My Kind of Country

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

Classic Album Review: Roger Miller – ‘Roger Miller’

This eponymous album, released by MCA in 1985, would prove to be the last album of original material that Roger would release during his lifetime. All of the songs were written or co-written by Roger, and seven of the album’s ten tracks were taken from the highly acclaimed Broadway musical BIG RIVER for which Roger wrote the words and music. In 1985, Roger won three Tony Awards for best musical score, best music and best lyrics. The play, based on Mark Twain’s book Adventures of Huckleberry Finn, was revived on Broadway in 2003 and has since been performed by various amateur, high school and college theater groups. It is well worth seeing if it comes your way.

The soundtrack for the play sold well, and many of the songs work outside the context of the play. For me the revelation was hearing Roger perform his own songs with a sympathetic background featuring many of Nashville’s finest studio musicians, including John Jarvis (keyboards), Billy Joe Walker, Jr. (acoustic guitar), Reggie Young & Larry Byrom (electric guitar), Hoot Hester (fiddle) and Jim Horn (sax and flute). The redoubtable trio of Curtis “Mr. Harmony” Young, Colleen Peterson, and Mary Miller (Roger’s wife) provide the background vocals. Strangely, there is no steel guitar but that particular instrument really was not an essential part of Roger’s music.

The album opens up with five songs from the play BIG RIVER starting with “River In The Rain”, a lovely ballad comparing the flow of the Mississippi to life itself:

River in the rain
Sometimes at night you look like a long white train
Winding your way away somewhere
River I love you don’t you care

If you’re on the run winding some place
Just trying to find the sun
Whether the sunshine, whether the rain
River I love you just the same

But sometimes in a time of trouble
When you’re out of hand
And your muddy bubbles roll across my floor
Carryin’ away the things I treasure
Hell, there ain’t no way to measure
Why I love you more than I did the day before

Next up is “Hand For The Hog”. This song really doesn’t stand apart from the play; however, the song is so quintessentially Roger Miller that it would have been criminal for Roger not to include it on the album. This is Roger the scat singer at his finest:

Ya say, a hog ain’t nothin’ but a porky thing
Little forked feet with a nosey ring
Pickle them feel folks
How about a hand for the hog

If you took a notion I’ll bet
A good hog would make a hell of a pet
You could teach him to ride and hunt
You could clean him up and let him sit up front

In the scheme of things the way things go
You might get bit by the old Fido
But not by the gentle, porker friend.
How about a hand for the hog

A feller and a hog had a comedy act
The feller was terrible as a matter of fact
But that hog was so funny
How about a hand for the hog

If you took a notion
I’ll bet you could teach a hog to smoke a cigarette
Well, it might take a little bit of time
But hell, what’s time to a hog

The third track is my favorite song from the play, “Leavin’s Not The Only Way To Go”. This song is a haunting ballad that should have been a hit for someone. I am not aware of anyone releasing the song as a single; however, Merle Haggard recorded the song on his 2005 album Chicago Wind.

Do the mornin’s still come early, are the nights not long enough?
Does a tear of hesitation fall on everything you touch?
Well, it all might be a lesson for the hasty heart to know
Maybe leavin’s not the only way to go

Maybe lyin’ at your feelin’s, grow accustomed to the dark
By mornin’s light, it just might solve the problems of the heart
And it all might be a lesson for the hasty heart to know
Maybe leavin’s not the only way to go

People reach new understandings all the time
Take a second look, maybe change their minds
People reach new understandings every day
Tell me not to reach, babe, and I’ll go away

But do the mornin’s still come early, are the nights not long enough?
Does a tear of hesitation fall on everything you touch?
Well, it all might be a lesson for the hasty heart to know
Maybe leavin’s not the only way to go

“Guv’ment” was sung by John Goodman in the original cast play. It’s not much of a song but it echoes the sentiments of many.

Well, you dad gum guv’ment
You sorry so and so’s
You got your damn hands in every pocket
Of my clothes

“You Oughta Be Here With Me” is another lovely ballad of forlorn longing and loneliness:

If you think it’s lonesome where you are tonight
Then you oughta be here with me
If you think there’s heartaches where you are tonight
Then you oughta be here with me

CHORUS:
Because with you I’m whole, without you I’m cold
So if you think about me where you are tonight
Then you oughta be here with me

If teardrops are falling where you are tonight
Then you oughta be here with me
Loneliness calling where you are tonight
Then you oughta be here with me

The first five songs comprise side one of the original vinyl album/audio cassette release. Side two opens up with “Some Hearts Get All The Breaks” the first of three songs not from BIG RIVER. This song is a mid-tempo contemporary country ballad, with 1980s production values with synthesizer in the mix. The 80s production is not as noticeable on the tracks from BIG RIVER which has its own dynamic.

I guess I’ll never learn
Some Hearts got love to burn
I guess that’s what it takes
Some hearts get all the breaks

We’re back to BIG RIVER for “Arkansas”, a nostalgic but humorous story song that is performed with some interruptions in the play:

Arkansas, Arkansas
I just love ole Arkansas
Love my ma, love my pa
But I just love ole Arkansas

Well, I ain’t never traveled much
But someday when the money’s such
I’d like to see the world and all
And take a run through Arkansas

Grandpa he was always good
I’d play horsey on his foot
He’d tell me when I’d get tall
We’d both go see Arkansas

Arkansas, Arkansas
I just love ole Arkansas
Love my ma, love my pa
But I just love ole Arkansas

The next two songs are not from the play. You probably could not get away with a title like “Indian Giver” given our current hyper-sensitive politically correct environment.

The title of the next song “Days of Our Wives” would likely be barely acceptable, but the song is an up-tempo song somewhat reminiscent of the Glen Campbell hit “Dreams of the Everyday Housewife” or perhaps Bobby Russell’s “1432 Franklin Park Circle Hero”. The arrangement features some mariachi style horns and makes a nice change of tempo.

So fly away heart on the wings of make-believe things
It’s nice to pretend and maybe cry at the end
She watches the soaps and sometimes just sits there and cries
Like sands through the hourglass so are the days of our wives

Fittingly, the album closes with yet another song from BIG RIVER, “Muddy Water”, a song of wanderlust and perhaps escape.

Look out for me, oh muddy water
Your mysteries are deep and wide
And I got a need for going some place
And I got a need to climb upon your back and ride

You can look for me when you see me comin’
I may be runnin’ I don’t know
I may be tired and runnin’ fever
But I’ll be headed south to the mouth of the Ohio

Look out for me, oh muddy water
Your mysteries are deep and wide
And I got a need for going some place
And I got a need to climb upon your back and ride

To the best of my knowledge this album has never been available in a digital format. The Broadway cast BIG RIVER soundtrack album has remained in print forever in various formats. The play is well worth seeing and the Twain’s story of Huckleberry Finn is worth passing down to subsequent generations. If you are not familiar with the Tom Sawyer / Huckleberry Finn saga, you should read the books first, then tackle this album or the soundtrack album (or both) as it will greatly enhance your appreciation for the story.

Many of Roger’s performances of the songs on Roger Miller are available on You Tube.

This album isn’t Roger’s best album but it is a good one and represents the last chance to hear new material from Roger Miller. Roger would pass away from lung cancer in 1992 without having recorded any more studio albums. The man was a musical treasure and probably still ahead of the times.

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Classic single spotlight: Johnny Paycheck – ‘Old Violin’

In a world of interesting individuals, there probably were none that were more interesting than Johnny Paycheck. Starting off as a young hellion, Paycheck got. progressively wilder as time went by. While his chaotic life was reflected in his music, at some point in his life even Paycheck realized that things had gotten completely out of control.

The torture in his soul and regrets in his life could never be better exemplified than in his masterpiece (from his 1987 Mercury album Modern Times)@

“Old Violin” as written and performed by Johnny Paycheck:

Well, I can’t recall, one time in my life,
I’ve felt as lonely as I do tonight.
I feel like I could lay down, and get up no more,
It’s the damndest feelin’; I never felt it before.

Tonight I feel like an old violin,
Soon to be put away and never played again.
Don’t ask me why I feel like this, hell, I can’t say.
I only wish this feelin’ would just go away.

I guess it’s ‘cos the truth,
Is the hardest thing I ever faced.
‘Cos you can’t change the truth,
In the slightest way. I tried.

So I asked myself,
I said: “John, where’d you go from here?”
Then like a damned fool,
I turned around and looked in the mirror.
And there I saw, an old violin.
Soon to be put away and never played again.
So one more time, just to be sure,
I said: “John, where in the hell do you go from here?”
You know that when a nickel’s worth of difference,
And I looked in the mirror, that’s when I knew.
That there I was seein’, an old violin.
Soon to be put away, and never played again.
And just like that, it hit me,
That old violin and I were just alike.
We’d give our all to music,
And soon, we’d give our life.

