My Kind of Country

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

Monthly Archives: October 2017

Classic Rewind: Sharon White covers ‘Mansion On The Hill’

Classic Rewind: Patty Loveless ft Vince Gill – ‘Wine, Women And Song’

Cover of a Loretta Lynn classic:

Album Review: Kenny Rogers – ‘You Can’t Make Old Friends’

Kenny Rogers released his most recent album, You Can’t Make Old Friends, in October 2013. It was his inaugural release for Warner Bros. Nashville and first record of all new material in seven years.

The title track, co-written by Don Schlitz with Caitlyn Smith and Ryan Hanna King, reunited Rogers with Dolly Parton. The mostly acoustic ballad is a masterful look at two singers contemplating their advancing age, wondering how they’ll go on one day without each other. The song peaked at #57 as the album’s only single.

You Can’t Make Old Friends is peppered with contributions from some of the finest writers to emerge out of Nashville in the past thirty years. Schlitz appears again, alongside his longtime co-collaborator Paul Overstreet, on “Don’t Leave Me in the Nighttime,” which features accordionist Buckwheat Zydeco. The track is good but would’ve been a lot stronger had it been given a 1990s styled arrangement.

Allen Shamblin also has two cuts. He wrote the contented “All I Need Is One” with Marc Beeson and the reflective “Look At You” with Mike Reid. The latter is the stronger song by a mile, but pails in comparison to “I Can’t Make You Love Me,” which is the pair’s masterpiece.

The album closes with Dan Seals’ “It’s Gonna Be Easy Now,” which he recorded on On The Front Line in 1986. Rogers’ version is a terrible mix of raspy vocals and an overbearing arrangement that drowns the song in faux-rock.

“When You Love Someone” comes from the pen of Gretchen Peters and composer Michael Kaman. Peters originally recorded the tune as a duet with Bryan Adams for the animated film Spirit, Stallion of the Cimarron in 2002. The track, a tasteful ballad, is very good although it does get list-oriented.

Dave Loggins co-wrote “Neon Horses” with Ronnie Samoset. The song has good bones but flies off the rails when Rogers begins cooing “la la la” throughout. “Dreams of the San Joaquin,” co-written by Randy Sharp and Jack Wesley Roth is one of the album’s most well-written and strongest offerings.

A pair of tunes come from the minds of more contemporary songwriters. Casey Beathard co-wrote “You Had To Be There,” a dark ballad relaying a phone call between an absentee father visiting his son in prison. Power rocker “Turn This World Around,” which comes from Eric Paslay, Andrew Dorff and Jason Reeves, casts Rogers in a modern light that renders him unrecognizable. “‘Merica” is a national pride anthem that I found unappealing.

You Can’t Make Old Friends is far from a terrible album, but it is Rogers’ usual mixed bag of styles and sonic textures. He doesn’t make any wide sweeps but he does choose material that runs the gamut from great to good to awful. In other words, this is a typical Kenny Rogers album.

Grade: B-

Classic Rewind: Lee Ann Womack – ‘Stubborn (Psalm 151)’

Week ending 10/28/17: #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: I Don’t Wanna Play House — Tammy Wynette (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: Shine, Shine, Shine — Eddy Raven (RCA)

1997: Everywhere — Tim McGraw (Curb)

2007: Don’t Blink — Kenny Chesney (BNA)

2017: What Ifs — Kane Brown ft Lauren Alaina (RCA)

2017 (Airplay): What Ifs — Kane Brown ft Lauren Alaina (RCA)

Classic Rewind: Kenny Rogers and Dottie West – ‘Anyone Who Isn’t Me Tonight’

Classic Rewind: Kenny Rogers ft Alison Krauss and Billy Dean – ‘Buy Me A Rose’

Album Review: Kenny Rogers – ‘Water & Bridges’

In 2006 Kenny Rogers once again found himself signed to a major label — an interesting turn of events for an almost 70-year-old artist. Water & Bridges was released by Capitol and produced by Dann Huff, who is not my favorite producer but I was pleasantly surprised by the fruits of their labors. Like most Kenny Rogers albums, this is a pop-country collection, but unlike a lot of his earlier work, there are no blatant pop songs. Everything is targeted for the mainstream country audience, such as it was a little over a decade ago. The production is polished, but not tastefully restrained.

