan Howard classic “Life Turned Her That Way”. Older listeners may remember the 1967 Mel Tillis recording that just missed the top ten or perhaps an earlier recording by Little Jimmy Dickens. Charley does a very good job with the song.
No one could out-Haggard Merle Haggard on one of his compositions, and Charley couldn’t either. His version of “I Threw Away The Rose” is a pleasant jog-along ballad but nothing more than that.
I liked this album, but think that the song selection was not quite as strong as on his debut album. The vocal choruses remain, but the songs are string-free and the vocal accompaniments are not too obtrusive. Nothing about this album suggest that this is anything but a country album, and while the big blockbuster singles were still on the horizon, it was clear that they were coming.
Grade: A-
My Kind of Country 
This third album by Charley was his best to date. When I first purchased this album back in 1968 it spent a lot of time on my turntable. Back then it was not easy to skip over a song that you did not especially care for. Record players did not have a “next” button so you physically had to move the tonearm to another track. Had digital technology been available to me then I would find no reason to do so. Every track was thoroughly enjoyable to me and listening to them again almost 50 years later I still feel the same.
Though I generally prefer brand new songs on an artist’s LP (or at least songs that have not already become familiar hits) Charley’s renditions of recent hits are all very well done. Clearly the best from that batch is his remake of Carl Belew’s 1965 #12 country hit “Crystal Chandelier.” [the title for Carl’s version was singular] Charley’s version was played as an LP track by many country stations back in the day when album cuts were a regular part of their playlists. Charley added the song to his concert set list and as Paul mentioned a live version was included on the 1969 LP “Charley Pride – In Person.” Demand for the song by jukebox operators became so great that in 1972 RCA issued the original studio version in their 45 RPM Gold Standard oldies series. That single was not just played on jukeboxes but also found it’s way into the oldies libraries for many country radio stations making it one of the most popular country LP tracks of all time.
I think that your chronology of “Gone On The Other Hand” is reversed. Tompall & The Glaser Brothers MGM single was released in late 1966 and peaked at #24 in late February 1967. Pride recorded his version August 1, 1967 so it appears that Charley copied the Glasers rendition. In any case Charley did a great job with it too and it’s a standout track.
Of the “new” songs I especially loved “The Little Folks” with it’s infectious chorus. Songwriter Hank Cochran recorded the song for his 1965 RCA album “Going In Training.” Around that time Johnny Paycheck made a version for Hilltop titled “(What’s Gonna Happen To) The Little Folks.” Johnny’s version remained unreleased until 1972 when it was issued on the Hilltop album “Heartbreak, Tenn.” [JS-6124]
I liked “You Can Tell The World” a bit more than Paul did as that too is one of my favorites. Of course both singles drenched in Lloyd Green’s superb steel guitar are true country classics in my book. Charley’s voice was never better.
Like Paul I give this album an “A” but I’ll add a “+”