Johnny Cash: A Look Back

We lost Johnny Cash and his wife June Carter Cash within months of each other back in 2003, so 2018 marks a very sad 15th-anniversary farewell to the “Man In Black”.

The release last year of UNEARTHED, a nine album 180 gram vinyl box set (originally released on CD two months after his death) of unreleased tracks recorded by Rick Rubin, (it features some interesting pairings such as Fiona Apple providing guest vocals on Cat Stevens’ “Father & Son,” and the late Joe Strummer’s duets with Cash on Bob Marley’s “Redemption Song”) provides us with a excuse to take another look back at his career.

While modern country radio has no use for the likes of Johnny Cash, preferring more commercial fodder, other sections of the music industry have kept his music alive, whether on Willie’s Roadhouse (Sirius XM Radio) or through the musical press. Cover bands continue to play his music and while younger so-called country singers play music that bears little connection to country music, his music remains a staple of Roots-Rock, Texas Red-Dirt and Bluegrass performers

Make no mistake about it: Johnny Cash was a huge commercial success, despite his own apparent lack of concern about how commercial his music was at any given moment–Cash’s inquisitive artistry meant that he flitted from realm to realm, sometimes touching down in areas with limited commercial appeal.

Cash had 24 songs reach #1 on the Billboard, Cashbox or Record World country charts (often all three), but unlike more chart-oriented artists including Webb Pierce, Buck Owens, Sonny James, Alabama, Conway Twitty or George Strait, Cash never ran off a long string of consecutive #1s, with his longest streak being four during 1968 when “Roseanna’s Going Wild,” “Daddy Sang Bass,” “A Boy Named Sue,” and his iconic “Folsom Prison Blues” all reached the top of one of the charts.

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Legends (and others) lost in 2017

For one who grew up on the country music of the period (1960-1975) the last few years have been tough as we have seen many legendary figures come to the end of the road. 2017 was no exception. Let’s take a look back with a few words about the various stars that were dimmed in 2017. I should note that I’ve included a few non-country personal favorites.

Junior Barber
, a fantastic dobro player died at the age of 73. He worked with the Gibson Brothers bluegrass for seven years and his son Mike has played bass for the Gibson Brothers for the last twenty-five years.

Chuck Berr
y, 90, was a pioneer of rock ‘n roll and while many would not regard him as country, Buck Owens thought that Berry wrote great country songs, and the bluegrass duo of Jim & Jesse McReynolds recorded an entire album of his songs (Chuck wrote the liner notes) so who am I to disagree with them?

Sonny Burgess, 88, rockabilly pioneer and early Sun Records artist. There is a younger country artist with the name Sonny Burgess, whom I don’t believe is related. This guy was a great on-stage performer.

Glen Campbell
, 81, singer and guitarist who first came to my attention as a session musician for Frank Sinatra and the Beach Boys (with whom he sometimes toured). Glen, who died after a long bout with Alzheimer’s, could play anything with strings and could sing anything. My favorite tracks by him include “Galveston”, “Wichita Lineman”, “Wherefore and Why” and “I’m Gonna Love You”. Glen hosted a television show, appeared in movies and was simply one of the giants of the industry.

Antoine “Fats” Domino, 89, wasn’t a country singer but his music was infectious fun and enjoyed across the board. His hits were too numerous to list and many of them were covered by country singers.

Dave Evans, 65, had one of the best voices in bluegrass music being a great tenor singer, as well as being a good banjo player. It would be difficult to find another singer who sang with as much heart as Dave Evans.

Troy Gentry, 50, of Montgomery Gentry duo, died in a helicopter crash in Medford, New Jersey. I wasn’t a big Montgomery Gentry fan, but they had some good numbers and performed with enthusiasm.

Michael Johnson, 72, singer and guitarist whose country hits included “Give Me Wings” and “The Moon Is Still Over Her Shoulder”. Michael was a terrific acoustic guitar player and had a major pop/adult contemporary hit with “Bluer Than Blue”.

Pete Kuykendall, 79, banjo champion and editor and publisher of Bluegrass Unlimited magazine. I have subscribed to Bluegrass Unlimited for many years and think it is the finest magazine in the world of music.

Miggie Lewis
, 91 was a part of the first family of bluegrass gospel, the Lewis Family. The group disbanded years ago but youngest brother “Little” Roy Lewis a dynamic banjo player, comic and personality who still plays the bluegrass festival circuit.

Sam Lovullo, 88, was the producer and casting director of the long-running Hee Haw TV series (1969-1992). If he was only remembered for Hee Haw that would be sufficient legacy, but his son Torey Lovullo played major league baseball for eight years and then became a major league manager (he was the National League Manager of The Year for 2017). I am not ashamed to admit that I watched Hee Haw every chance I had, and that I know dozens of verses to “Pffffft, You Were Gone”.

Geoff Mack, 94, composer of the tongue-twisting and widely recorded “I’ve Been Everywhere,” in his native Australia. The lyrics familiar to American listeners were not the original lyrics, but a rewritten version to reflect North American place names.

Kevin Mahogany, 59 was a brilliant jazz baritone singer. He appeared and performed in Robert Altman’s 1996 movie, Kansas City.

Jo Walker Meador, 93, as executive director built the Country Music Association from a tiny, ragged startup into one of the nation’s most visible and successful trade organizations. Jo is a member of the Country Music Hall of Fame, and I can make a pretty good case for her being one of the two or three most important women in the history of country music.

D.L. Menard, 85, singer and songwriter widely known as the “Cajun Hank Williams” and most celebrated for his 1962 recording of “La Porte en Arriere,”. He died in his native Louisiana.

Tom Paley
died in England at the age of 89. Tom was a founding member (along with Mike Seeger and John Cohen) of the New Lost City Ramblers, a group that did much to further the acceptance of bluegrass among folk audiences. I saw them once in 1962 and they were terrific.

Leon Rhodes, 85, was the lead guitarist for Ernest Tubb’s Texas Troubadours and later played in the Grand Ole Opry and Hee Haw staff bands. He was also a successful session musician.

Kayton Roberts
, 83, steel guitarist in Hank Snow’s Rainbow Ranch Boys band from 1968 to 1999. His son Louie Roberts also had a career in country music.

Curley Seckler who died in late December at the age of 98, was one of the last links to the first generation of bluegrass musicians, having performed with Bill Monroe and Flatt & Scruggs. Curley was old enough to remember Jimmie Rodgers and the Original Carter family being played on the radio. He also appeared on several segments of the Marty Stuart Show on RFD.

There was nothing country about Keely Smith, 89, but she was a fine singer with a terrific comedic touch. Her act with ex-husband Louis Prima played to packed houses in Las Vegas for the better part of a decade.

Tammy Sullivan died at the much too young age of 52, of cancer. Tammy was a marvelous singer best known for her work with the Sullivan Family, a bluegrass gospel band.

Wendy Thatcher, 69, was a formidable singer who is best remembered for her years with Eddie Adcock’s various bands.

Mel Tillis, 85, songwriter, singer, actor, comedian and member of the Country Music Hall of Fame, died in Ocala, Florida. Mel first came to prominence as a songwriter, with early efforts becoming hits for the likes of Webb Pierce and Ray Price during the early 1960s. It would be a decade before his career as a performer went into overdrive, but when it did he racked up many hits and won the CMA Entertainer of the Year Award. I liked many of his songs but my favorite is “Would You Want The World To End (Not Loving Me)”. I saw Mel live on several occasions.

Don Warden, 87, was a former steel guitar player in Porter Wagoner’s band and subsequently Dolly Parton’s manager. You can sometimes catch Don in RFD’s reruns of the Porter Wagoner Show.

Don Williams, 78, was a singer and songwriter who regularly topped the country charts during the 1970s and ’80s. Starting out with the folk-country Pozo Seco Singers, Don’s solo career made him an international star and landed him in the Country Music Hall of Fame.

Norro Wilson, 79, producer, songwriter and former recording artist, whose hit compositions included George Jones’ “The Grand Tour” and Charlie Rich’s “The Most Beautiful Girl,” died in Nashville.

Bob Wooton
, 75, Johnny Cash’s lead guitar player from 1968 until Cash’s retirement in 1997, died in Gallatin, Tennessee. Bob was the replacement for Luther Perkins.

Favorite Christmas Albums: Bing Crosby – ‘Merry Christmas’

Christmas music is its own genre, or rather I should say people’s tastes in Christmas music tend to cross all genres. While, my tastes in music run to western swing, bluegrass and traditional jazz, when it comes to Christmas music I tend to get rather traditional with orchestral music mixing in with pop balladeers such as Johnny Mathis, Nat King Cole and Bing Crosby.

