2011 was a good year for Louisiana Born Irish country singer Robert Mizzell. He was inducted into the Shreveport Walk of Stars, which recognizes achievement in the world of country music, and is the highest honor his home city could bestow upon him. He also released his eighth album, Mama’s Rocking Chair, a collection of thirteen songs, many of which were classic country covers.
Among the tracks are three George Jones songs from his years recording for Musicor. The earliest, “Things Have Gone to Pieces,” written by Leon Payne, was his first single for the label, peaking at #9. Mizzell gives an excellent reading of the ballad, which nicely stands up to Jones’ recording. The other two were culled from Jones’ 1970 album Will You Visit Me On Sunday. The title track, written by Dallas Frazier is about a prison inmate and the woman he loves on the outside. Charlie Walker’s “Rosie Bokay,” tells the story of a man falls for an enigmatic bartender. Both are also excellent and devoid of the intrusive touches on Jones’ versions.
The jaunty “Sick, Sober and Sorry” was a duet for Lefty Frizzell and Johnny Bond in 1951. Mizzell reprises it here, beautifully, as a duet with Martin Cleary. John Prine’s “Grandpa Was A Carpenter” is newer, first seeing release by him in 1973 and again in 1989 from The Nitty Gritty Dirt Band on Will The Circle Be Unbroken, Vol. 2. Mizzell once again turns in an equally wonderful performance. Also very good is his version of Rodney Crowell’s “Leaving Louisiana In The Broad Daylight,” which came to prominence through recordings by Emmylou Harris and The Oak Ridge Boys.
The plight of Irish immigrants in the 1950s is covered on “Paddy,” an Irish folk ballad given a traditional arrangement. Also gut wrenching is “The Orphan Train,” a brutal ballad. The title track, a mid-tempo fiddle drenched ballad, is another excellent story song. “What We Don’t Have” and “Can You Hear Me Now” are pure honky-tonk.
Also featured on Mama’s Rocking Chair is Mizzell’s biggest hit to date at the time, the upbeat “I Ain’t Fallin’ for That” and “Cajun Dance,” a fiddle heavy ode to his Louisiana heritage written specifically for him by Peter McKeever. Of the two,“Cajun Dance,” which opens the album, is the stronger song, which recalls the line dance craze of the early 1990s.
Mama’s Rocking Chair, as a whole, does a great job of mixing both old and new cohesively. I thought it was a bit too clean and precise in execution, but it’s a fine album worth checking out. Individual tracks are available on YouTube and the album is also on Itunes.