The title track, which opens the album is a somber ballad written by Tim Nichols and Craig Wiseman, about life’s regrets and the need to accept them and move on. It was too serious for consideration as a single, but a very good song nonetheless. It had previously been recorded by Collin Rate a few years earlier. “Someone Is Me” is a bit of social commentary written by Josh Kear and Joe Doyle, which urges people to take action to correct the things that are wrong with this world instead of waiting for someone else to do it. “Someone Somewhere Tonight” is a little too slickly produced for my taste, but Sarah Buxton harmonizes well with Kenny. This song would later be recorded by Pam Tillis and Kellie Pickler, who took it to #49 on the Billboard country singles chart.

The album’s best song is its lead single “I Can’t Unlove You” which took Kenny to the Top 20 one last time. Peaking at #17, this break-up ballad would have been a monster hit if it had come along during Rogers’ commercial heyday. “The Last Ten Years (Superman)” was the next single. True to its title, it refers to a number of events that were in the news during the previous decade (1996-2006), making reference to events such as the Oklahoma City bombing, the Y2K hysteria, and the terrorist attacks of September 11, 2001, as well as name-checking several celebrities that passed away during that time, from Minnie Pearl, Johnny Cash and June Carter Cash to Ronald Reagan, Pope John Paul II, and actor Christopher Reeve. It’s a very good song, but as a stripped-down, serious ballad focusing on mostly unhappy events, it didn’t perform particularly well at radio, topping out at #56. “Calling Me”, a mid tempo number featuring a Gospel-like piano and duet vocal by Don Henley fared slightly better, peaking at #53. It’s a little more pop-leaning than the rest of the album but it deserved more attention than it received. It marks Kenny Rogers’ last appearance (to date) on the Billboard country singles chart.

Kenny’s voice shows some signs of wear and tear at times, but for the most part he is in good vocal form and I enjoyed this album a lot more than I expected to. It might have benefited from a little more uptempo material, but overall this is a solid effort. It’s available for streaming and worth checking out.

Grade: B

Classic Rewind: Gene Watson – ‘Dreams Of A Dreamer’

Album Review: Chris Hillman – ‘Bidin’ My Time’

Veteran folk-country-rocker Chris Hillman is always eclectic, but his latest album (produced by the late Tom Petty and longterm confrere Herb Pedersen) leans a little more in the folk-rock direction than the acoustic country work he had been making in recent years.

The opening ‘Bells Of Rhymney’ is a rather depressing song about struggling Welsh miners, written by Pete Seeger based on a 1930s poem by Idris Davies. Hillman previously recorded the song with The Byrds in 1965, in their jangly folk-rock period. The new version is rather better sung (with ex-Byrd David Crosby on harmonies), but it makes for a rather depressing opening.

There are a couple of co-writes with Hillman’s old Byrds bandmate Roger McGuinn, including a revival of ‘Here She Comes Again’, an older song but one they had not previously recorded. This is OK but a bit too Byrdsy for me, with McGuinn’s guitar prominent in the mix. ‘Old John Robertson’ has been revised (and retitled ‘New Old John Robertson’), and is very charming if very short, with a bluegrass arrangement. Another jangly Byrds cover comes with the Gene Clark-penned ‘She Don’t Care About Time’, which is quite pleasant.

Most of the new material comes from the longstanding songwriting partnership of Hillman and Steve Hill. The title track is a lovely waltztime reflection on the longing to return home to the countryside, prettily ornamented by Hillman’s mandolin. ‘Restless’ is a short and quite nice midpaced song about passage through life.

‘Different Rivers’ is a gentle, poetic ballad painting the portrait of a couple navigating a difficult world. ‘Given All I Can See’ is a vaguely spiritual plea for God’s “mercy and grace” on himself and the world in dark times. ‘Such Is The World That We Live In’ is a charming bluegrass influenced mid-tempo tune with an engaging melody, airy vocals and lyrics addressing the state of the USA from the point of view of a pair of fictional characters:

I never thought the day would come
When I’d see America on the run
And not sure what they’re running from
When all that’s lost in our schools
When the godless ones attempt to rule
We can only wonder who’s the fool

The pretty, lilting ‘Wildflowers’ is a cover of a Tom Petty song, and has a charming acoustic arrangement. ‘Walk Right Back’ was a pop hit for the Everly Brothers, and a country one for Anne Murray. Herb Pedersen’s close Everlys style harmony makes this track another joy. A more obscure cover is of ‘When I Get A Little Money’, a charming folk-style song written and previously recorded by Nathan G Barrow.