It has been a long time since Bing Crosby died in October 1977, yet Merry Christmas has been in print, in one form or another, since the 1945 (and in its current configuration of songs since 1955). For millions of households, the album with a smiling Bing wearing a Santa Claus cap and a holly leaf bowtie on the cover was an honored part of the record collection, played annually and often.

So who was Bing Crosby? Well, to start with, for many years Bing was the most famous entertainer on Earth. According to Billboard historian Joel Whitburn, Bing Crosby was the number one recording artist for the entire decades of the 1930s and 1940s with some success spilling into the 1950s. He recorded 383 chart hits with 41 number one records and another 152 that landed in the top ten. His recording of “White Christmas” is the biggest selling single in US history. He introduced many songs now known as pop standards. While not a prolific songwriter, he wrote a few of his own hits.

If that isn’t enough, Bing Crosby was among the top ten movie box office stars fifteen times and from 1944 through 1948 he was the number one movie box office star. He won an Academy Award for his role in Going My Way. By any measure except dollars (due to ticket price inflation) Bing ranks in the top three of all-time movie stars with 1,077,900,000+ movie tickets sold. Moreover he was a successful radio star and at one time was part owner of the Pittsburgh Pirates baseball team, and he produced, through his production company, several successful television shows (most notably Ben Casey and Hogan’s Heroes).

Merry Christmas is something of a Christmas sampler as Bing performs a collection of traditional Christmas carols and popular Christmas songs and a few songs that are about faraway places. Most of the songs were originally released as singles so recording quality varies a bit.

The album opens up with a pair of traditional carols “Silent Night” (recorded in 1942) and “Adeste Fideles” (“Oh Come All Ye Faithful”), the latter, recorded in 1935 with Victor Young’s Orchestra, is sung in both English and Latin. “Adeste Fideles” is the only song recorded before 1942 – the quantum leap in sound engineering between 1935 and 1942 is a bit jarring, my only criticism of this album.

Next up is the Irving Berlin classic, “White Christmas” arguably the biggest selling record of all time. The song appeared in the 1942 film Holiday Inn and again in the 1954 film White Christmas (that year’s highest grossing film). The version featured here was recorded in 1947 with the John Scott Trotter Orchestra (this orchestra is on all songs except “Adeste Fideles” and songs featuring the Andrews Sisters, recorded with the Vic Shoen Orchestra).

Next up is another traditional Christmas song “God Rest Ye Merry Gentlemen” followed by “Faith Of Our Fathers” which is a religious song rather than a Christmas song.

Almost as beloved as “White Christmas” is “I’ll Be Home For Christmas”. This song is sung from the point of view of a soldier stationed overseas during World War II, writing a letter to his family. For the veterans of that war, this song held special meaning.

“Jingle Bells” finds the Andrews Sisters joining Bing as does the jazzy “Santa Claus Is Coming To Town”. The latter contains Bing’s memorable closing intonation ‘You mean the big fat man with the long white beard’ – followed by the Andrews Sisters refrain ‘he’s coming to town’.

“Silver Bells”, composed by the noted songwriting team of Jay Livingston and Ray Evans, is next followed by “It’s Beginning To Look A Lot Like Christmas” composed by Meredith Willson. Willson would later achieve great fame with his play The Music Man.

The album ends with a couple of early 1950s songs about distant shores. “Christmas in Killarney” tells of a Irish Christmas. While not authentic (it is a Tin Pan Alley song), it is a fun song as is the closing number “Mele Kalikimaka” which is simply an approximation of the words ‘Merry Christmas’ in Hawaiian (the Hawaiian alphabet lacks some of the consonants found in European languages). The Andrews Sisters are back for this last song.

My parents wore through several copies of this album and when I was growing up, most of my friends’ parents had a copy of this album.

The album is currently available in the 1955 configuration under the title White Christmas. MCA has also released a two disc set (The Voice of Christmas) of every Christmas song Crosby recorded (44 tracks), except for “Little Drummer Boy” recorded much later with David Bowie for another label.

I come back to this album every year. Other albums may rotate in and out, and some haven’t been played in ages, but this album still delights me as much as when I was a child.

Merry Christmas to all of you!

Album Review: The Bellamy Brothers – ‘Strong Weakness’

Released in 1982 by Elektra/Curb, Strong Weakness was the fourth studio album released during the 1980s and by the eighth overall studio album release. Buoyed by some strong singles, the album was the fifth straight top twenty country albums chart release for the brothers.

The copy of the album I am using for this review is a cassette tape which means the song sequence may vary from the vinyl or CD releases of the album and the information on the packaging is minimal.

The album opens up with “Strong Weakness” which was the fourth single and least successful single released from the album, topping out at #15. Written by David Bellamy, the song has a loping beat with relatively simple instrumentation (there is a nice steel guitar break) and a melody that is not terribly memorable by Bellamy standards.

I’ve got a strong weakness
Baby, I’m gone on your sweetness
Oh baby, stoned on your love
I’ve got a chillin’ fire

Baby, I’m gone on desire
Oh baby, stoned on your love
Baby, I’ve got to say
Baby, I’ve got to say

You’re good when you’re bad.
I’ve got a strong weakness
Baby, I’m gone on your sweetness
Oh baby, stoned on your love

Next up is “Doin’ It The Hard Way”, a gentle slow ballad about the ups and downs of a relationship. It’s a nice song but nothing that would ever be considered for release as a single.

“When I’m Away From You” was the second single released from the album, soaring to #1. The song was written by Scottish rocker Frankie Miller (not to be mistaken for the American country singer who hit in 1959 with “Family Man” and “Black Land Farmer”) and previously recorded by Kim Carnes. The imagery of the lyrics is very interesting:

When I’m away from you
Well, I can’t stay still
My thoughts won’t move from the way I feel
It happens time and time again
And the circle never ends

When I’m away from you
Well, it hurts to say
My sense has gone so far away
I’m up all through the night
And I can’t tell wrong from right

When I’m away from you I see great big clouds
In the fog and rain all the lonely crowds
They seem to be so blue
Every night I’m missing you

When I’m away from you well the sun don’t shine
The mood don’t come
The words don’t rhyme
When I’m away from you I can’t let go
And you know, oh, you know

“I Love Her Mind” was the third single off the album and reached #4. Written by David Bellamy the song features a Jamaican beat but is otherwise a slow ballad. I’m not sure you could get away with these lyrics in today’s overly politically correct environment, but the concept is interesting:

Forget about her eyes
That dance around
Like diamonds in the night

Forget about her hair
That cascades like a fountain
In the moonlight

And don’t think of her sweet lips
That leave me just as drunk
As any wine

Though her body is immortal
I love her mind

“Almost Jamaica” has a Caribbean vibe to it and might have made a decent single. Although missing the Caribbean vibe, “Lazy Eyes” also might have made a decent single.

“Number Two” is mid-tempo song told from the perspective of a man who knows that he is not the man of his woman’s dreams.

I’m not saying that the Bellamy Brothers presaged “Murder On Music Row” with “The Night They Killed Country Music” but the concept is close. I could not find the lyrics for this song but there is a video clip available on the internet.

“Long Distance Love Affair” revisits a familiar theme, in fact there are a number of songs with this title. This song is presented as a very country ballad.

The album ends with “Redneck Girl” which was the first single off the album. This up-tempo song, written by David Bellamy sailed to #1 and is perhaps the most memorable song off the album, with strong lyrics and an easily remembered melody. The song remained a favorite of bar bands for over twenty years and has a staple of country dance clubs seemingly forever

Hey, redneck girl likes to cruise in Daddy’s pickup truck
And a redneck girl plays her heart when she’s down on her luck
Living for a Friday afternoon
She’s gonna show one ole boy that weekend moon

And I pray that someday I will find me a redneck girl
A redneck girl likes to stay out all night long
She makes sweet rock’n’roll while she listens to the country songs
She’s waitin’ on that moment of surrender
Her hands are calloused but her heart is tender

And I pray that someday I will find me a redneck girl
Hey, give me a, give me a, give me a redneck girl
Give me a, give me a, give me a redneck girl

Yeah, give me a, give me a, give me a redneck girl
Yeah, give me a, give me a, give me a redneck girl

A redneck girl got a name on the back of her belt
She’s got a kiss on her lips for her man and no one else
And a coyote’s howling out on the prairie
First comes love, and then comes marriage

And I pray that someday I will find me a redneck girl
Yeah, give me a, give me a, give me a redneck girl
Give me a, give me a, give me a redneck girl
You got to give me a, give me a, give me a redneck girl
Yeah, give me a, give me a, give me a redneck girl

While not every song on the album is great, all of the songs are at least good and, for the most part, this is an unmistakably country album which I would rate as a B+ or A-

Spotlight Artists: The Bellamy Brothers

Our December Spotlight Artists are the Bellamy Brothers, Howard (born 1946) and David (born 1950). The Brothers have been around seemingly forever, yet remain vital and innovative artists to this day.

I first became aware of David Bellamy when his name was listed as co-writer on Jim Stafford’s 1974 hit “Spiders & Snakes”, a #3 US pop hit that achieved success in a number of countries. As a recording group the Bellamy Brothers hit pay dirt in 1976 when “Let Your Love Flow” became a massive world-wide hit. Interestingly enough, the song was not authored by the Bellamy Brothers, having been penned by Larry Williams, a roadie for Neil Diamond. Both Neil Diamond and Johnny Rivers passed on the song.

To me “Let Your Love Flow” sounded like a country song, even If the original instrumentation wasn’t especially country. The song went #1 pop and adult contemporary, and reached #21 on the country charts, suggesting that some disc jockeys felt the same way about the song as I did. WHOO-AM in Orlando played the song in heavy rotation. The song would achieve at least top ten chart status throughout most of Europe and would succeed in South Africa, New Zealand and Australia as well.

Since then, the Bellamy Brothers have achieved many US and International hits. Their music is quite melodious, their harmonies are tight and they have an interesting sense of humor which has manifested itself many of their songs. Although their US chart action has cooled off since 1990, their strong sense of melody continues to appeal to European audiences where they remain major stars, with hit albums even after 2010. They have been particularly successful in German speaking countries where a form of sentimental pop music called “Schlager” remains popular and in Scandinavia where similar pop music tastes prevail. Many of their albums intended for European consumption have never been released in the US, and they have had at least a dozen hit singles in Europe of songs never released at all in the US.

They also have had success outside of Europe – in November and December 2017 alone they have appeared (or will appear) in South Africa, Namibia and Sri Lanka before returning home in early December.

When not touring the Bellamy Brothers live on the family ranch in Derby, Florida, near San Antonio, Florida. While I have never met the Bellamy Brothers, I have met their mother when I was an insurance underwriter quoting an insurance policy for the ranch. She was quite a lady and if her sons are anything like her, they must be fine people indeed. They are known for their involvement in charitable work for Florida’s environment (and other causes), and have played many tours for US military personnel abroad.

I digress – but the Bellamy Brothers have put together a sizeable catalog over the last forty years, and while we will be touching upon a number of albums during December, don’t think for a minute that the albums we don’t get to aren’t worthwhile. Although not all of their albums are classics, they all have their moments, so kick back while we shine our December Spotlight on the Bellamy Brothers.

Album Review: Conway Twitty – ‘Timeless’

I guess there really is a Santa Claus because I just received the “new” Conway Twitty album from Country Rewind Records, Timeless, just in time for Christmas.

These aren’t really new recordings. During the 1960s and 1970s it was not uncommon for the various branches of the US Military to put together fifteen or thirty minute radio shows for use on country radio stations. Mostly these shows aired on smaller radio stations, usually in air slots where it was difficult for them to sell advertising. Some of these shows, such as COUNTRY MUSIC TIME (a recruiting tool for the US Air Force) and COUNTRY COOKING WITH LEE ARNOLD (a recruiting program for the Army Reserves) featured some chatter with the weeks’ musical guests followed by some records by the musical guest. Others, such as NAVY HOEDOWN, featured some minimal chatter with the featured artist followed by live performances with the program’s band, or occasionally with the artist’s own band. These recordings were not made available for public purchase

Timeless comes from recordings made for an unspecified military recruiter program. The recordings were made at Scotty Moore’s Music City Recorders on May 24, 1972. The songs feature Conway’s tight road band of Joe E. Lewis on bass, Tommy Markham on drums, and the legendary John Hughey on steel guitar. Conway played rhythm guitar on the recordings and the band was augmented by Hargus “Pig” Robins on piano. At this time Conway normally did not have piano on his live performances.

The songs featured here are songs from the first half dozen years of Conway’s career with MCA. In other words, this is a real county album with none of the MOR trappings that contaminated Conway’s later recordings. The revelation here is that most of these songs were originally recorded with studio musicians and occasional Owen Bradley strings and chorus production. Here we get the real stage sounds of Conway Twitty.

Originally recorded after a brief rehearsal, in a single take, these recordings were typically played once or twice in a given geographical area and then returned or discarded. Many years later pristine recordings were found and forwarded to Thomas Gramuglia at Country Rewind Records. Gramuglia contacted Conway Twitty United, a company dedicated to preserving Conway’s legacy, comprised of Conway’s four children. Gramuglia presented his idea to find a producer to update and modernize the sound for release to Joni Twitty.

After the family listened to the tapes, they felt that releasing them would not dishonor Conway’s memory at all, but Joni suggested that they do the new production in-house. Joni was a talented artist herself, and her husband John Wesley Ryles had several hits on his own and has appeared as a harmony singer on literally thousands of tracks.

The end result is an album they could have been released during the mid-1990s. Co-producers Joni Twitty Ryles and John Wesley Ryles have produced a great album. For the most part the post-production is limited to John Wesley Ryles providing some background vocals, Ron Oates adding a bit of keyboards, and some additional acoustic guitar, most notably on “15 Years Ago”. To me the most important difference between the studio recordings of the songs on this album, and these recordings is the gigantic presence of steel wizard John Hughey.

The song list is as follows:

(Lost Her Love) On Our Last Date – a #1 single with lyrics grafted onto a Floyd Cramer’s instrumental
Dim Lights, Thick Smoke (and Loud, Loud Music) – album track from 1968’s Here’s Conway Twitty
Hello Darlin’ – Conway’s biggest country hit
How Much More Can She Stand – a #1 single from 1971
Working Girl – an album track from the 1967 album Conway Twitty Country
I Can’t See Me Without You – a #1 single (according to Record World) from early 1972
I Love You More Today – a #1 single from 1969
Crazy Arms – nice cover of the Ray Price classic
15 Years Ago – the follow up to Hello Darlin’ – it hit #1
Honky-Tonk Man – cover of the Johnny Horton classic
The Image of Me – Conway’s first top ten country single
If You Were Mine To Lose – an album track from the 1966 album Look Into My Teardrops
Proud Mary – cover of protégé Anthony Armstrong Jones’ hit from 1969
Next In Line – Conway’s first country number one from 1968

A-

Album Review: Conway Twitty – ‘Borderline’

Released in March 1987, Borderline marked Conway’s return to MCA after five year interlude with Elektra/Warner Bros. Frankly, other than the Lost In The Feeling album, I really had consistently disliked his recent output.

I received this album as a birthday present in April 1987. While I had high hopes for a return to the earlier Twitty sound my hopes were dashed when I read the back of the album and saw the following:

Musicians:

James Stroud – Drums
Emory Gordy, Jr. – Bass
John Jarvis – Piano
David Innis, Mike Lawler – Keyboards
Richard Bennett – Acoustic Guitar
Reggie Young, Fred Newll – Electric Guitar
Background Harmonies – Vince Gill and Conway Twitty

That’s right – no John Hughey, or any other steel guitar player for that matter.

My expectations suitably lowered I put the album on the turntable and played it. The album opened up with the first single release, John Jarvis-Don Cook song “Julia” which topped out at #2. This song is bland 80s ballad with cocktail lounge production. The song itself is not bad, but the production ruins it for me.

Brent Mason and Jim McBride collaborated on “Lonely Town”, a mid-tempo song about a one night stand. I would have picked this song as for single release. By the standards of this album, this was a country song

She gave into him last night
She thought he was Mr. Right
But he left like all the others
Before the morning came around

Same old story in lonely town
The sun comes up, the heart goes down
She’s tried everything she knows

Come so far and yet so close
She keeps searching for the magic
But it’s nowhere to be found
But that’s how it is in lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone

The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone
The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

Track three was “I Want To Know Before We Make Love” by Candy Parton and Becky Hobbs. Good advice no doubt – no point getting involved with a sociopath – but I think this song works better from the femine perspective. This song also reached #2.

Track four is the title track “Borderline” a decent song marred by cheesy 80s production. Walt Aldridge wrote this song. He wrote several #1 records for the likes of Earl Thomas Conley, Ronnie Milsap, Alabama and Travis Tritt.

Track five (the last track on side one of the vinyl album) concludes with “Not Enough Love To Go Around”  a slow R&B ballad that is nice but ultimately uninteresting.

Track six is “Snake Books”, written by Troy Seals. Troy wrote many great songs, but this wasn’t one of them. This is followed by “I’m For A While” by Kent Robbins, a generic song about a man who swears that he is not looking for a one night stand.