Overall I enjoyed this album, but it is not as commercially appealing as, say, Hillman’s work with the Desert Rose Band.

Grade: B

Classic Rewind: Kenny Rogers – ‘The Greatest’

Album Review: Kenny Rogers – ‘She Rides Wild Horses’

When She Rides Wild Horses was released in 1999, his first release on Dreamcatcher, it had been a decade since Kenny had a top ten country album or a top ten country song, and fifteen years since a Kenny Rogers song had hit the top forty of the Billboard Hot 100 singles chart, so it is hard to believe that expectations were that high for this album, especially since Kenny had turned 61 years old, an antique as far as the increasingly youth oriented music world was concerned.

Dreamcatcher was Kenny’s own label and perhaps his proprietary interest in the label sparked renewed life in his recording career. While not a great album, the album did feature some very interesting songs that led to a mild resurgence in Kenny’s career, reaching #6 on the Country albums chart, and selling platinum, the last Kenny Rogers album to do so (and the first one in fifteen years).

The album opens with “Slow Dance More”, a nice mid-tempo homily to the virtues of appreciating one’s family. The song was the second single released from the album, reaching #67 on the country chart. This is the most country sounding song on the album with Russ Pahl on steel guitar, Jonathan Yudkin on fiddle and Richard Bailey on banjo (the only appearance for any of them on these instruments – Bruce Bouton would do the rest of the steel guitar on the album.

Grady Johnson was a common man
Four children and some bottom land
Early to bed, he said, “well that ain’t me
I gotta spend some time with my family
Left to its own device, May becomes June
But children grow up way too soon

[Chorus]
So love your neighbor as yourself
Don’t use money to measure wealth
Trust in God but lock your door
Buy low, sell high and slow dance more”

This is followed by “Buy Me A Rose”, the third single and a surprise #1 country hit that also cracked the top forty on the Hot 100 chart. This was Kenny’s first #1 on any chart since 1987. “Buy Me a Rose” is a ballad, the story of a husband who attempts to please his wife with material objects, such as a “three-car garage and her own credit cards“, before realizing that it is the little things and gestures that truly matter.

The song features Billy Dean and Alison Krauss singing background.

He works hard to give her all he thinks she wants
A three car garage, her own credit cards
He pulls in late to wake her up with a kiss good night
If he could only read her mind, she’d say:

“Buy me a rose, call me from work
Open a door for me, what would it hurt
Show me you love me by the look in your eyes
These are the little things I need the most in my life”

Now the days have grown to years of feeling all alone
And she can’t help but wonder what she’s doing wrong
Cause lately she’d try anything to turn his head
Would it make a difference if she said:

“Buy me a rose, call me from work
Open a door for me, what would it hurt
Show me you love me by the look in your eyes
These are the little things I need the most in my life”

Next up is “I Will Remember You” written by Irish balladeer and musician Seamus Egan. This song is a very slow ballad that Kenny sings well.

Eric Kaz and Linda Thompson-Jenner penned “Love Don’t Live Here Anymore”, a slow ballad of breakup and heartache.

The title track “She Rides Wild Horses” written by Bob Corbin and Ted Hewitt, was not released as a single. Although laden with keyboards and strings, I think that the song would have made a good single if pushed toward Adult Contemporary market.

It’s just her and the band and the clean up man
She’s countin’ up her tips, she did alright
She says goodnight
She drives home to a three room flat
Checks her machine and she feeds the cat
She’s almost asleep
Before she turns out the light

In her dreams, she rides wild horses
And they carry her away on the wind
And they never make a sound
As they fly above the ground
Tonight she rides wild horses again

“The Kind of Fool That Love Makes” was written by Brenda Lee (yes, that Brenda Lee), Michael McDonald and Dave Powelson

Anyone can read the signs
Or the writing on the wall
It’s all right there to see
Except someone like me
Who can’t see the truth at all.

It takes a special kind of fool
To stand out in the rain
Somewhere in between
Nothing left to lose
And nothing to be gained.

What kind of fool does it take?
To go on loving alone
Like there’s some answer in the ruins
Some silver lining to be found.

An even bigger fool might think
You would care if my arm breaks
Before the time that I admit
I’m just the kind of fool love makes.

Tom Jans’ “Loving Arms” was already an oldie, having been recorded many times since released by Kris Kristofferson and Rita Coolidge in 1973. Dobie Gray had the biggest pop hit with the song in 1974 and Elvis hit the county top ten with his posthumous 1981 release. Kenny’s version is okay, but the slow tempo is too similar to the rest of the album.