Most songs written by committees stink, but “Fifteen To Forty-Three” by Don Goodman, Frank Dycus, Mark Sherrill and John Wesley Ryles is a terrific ballad about a fellow sorting through a box of memories and regrets. This has a very country feel to it and would have made a great single.

<blockquote>I just cut the string
On a dusty old shoe box
And opened a door to the past
Now I’m sittin’ here with my souvenirs
And these faded old photographs.

Fightin’ back tears
Lookin’ back through the years
And wonderin’ why dreams fade so fast
Now the young boy I see
Don’t look like the me
Reflected in this old looking glass.

The man in the mirror
Sees things so much clearer
Than the boy in the pictures
With his eyes full of dreams
Oh, the men that I’ve tried to be
From fifteen to forty-three
Never believed that they’d end up like me.

The ninth track “Everybody Needs A Hero” was written by Troy Seals and Max D Barnes. It’s a great song that Gene Watson released as a single. Although Conway does a nice job with the song, it is not quite as nice as Gene’s version (I like the production on Gene’s record better).

The album closes with Gary Burr’s “That’s My Job”, the last single released from this album. The single reached #6 but deserved a better fate. It is one of the best songs Conway ever recorded

I woke up crying late at night
When I was very young.
I had dreamed my father
Had passed away and gone.
My world revolved around him
I couldn’t lay there anymore.
So I made my way down the mirrored hall
And tapped upon his door.

And I said “Daddy, I’m so afraid
How will I go on with you gone that way?
Don’t want to cry anymore
So may I stay with you?”

And he said “That’s my job,
That’s what I do.
Everything I do is because of you,
To keep you safe with me.
That’s my job you see.”

Borderline was one of Conway Twitty’s last big hit albums, reaching #25, higher than any subsequent Conway Twitty studio album would reach. There are some good songs on this album, but the filler truly is filler and the production sounds as phony as most late 1980s country production. This album is somewhere between a C and a C+.

Album Review: Conway Twitty – ‘Hello Darlin’

Note: I never owned this album on vinyl so I am working off a CD released on MCA Special Products in 1991, The songs are the same as on the initial vinyl release but the sequence of the songs is different on the CD.

Issued in June 1970, Hello Darlin’ was the ninth solo studio album released by Conway Twitty on Decca. The album was Conway’s first #1 country album and was eventually certified “Gold”. It also reached #65 on Billboard’s all genres chart, the highest that any of Conway’s country albums would reach, although reporting of country albums on the all-genres chart was very suspect and country albums were frequently under-reported by record shop personnel.

The CD opens with the Felice & Boudreaux Bryant classic “Rocky Top”. At the time, “Rocky Top” was a fairly new song that had not been covered to death. The Osborne Brothers had a hit with the song in 1968 and the combination of Doug Dillard, Gene Clark and Donna Washburn had a really nice version of the song on a Dillard & Clark album from that same year. Conway’s version has a banjo on it with what is otherwise an up-tempo Nashville production. Needless to say, Conway sings the song very well although he changes the words very slightly to accommodate his own phrasing.

Next up is “I’ll Get Over Losing You” a song written by Conway, a somewhat generic ballad about lost love. As always Conway sings it well, making for pleasant listening.

Conway also penned “Up Comes The Bottle” a mid-tempo song about the effects of alcohol. It’s a good song, well sung by Conway

Up comes the bottle and down goes the man

I can’t help him but I can understand

When up comes the bottle

And down, down, down, goes the man.

 

You may find him anywhere there’s heartache and despair

With loneliness so heavy you can feel it in the air

And the only thing that matters is the drink in his hand

Then up comes the bottle

And down, down, down, goes the man.

Bill Anderson wrote “You and Your Sweet Love”, which charted for Connie Smith in 1969, While I prefer Connie’s version, it would have made a good Conway Twitty single, one of many such songs stranded as album tracks on the early Conway Twitty albums. I seem to recall that Connie Smith wrote the liner notes for the vinyl album’s back cover.

The self-penned “Hello Darlin’” is the song for which Conway is best remembered, although “It’s Only Make Believe” was a huge pop hit in 1958 and by far his biggest seller. “Hello Darlin’“ reached #1 and stayed there for four weeks. The song is about a man who runs into an old flame, reigniting old feelings in the process. This was the only single released from the album.

 Hello darlin’

Nice to see you

It’s been a long time

You’re just as lovely

As you used to be

 

How’s your new love

Are you happy?

Hope you’re doin’ fine

Just to know means so much to me

 

What’s that darlin’

How am I doin’?

I’m doin’ alright

Except I can’t sleep

I cry all night ’til dawn

 

What I’m tryin’ to say is

I love you and I miss you

And I’m so sorry

That I did you wrong

Conway would revisit the theme with his next single “Fifteen Years Ago”. I saw Conway in concert several times before this song was released and several times after. From 1971 onward, this was his opening number and “It’s Only Make Believe” his closing number, perfect bookends for a great show.

“Rose” (not to be mistaken for the maudlin Amanda McBroom composition “The Rose” that Bette Midler would record later and Conway would cover) was written by L.E. White, a staff writer for Conway’s publishing company. This song is a ballad about a brother whose sister has strayed off-track in life.

“Reuben James” was a top thirty pop hit for Kenny Rogers and The First Edition (it went top ten in Canada, New Zealand and Australia) that was covered by a large number of American country artists. This is a nice mid-tempo track.

Bill Anderson also wrote “I Never Once Stopped Loving You”, which reached #5 for Connie Smith in 1970, Again, I prefer Connie’s version, but Conway does a nice job with this ballad

It is difficult to find a country album of the late 1960s-early 1970s that does not contain a Dallas Frazier composition. This album features “Will You Visit Me On Sundays” which was a top twenty single for Charlie Louvin in 1968, and the title track of a 1970 George Jones album. I can’t say that Conway’s version is better than Charlie Louvin or George Jones (the lyric seems perfect for Charlie’s weathered voice) but this would have made a good Conway Twitty single.

 Just outside these prison bars

The hanging tree is waitin’

At sunrise I’ll meet darkness

And death will say hello

Darling, touch your lips to mine

And tell me you love me

Promise me again before you go

 

Will you visit me on Sundays?

Will you bring me pretty flowers?

Will your big blue eyes be misty?

Will you brush away a tear?

Fred Rose write the classic “Blue Eyes Crying in The Rain”, a song that both Hank Williams and Rof Acuff had recorded. Since Willie Nelson had yet to record this song (Willie’s version would be released in 1975), this was not a cover of somebody else’s hit single, but simply case of Conway going “deep catalog” in finding a song that he liked. Conway’s version is not the sparse recording that Willie released but a normal Owen Bradley production applied to a classic Fred Rose composition from the 1940s.

The album closes with “I’m So Used To Loving You”, the fourth of Conway’s own compositions on the album. This is a good song that somebody somewhere should have released as a single.

I’m so used to loving you sweetheart

You’re on my mind each minute we’re apart

And I love you more each day that we go through

You’re my life and I’ll live it loving you

 

I’m so used to loving you it seems

I can’t stand the thought of losing you not even in my dream

Hold me close and tell me what I’d do without you

I couldn’t take it, I’m so used to loving you

Conway Twitty was a good and prolific songwriter who would use his own compositions on his albums, but, unlike some singer-songwriters, only if they were good songs. Through this album, the highest number of Conway Twitty and/or Mickey Jaco compositions on an album was four. There would be one future album in which he wrote eight of the ten songs (there must be a story behind this since it is a complete outlier) and several on which he wrote one or none of the songs

None of the Conway Twitty compositions that I’ve ever heard were duds, and many of them fell in the very good-to-great category

This album is a solid A with solid country production throughout

November Spotlight Artist: Conway Twitty

For the last twenty years of his life, Conway Twitty was introduced on stage as “The Best Friend A Song Ever Had”. The conceit was not new to Conway – during the 1960s classic pop singer Jerry Vale was frequently called “A Song’s Best Friend” – and Ray Price and Gene Watson certainly could make a case for being called that – but certainly few artists were as versatile singers as Conway Twitty.

Conway Twitty was born as Harold Lloyd Jenkins ( September 1, 1933 – June 5, 1993) was born in Friars Point, Mississippi. His family moved to Arkansas when he was ten, and he grew up listening to country and rhythm & blues music, and eventually becoming a performer. After a hitch in the army, Conway (as we shall refer to him) mde his way to Memphis where he worked with Sam Phillips but did not record any records for commercial release

In 1957 Conway selected his stage name with the aid of a road atlas using Conway, Arkansas and Twitty, Texas as his inspiration. In the interim, Conway has been signed to Mercury Records where several rockabilly singles were released without much success (“I Need Your Lovin’” reached #93)

Moving over to MGM in 1958, Twitty released his signature song “It’s Only Make Believe”. The song, a powerful ballad that many assumed was an Elvis Presley recording, broke out first in Canada where Conway was working road dates. In the US it took longer for the record to hit as MGM has initially pushing “I’ll Try” as the A side but eventually the record broke out in Columbus Ohio, ultimately becoming a #1 pop hit in both the US and Canada, It also reached #5 in Australia.

During his tenure with MGM, Conway continued to issue rockabilly records, some of which charted, but his bigger successes were with ballads pointing the way for his later country music success. In 1959 “Danny Boy” (#10) and “Lonely Blue Boy” (#6) reached the top ten, the only other MGM singles to do so, although a rocked up recording of “Mona Lisa” would become a number one record in Australia.

The ‘British Invasion’ is often blamed for the demise of many American artists’ chart careers, but the truth is Conway’s major pop success ended in 1959. Six singles were released in 1960, but none of them cracked the top twenty, and the four MGM singles released after 1960 failed to crack the top sixty.

Conway and his band (“The Lonely Blue Boys”) continue to tour, but Conway , who claimed that his heart was always in country music, shifted his focus toward Nashville, where he was met with some skepticism. His songwriting skills got his foot in the door when Ray Price took “Walk Me To The Door” to #7 on the country charts in 1962. From there Conway eventually got Owen Bradley on his side and signed a contract with Decca in 1965. The first Decca album was released in 1966 and throughout 1966 and 1967 Conway’s singles also charted with four of the five singles reaching the top forty.

In 1967, “The Image of Me” reached #5, starting a string in which 52 of 53 solo singles reached the top ten (and of those top tens only three missed the top five).

Conway Twitty was nothing if not adaptable, being able to adjust to the changing trend in music. When rockabilly died out as a chart force, Conway switched to more conventional rock and roll and pop ballads. As country grew less traditional, Conway changed with it. At various points in his country career Conway changed producers, labels and even his appearance to avoid become dated.

During the periods 1985-1986 and 1989-1990, Conway’s records were charting minimally but he was able to re-gear and achieve more top tier hits. Toward the end of 1991 Conway realized that he had again lost traction with radio and spent the next year searching for material to take him to the top again. His final album, fittingly titled Final Touches, was released after his death in June 1993 – it probably would have taken him back near the top again if Conway had been around to promote the record. As it was, MCA was not interested in promoting n artist who was no longer around to tour and help push album sales

Conway Twitty’s career is sometime compared to that of George Strait, the man who surpassed the number of #1 chart recordings that Conway achieved. It really isn’t an apt comparison as Strait was basically a singer who found a groove and stayed there, but for most of his career didn’t write his own material, and whose singles never reached the top twenty of the Billboard Hot 100.

In contrast, Twitty wrote many of his album tracks and some of his biggest singles including “It’s Only Make Believe” and “Hello Darlin’”. The variety of types and tempos of songs that Conway Twitty took to number one is staggering plus Twitty has a number of successful singles as a duet partner. Moreover, many artists raided Conway’s albums for singles material. For instance the following:

1 – Oak Ridge Boys – “I Wish You Could Have Turned My Head (And Left My Heart Alone)”, originally from Twitty’s 1979 album Crosswinds. The song went #1 Cashbox/#2Billboard

2- Statler Brothers – “You’ll Be Back (Every Night in My Dreams)”, from Twitty’s 1980 album Rest Your Love On Me. This song reached #3

3 – Lee Greenwood – “It Turns Me Inside Out”, from Twitty’s 1982 album Southern Comfort – this was Lee’s first hit reaching #17

4 – John Conlee – “In My Eyes”, from Twitty’s 1982 album Dream Maker – this reached #1

5 – John Schneider – “What’s a Memory Like You (Doin’ in a Love Like This?)”, from Twitty’s 1985 album Chasin’ Rainbows – #1

There are other examples of artists snatching hit songs off Conway’s albums, something which did not happen much with Strait’s albums.

Our November Spotlight Artist is one of the most open-minded, capable and enduring artists in the history of the genre. If you’ve not encountered Conway Twitty before prepare to be amazed. If you are familiar with his material you may find yourself surprised by the breadth and depth of his recordings. Either way you may find yourself agreeing that Conway Twitty was indeed” the best friend a song ever had”.

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

Album Review: Kenny Rogers and Dottie West – ‘Classics’

Male-female duets still exist today, although usually in the form of acts that always (or nearly always) perform as duets. Acts that normally perform as solo acts may combine for a song or two (“Special Events”), but rarely do they issue albums of duets

The album Classics, released in 1979, was the second (and final) album of duets released by the unlikely pairing of Kenny Rogers and Dottie West. Kenny, of course was a country & pop superstar but Dottie West was a veteran second-tier country artist, whose 1978 album with Kenny (Every Time Two Fools Collide) would trigger a brief renaissance on the United Artists/Liberty label.

I am not sure why this particular pairing came about, although I have some suspicions. United Artists was not a major player in country music and did not have a deep roster of female artists. Billie Jo Spears, arguably the leading female country singer on the label, did not have a voice that would blend well with Kenny’s voice.

The recently signed Dottie West, on the other hand, had a track record of being able to blend and harmonize with male singers. Her track record at RCA had included successful recordings with such diverse singers as Jim Reeves, Don Gibson and Jimmy Dean. Dottie’s first album and the second album, released on the heels of the first duet album, did not produce any top fifteen hits but the first duet album did produce a #1 and a #2 single.

That brings us to this album, a collection of some county songs, some borderline pop-country-easy listening songs and some pop songs. Produced by Larry Butler, the album was not quite as successful as its predecessor duet album, but still sold over two million copies.

The album opens up with “All I Ever Need Is You”, a top ten pop hit and #1 Adult Contemporary hit for Sonny & Cher and a top twenty county hit for Ray Sanders, both versions in 1971. This version would rise to #1 on the country chart. While not as country as the Sanders version (still my favorite), it is not as pop as the Sonny & Cher versions. Both steel guitar (by Pete Drake) and string arrangements are featured in the arrangement. The song works well as a duet.

Sometimes when I’m down and all alone
Just like a child without a home
The love you give me keeps me hangin’ on
Oh honey, all I ever need is you

You’re my first love, you’re my last
You’re my future, you’re my past
And loving you is all I ask, honey
All I ever need is you

The Wynette, Richey, Sherrill composition “ ‘Til I Can Make It On My Own” is up next. The song was a #1 country hit for Tammy Wynette in 1976. The song works as a duet but is in a key where Kenny seems to be struggling to hit some of the notes.

“Just The Way You Are” was a #3 Billboard / #2 Cashbox top ten pop hit for writer Billy Joel in 1977. The arrangement of this song reeks of cocktail lounge balladry. I’d rather hear Billy Joel perform this song and I am no fan of his music.

Randy Goodrum penned “You Needed Me”. Goodrum would co-produce Dottie’s 1979 album Special Delivery and write six of the songs on that album. I think that this song, as recorded by Anne Murray (#1 pop / #4 country), , was his biggest hit as a songwriter. The arrangement on this one is definitely easy listening.

“(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” was made famous by B.J. Thomas, winning the 1976 Grammy Award for Best Country Song. The song’s writers, Larry Butler and Chips Moman definitely cleared the bases with this song as it went to #1 on the country, pop and A/C charts in the US, nearly duplicating that success in Canada. Kenny & Dottie do a nice job with the song although the arrangement can be best described as ‘countrypolitan’. Steve Glassmeyer is featured on soprano sax.

It’s lonely out tonight
And the feelin’ just got right for a brand new love song
Somebody done somebody wrong song

Hey, wontcha play another somebody done somebody wrong song
And make me feel at home while I miss my baby, while I miss my baby
So please play for me a sad melody
So sad that it makes everybody cry-why-why-why
A real hurtin’ song about a love that’s gone wrong
Cause I don’t want to cry all alone

There is no questioning the country credentials of the next song, “Together Again” written by the great Buck Owens. Although initially released as the B side of Buck’s 1964 single “My Heart Skips A Beat”, most disc jockeys played both sides of the record resulting in both songs reaching #1, although in different weeks.

Unfortunately, the song is given an easy listening arrangement with strings and keyboards and not a trace of a steel guitar in the arrangement. There is a key shift whenever Kenny takes over from Dottie in singing a verse. I liked Dottie’s vocal on the song, Kenny’s not so much. The net effect is really disappointing.

Paul Craft was a successful songwriter who penned “Midnight Flyer”. The song is probably best remembered for Eagles recording of the song, although the song entered the realm of bluegrass music
through the Osborne Brothers terrific single recording of the song in 1973. Producer Butler gives the song the (fairly) acoustic arrangement the song demands. Kenny & Dottie acquit themselves well on this song.