If you could see me now
The one who said that he’d rather roam
The one who said he’d rather be alone
If you could only see me now

If I could hold you now
Just for a moment if I could really make you mine
Just for a while turn back the hands of time
If I could only hold you now

I’ve been too long in the wind, too long in the rain
Taking any comfort that I can
Looking back and longing for the freedom of my chains
And lying in your loving arms again

“I Can’t Make You Love Me,” was co-written by Allen Shamblin and Mike Reid and was a hit for Bonnie Raitt in 1981. The song is yet another slow ballad and is given a bland cocktail lounge arrangement that strips the song of any character.

Kenny recorded “Let It Be Me” with Dottie West for their album Classics. Tammy Fry sings the female harmony on this stringy ballad. This version does not compare well with his earlier rendition, and it is just another slow ballad.

The album closes with the fabulous Don Schlitz composition “The Greatest”. Although the song only reached #26 on the country singles chart, I suspect that the song reverberated with many male listeners and led them to seek out the album when it was released. I know that many times I was that little boy in the song, and I purchased the CD on the strength of this song alone without really caring about what was on the rest of the album.

Little boy, in a baseball hat
Stands in the field with his ball and bat
Says “I am the greatest player of them all”
Puts his bat on his shoulder and he tosses up his ball

And the ball goes up and the ball comes down
Swings his bat all the way around
The world’s so still you can hear the sound
The baseball falls to the ground

Now the little boy doesn’t say a word
Picks up his ball, he is undeterred
Says “I am the greatest there has ever been”
And he grits his teeth and he tries it again

And the ball goes up and the ball comes down
Swings his bat all the way around
The world’s so still you can hear the sound
The baseball falls to the ground

He makes no excuses, he shows no fears
He just closes his eyes and listens to the cheers

After a series of mediocre disappointing recordings, It was nice to see Kenny release a decent album. This isn’t a great album, and it isn’t very country, but it is good. Kenny is in good voice throughout, and several of the songs, especially the three released singles and the title track are outstanding. The album could stand some more variation in tempos, but as is, the album is worth a B

Classic Rewind: Vince Gill covers Haggard’s ‘I Can’t Be Myself’

Album Review: Kenny Rogers – ‘Eyes That See In The Dark’

In 1983 Kenny jumped ship from Liberty and headed to a lucrative new deal with RCA. His first album for the new label headed even further down the pop road, including recruiting British disco star Barry Gibb (of the Bee Gees) as his producer and songwriter.

There was one monster hit from the album which is still familiar today. ‘Islands In The Stream’, one of the Gibb songs, was originally recorded solo, but Kenny was not initially happy with the results. Then someone had the brilliant idea to turn it into a duet with Dolly Parton, who was also trying to marry pop and country stardom at the time. It stormed country, pop and AC charts, and was a hit internationally as well – understandably so, as it is a great pop song with a catchy melody, which has nothing to do with country music but has achieved classic status. The duet pairing would go on to tour together, record several albums together including a Christmas effort, and is more familiar to the general public than Dolly’s early partnership with Porter Wagoner.

But if this song could not be ignored, country radio was more circumspect with the following singles. The title track, a boring pop ballad with strangely echoey vocals apparently copied from Gibb’s demo, peaked at #30 on the Billboard country chart. ‘This Woman’ was a #2 AC and top 30 pop hit, but was too disco for country radio, which instead played the more country sounding B Side, ‘Buried Treasure’. This is a pleasant mid-paced love song with banked harmonies from the Gatlin Brothers saving it from being completely forgettable. The Gatlins also back up Kenny on the final single, ‘Evening Star’. This is actually quite a nice song with an inspirational Western theme, and the single peaked just outside the top 10.

AC leaning ballad ‘You And I’ (featuring Barry Gibb’s harmonies) was not a single, but it became a staple of Kenny’s live shows; I find it rather dull and find Kenny’s vocals a bit whispery. ‘Hold Me’ and ‘I Will Always Love You’ (not the Dolly Parton classic but another Gibb brothers’ pop song) are in a similar vein.

The Bee Gees (Barry Gibb and his brothers) provide the backing vocals on ‘Living With You’, a generic disco track with nothing to interest the country fan. ‘Midsummer Nights’ is a mid paced sexy love song.

‘Islands In The Stream’ is really the only good song on this album.

Grade: D-

Classic Rewind: Kenny Rogers – ‘Ol’ Red’

Album Review: Kenny Rogers – ‘We’ve Got Tonight’

1983’s We’ve Got Tonight was Kenny Rogers’ final album for Liberty before moving on to RCA. By this stage of the game, his priority was maintaining his position on the adult contemporary and pop charts; he and his producers having long since figured out that country radio would stick with him regardless of what kind of music he released. That approach is apparent in both the choice of material and the choice of a duet partner to perform the album’s title cut. Instead of partnering again with Dottie West or another well-known country artist, Kenny was matched up with Scottish pop singer Sheena Easton. At the time Easton was signed to Liberty’s parent company EMI. She was best known to American audiences for her hit “9 to 5 (Morning Train)” which had topped the Hot 100 three years earlier. Since then, her chart success had been inconsistent, and pairing her up with Rogers may have been EMI’s attempt to increase her visibility in the US market.

If so, the strategy proved successful. Despite a complete lack of country instrumentation, “We’ve Got Tonight” quickly rose to #1 on the Billboard country charts (Easton’s only entry on that chart) and landed at #2 on the adult contemporary chart. It also reached #6 on the Hot 100, outdoing its composer Bob Seger’s original version, which had reached #13 five years earlier. Although not country, this ballad about a lonely couple seeking to justify and rationalize a one-night stand is a very good song and Rogers’ and Easton’s voices blend well together. One suspects that they might have teamed up again for future projects had Rogers remained with an EMI label.

“We’ve Got Tonight” was followed by another AC ballad “All My Life” another song that I liked though it is not even remotely country. Country radio balked a bit at two AC-leaning ballads in a row; “All My Life” topped out at #13 on the country charts, marking the first time Rogers failed to make the country top 10 since his pre-“Lucille” days. The song performed better on the adult contemporary charts, where it reached #2. It got to #37 on the Hot 100; I’d venture to say that today this is one of Rogers’ least-remembered songs.

It was relatively unusual in those days for a Kenny Rogers album to produce more than two singles, but Liberty sent a third track from this collection to radio. “Scarlet Fever” was perhaps a response to “All My Life’s” lack of success on the country charts. My favorite song on the album, it is one of the albums few nods to country music and marks a return of sorts to story songs like “Lucille”, “The Gambler” and “Coward of the County”. It tells the story of a middle-aged man who is infatuated with a much younger exotic dancer that he sees at a gentleman’s nightclub. It charted at #5 country but saw no action on the AC charts.

The upbeat rock-tinged “Farther I Go” was probably country enough by 1983 standards to have had a reasonable shot at country radio. The only other cut with any country appeal is “What I Learned From Loving You”; Lynn Anderson had a competing version on the charts at the time. Her rendition reached #18 and was something of a comeback hit for her. Randy Goodrum’s “No Dreams” is a very nice ballad that was probably too pop for country radio but could have been a bit hit on the AC charts.

The album closes with a “You Are So Beautiful”, a nice ballad that had previously been rendered unlistenable by Joe Cocker’s rough-as-sandpaper vocals. It’s too bad Kenny didn’t get to this one first.

Albums like this are always difficult to evaluate. It’s more pop than country, but that was hardly unexpected from Kenny Rogers by this stage of his career. I’d become interested in his music a few years earlier from listening to my father’s vinyl copy of his 1980 Greatest Hits album. We’ve Got Tonight was the second (after Love Will Turn You Around) Rogers studio album that I’d ever bought. It’s one that’s been with me for a long time and I’ve always found it enjoyable despite its pop leanings. It has certainly aged better than most of the albums in Rogers’ UA/Liberty catalog.

Grade: B

Classic Rewind: Loretta Lynn – ‘Peace In The Valley’

Week ending 10/21/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): My Shoes Keep Walking Back to You — Ray Price (Columbia)

1967: I Don’t Wanna Play House — Tammy Wynette (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: Fishin’ in the Dark — The Nitty Gritty Dirt Band (Warner Bros.)

1997: How Do I Get There — Deana Carter (Capitol)

2007: Love Me If You Can — Toby Keith (Show Dog Nashville)

2017: What Ifs — Kane Brown ft Lauren Alaina (RCA)

2017 (Airplay): All the Pretty Girls — Kenny Chesney (Blue Chair/Columbia)

Classic Rewind: Kenny Rogers – ‘If You Want To Find Love’

Classic Rewind: Tammy Wynette – ‘Talkin’ To Myself Again’