Oo, Midnight Flyer
Engineer, won’t you let your whistle moan?
Oo, Midnight Flyer
I paid my dues and I feel like trav’lin’ on

A runaway team of horses ain’t enough to make me stay
So throw your rope on another man
And pull him down your way
Make him into someone who can take the place of me
Make him every kind of fool you wanted me to be

Barry Mann and Cynthia Weil were a highly successful songwriting team and Phil Spector was a successful producer and occasional songwriter best known for his ‘wall of sound’ production style. “You’ve Lost That Lovin’ Feelin'” was certainly the biggest hit that the Righteous Brothers would ever have, and possibly the most successful song from the Mann-Weil songwriting team. After hearing the Righteous Brother’s version it is difficult to accept any of the cover versions, of which there have been many. Kenny & Dottie do a decent job with the song, which is given a somewhat subdued ‘wall of sound’ production, but it pales in comparison to the original.

“Let It Be Me” is a popular song originally published in French in 1955 as “Je t’appartiens”. Written by Gilbert Becaud & Pierre Delanoe, the song became a worldwide hit when Manny Curtis appended English lyrics to the song. The Everly Brothers (#7 pop – 1960) and a duet by Betty Everett and Jerry Butler (#5 pop – 1964) cemented the song’s popularity in the English speaking world. In 1969 Glen Campbell and Bobbie Gentry had a pop and country hit with the song. Kenny and Dottie sing the song quite well – I think Kenny’s best vocals on this album are to be found on this song. The song is not country, the arrangement is very orchestral, but the net effect is very nice.

Like most of Kenny’s albums, this is essentially a pop album with a nod toward country music. There would be no more duet albums by this pair and after a brief resurgence in 1979 through early 1981, Dottie’s solo career would fade away (not surprisingly as Dottie would turn 50 in 1982). The younger Rogers (b. 1938) would continue to have varying degrees through the end of the 1980s, followed by a long coda.

I like parts of this album, but there are tracks I tend to skip over – I give it a C+

Album Review: Kenny Rogers – ‘Daytime Friends’

Released in July 1977, Daytime Friends was Kenny’s third album as a solo act, and his second album to go platinum. For the most part, this starts out as a solid country album with such stalwarts as Billy Sanford, Dave Kirby, Jerry Shook, Jimmy Capps, Jim Colvard, Johnny Christopher, Larry Keith and Reggie Young on guitar; Pete Drake on pedal steel guitar; Bob Moore, Joe Osborn and Tommy Allsup on bass; and Pig Robbins on piano to help keep things country for the first half of the album. The album would reach #2 on Billboard’s Country Album chart and crack the top forty on the all genres album chart. I suspect that Kenny’s actual position on the all genres chart would have been much better had Sound Scan been around.

I remember Kenny from his days with the First Edition (they even had a television show) and while Kenny’s first few country singles had a strong country feel, I always felt that he would drift into being a lounge, pop or pop-country balladeer. Unfortunately, I was correct and his output became less country as he went along. After 1979’s “You Decorated My Life”, it would be a long time before I really cared about any of Kenny’s recordings.

The opening track was the title track, written by Ben “Kiss An Angel Good Morning” Peters, and the first single released on the album, giving Kenny his second #1 country single. This song is a modern take on an ancient theme:

And he’ll tell her he’s working late again
But she knows too well there’s something going on
She’s been neglected, and she needs a friend
So her trembling fingers dial the telephone

Lord, it hurts her doing this again
He’s the best friend that her husband ever knew
When she’s lonely, he’s more than just a friend
He’s the one she longs to give her body to

Daytime friends and nighttime lovers
Hoping no one else discovers
Where they go, what they do, in their secret hideaway
Daytime friends and nighttime lovers
They don’t want to hurt the others
So they love in the nighttime
And shake hands in the light of day

Next up was a rather lame take on the Glenn Frey-Don Henley composition. I’ve heard many better versions, including Johnny Rodriguez’s #5 country single from earlier in 1977. I’ve always thought of this as a song about desolation and was disappointed that Kenny’s producers gave this a cocktail lounge arrangement. Kenny sings the song well, and with a little more muscular arrangement I would have really liked this song

Desperado, why don’t you come to your senses,
Come down from your fences- open the gates.
It may be rainin, but there’s a rainbow above you.
You’d better let somebody love you,
LET SOMEBODY LOVE YOU.
You’d better let somebody love you,
before it’s too late.

Kenny O’Dell is probably best remembered as the composer of the Charlie Rich smash “Behind Closed Doors”, but “Rock and Roll Man” is a respectable effort as well. A mid-tempo ballad with some pop trappings, Kenny handles the vocals well.

“Lying Again” was written by respected Nashville producer/songwriters Chips Moman and Larry Butler. Kenny does a nice job with this song about cheating, misgivings and regrets.

“I’ll Just Write My Music and Sing My Songs” fits within the context of the album, but is nothing more than a passable album track.

“My World Begins and Ends With You” would be a #4 hit in 1979 for Dave & Sugar [Dave Rowland, Sue Powell, Vickie Baker]. Kenny handles this love song well but I actually prefer the Dave & Sugar version.

My world was no more than a dream
And waitin’ on a dream can sure get lonely
Your love just fell right into place
And filled and empty space to overflowing, overflowing

My world begins with havin’ a friend when I’m feeling blue
My world would end if ever I heard you say we were through
Just don’t know what I’d do
‘Cause my world begins and ends with you

Kenny wrote “Sweet Music Man”, the second single released from the album. Rather surprisingly, the single stalled out at #9 on the US country charts, while reaching #1 on the Canadian country and adult contemporary charts:

But nobody sings a love song quite like you do
and nobody else could make me sing along
and nobody else could make me feel
that things are right when I know they’re wrong
( that things are right when you’re wrong with the song )
nobody sings a love song quite like you.

Larry Keith’s “Am I Too Late” points the pop/schlock direction Kenny’s music would take. The song is drenched in strings and has a very cocktail lounge feel to it. In fact the last four songs all lean a pop direction (“We Don’t Make Love Anymore”, “Ghost of Another Man” and “Let Me Sing For You”), although “Let Me Sing For You”, written by Casey Kelly and Julie Dodier has an interesting lyric and rather gentle folk-pop arrangement:

One bright, sunny day I set on my way to look for a place on this Earth.
My life was a song just 3 minutes long. And, that’s about all it was worth.
I wandered around. Unlost and unfound, unnoticed and misunderstood.
Each thing that I tried just lessened my pride. Guess I didn’t do very good.
Then I saw you lookin’ just like I felt. So, I walked up to you and I said.

Let me sing for you.
It’s not much to ask after all I’ve been through.
Let me sing for you.
At least there’s still one thing I know that I know how to do.

I found you alone, no love of your own. I gave you a shiny new toy.
I made you feel good as best as I could. And, I was your rainy-day boy.
I held you so near. But, you held this fear. And, felt like you’d been there before.
The spell that was cast was too good to last. Soon the toy wasn’t new any more.
So, I asked for some time. And, you gave me a watch.
If it’s that late already again….

Let me sing for you.
It’s not much to ask after all we’ve been through.
Let me sing for you.
At least there’s still one thing I know that I know how to do.

It is tough for me to evaluate this album. I liked, in varying degrees, the first seven songs, but by the time I got to “Am I Too Late” I was getting bored with the album. The tempos tend to be rather similar throughout, and the last songs on the album tend to be more pop, less country and, other than the last song, less interesting. I would give this album a B, but it is a very uneven B as far as I am concerned.

Album Review: Nathan Carter: ‘Celtic Roots (Live)’

For whatever reason, I was unable to obtain a digital copy of the album Where I Wanna Be. Instead, Amazon continuously linked me to the above-referenced album, which contains the song “Where I Wanna Be”, so I went ahead and purchased the digital download.

I will say that this 2017 release is not exactly a country album, but it is a good value for money with 18 tracks of mostly Celtic music, well performed. I happen to be a huge fan of traditional Irish folk music with a large collection of the stuff. This album apparently is of a performance for public television.

Recorded in Ireland, this album presents an interesting mix of classic of Irish folk songs, Celtic ballads, some country-flavored ballads and some of his hits. Nathan is joined by his stage band, a string quartette, a choral group and also by a former member of the group Celtic Woman, Chloe Agnew.

The album opens up with “Loch Lomond”, a very familiar Scottish tune given the full Scottish treatment with bagpipes and some sort of orchestral backing and a modern rhythm track. Nathan slows the song down considerably at the start of the vocal but picks up the tempo on the second verse. Nathan presents a very interesting treatment of a song that I’ve heard countless times before, including in many Hollywood movies.

Next up is “Where I Wanna Be”, a country single from 2013, written by Carter, that is simultaneously both country and Irish.

This hotel is just like yesterday’s,

And the city has no name.

It just stands there in the Grey haze,

And my room is the same.
 

Well I’m gonna call that number,

So far across the sea.

I wish I was in Ireland,

That’s where I wanna be,

That’s where I wanna be.

This is followed by “Caledonia” an Irish folk song (not the 1940s jump hit by Louis Jordan and/or Woody Herman. This lovely ballad was released as a single in 2013.

“Banks of Roses” is a very Celtic ballad with bodhrán, fiddle, accordion, penny whistle – the sort of thing the Chieftains would play.

The medley of “Spanish Lady”, “As I Roved Out” and “The Real Auld Mountain Dew” is a reflection of the great Irish folk groups of the past two generations such as The Clancy Brothers & Tommy Maken, The Dubliners and The Dublin City Ramblers with perhaps a little more rhythm thrown in. This is a fabulous medley – even someone with two left feet such as I, feels the urge to get up and dance.

Next up is Chloe Agnew with the quiet ballad “Grace” basically accompanied by acoustic guitar and little else. This is probably the slowest song on the album.

An Irish tin whistle (or pennywhistle) opens up “Hard Times”, served up as a duet between Choe and Nathan. Most will probably be familiar with the song through Bob Dylan’s recording, but the song dates back to 19th century American writer Stephen Foster:

Let us pause in life’s pleasures and count its many tears,

While we all sup sorrow with the poor;

There’s a song that will linger forever in our ears;

Oh! Hard times come again no more.

Chorus:
 ‘Tis the song, the sigh of the weary,

Hard Times, hard times, come again no more.

Many days you have lingered around my cabin door;

Oh! Hard times come again no more

“Temple Bar” was a 2016 single for Nathan:

There’s a busker playin’ on the street
Watching all the people meet
The boys and girls are back in Dublin town
There’s young ones there from everywhere
From America to God knows where

It’s just another night in Temple Bar
So come on down, out on the town
Cause’ this is where a good time can be found
So bring along the old squeeze box, the fiddle and guitar
Let’s have a good old night in Temple Bar

For me, the only misstep on the album comes with the next song “Bridge Over Troubled Water”, a Paul Simon song that I’ve heard far too many times. Nathan sings it well but the chorus and strings are overkill – he should have given it the two minute Buck Owens treatment.

“Wagon Wheel” was a Bob Dylan song fragment that Ketch Secor of Old Crow Medicine Show completed. Nathan released it as a single in 2012. The song reached #12 on the Irish pop charts, his biggest hit. I really like this version, probably better than any other version I’ve heard aside from Jeremy McComb’s outstanding hard country version from decade ago.

This is followed by an up-tempo, virtually breathless, instrumental medley of reels.

“Jealous of The Angels” is a very slow sad ballad about the unexpected loss of a loved one. I don’t know who wrote the song, but it was originally recorded by Donna Taggart of Celtic Woman (she may have written it) and is a stunning song that Nathan Carter positively nails

I didn’t know today would be our last
Or that I’d have to say goodbye to you so fast
I’m so numb, I can’t feel anymore
Prayin’ you’d just walk back through that door
And tell me that I was only dreamin’
You’re not really gone as long as I believe

There will be another angel
Around the throne tonight
Your love lives on inside of me
And I will hold on tight
It’s not my place to question
Only God knows why
I’m just jealous of the angels
Around the throne tonight

The mood and tempo stay down with the old Irish folk song “Home to Donegal”

Fortunately the mood brightens and the tempo picks up with of the most famous of Irish folk songs, “The Irish Rover”. Usually when I hear this song the audience, the performer or both are well lubricated (and they would need to be for the lyrics to make much sense). Usually too, the audience is singing along. Many will remember the song from the Pogues, but the song is much older than that. Nathan gives it a very exuberant treatment

In the year of our Lord, eighteen hundred and six,
We set sail from the Coal Quay of Cork
We were sailing away with a cargo of bricks
For the grand City Hall in New York
We’d an elegant craft, it was rigged ‘fore and aft
And how the trade winds drove her
She had twenty-three masts and she stood several blasts
And they called her the Irish Rover

There was Barney Magee from the banks of the Lee
There was Hogan from County Tyrone
There was Johnny McGurk who was scared stiff of work
And a chap from Westmeath named Malone
There was Slugger O’Toole who was drunk as a rule
And fighting Bill Tracy from Dover
And your man Mick McCann, from the banks of the Bann
Was the skipper on the Irish Rover

We had one million bags of the best Sligo rags
We had two million barrells of bone
We had three million bales of old nanny goats’ tails
We had four million barrells of stone
We had five million hogs and six million dogs
And seven million barrells of porter
We had eight million sides of old blind horses’ hides
In the hold of the Irish Rover

We had sailed seven years when the measles broke out
And our ship lost her way in a fog
And the whole of the crew was reduced down to two
‘Twas myself and the captain’s old dog
Then the ship struck a rock, oh, Lord what a shock
And nearly tumbled over
Turned nine times around then the poor old dog was drowned
I’m the last of the Irish Rover

“The Town I Loved So Well” is a slow sentimental ballad. At six plus minutes, it could drag a little but the Nathan Carter vocal carries you along.

It’s back to high gear with “South Australia”, a popular folk song found in the English, Irish and Australian musical canons. Nathan starts it slowly then kicks it up.

The album closes with “Liverpool” a 2016 single and “Good Time Girls”. The latter shares the melody and most of the lyrics of the American folk song “Buffalo Girls”

Having only heard the video clips on the MKOC blog and a few snippets on Amazon, I wasn’t what to expect. Now I know that Nathan Carter is an excellent vocalist who can put on an outstanding live show. To fans of modern country music (such as it is) the linear resemblance to American country music is remote. To those of us who grew up thinking that Haggard, Jones, Snow, Tubb, Cline and Arnold are representative of country music, the line back to the Irish folk music is short and direct. While there are only traces of classic country instrumentation, the songs and the vocals make clear that connection.

With few exceptions, I really love this album and I can live with the few tracks that I don’t love.

Grade: A+

Album Review: Lisa McHugh – ‘Wildfire’

Unlike Robert Mizzell, with whom I had some familiarity, Lisa McHugh was totally unknown to me. Wildfire is her third studio album, released in September 2015 on the Sharpe label. Because my purchase was via digital download, the album came with no information beyond the song titles and timings.

Like most country albums from outside the USA, there are a large number of covers of US hits, but why not? Many of the songs are new to their target audiences and those that aren’t new are crowd favorites.

I am surprised that neither of the two earlier reviews mentioned how similar in tone and timbre Ms. McHugh’s voice is to Dolly Parton, especially on certain songs. Obviously, Lisa does not have Dolly’s East Tennessee accent.

The album opens with “Mean”, a Taylor Swift composition. McHugh’s version has a very bluegrass feel to it with banjo and fiddle dominating the mix with some mandolin thrown in. McHugh is very much a superior vocalist to Swift, so I actually enjoyed the song.

Someday I’ll be living in a big old city
And all you’re ever gonna be is mean
Someday I’ll be big enough so you can’t hit me
And all you’re ever gonna be is mean
Why you gotta be so mean?

“Bring On the Good Times” is an upbeat, uptempo song with a sing-along quality to it. I’m not entirely sure about the instrumentation but there are portions with either a subdued brass section, or else synthesizers mimicking brass. This song has a 1990s country feel to it, and appears to have become a line dancing favorite.

Next up is “Never Alone”, a piano oriented slow ballad that is a cover of a 2007 Jim Brickman single that featured Lady Antebellum:

May your tears come from laughing
You find friends worth having
With every year passing
They mean more than gold
May you win but stay humble
Smile more than grumble
And know when you stumble
You’re never alone

“57′ Chevrolet” is one of the better known songs of the late great Billie Jo Spears, an artist who was underappreciated in her native USA but was venerated in the UK and Ireland. This is a very nice update of Billie Jo’s 1978 classic, a song numerous Irish artists have covered.

Come and look at this old faded photograph.
Honey, tell me what it brings to mind.
It’s a picture of that ’57 Chevrolet.
I wish that we could ride it one more time.

I still get excited when I think about,
The drive-in picture shows you took me to.
But I don’t recall a lot about the movie stars:
Mostly that old Chevrolet and you

[chorus]
They don’t make cars like they used to.
I wish we still had it today.
The love we first tasted,
The good love we’re still living:

We owe it to that old ’57 Chevrolet.
Remember when we used to park it in the lane,
And listen to the country radio?
We’d hold on to each other while the singer sang,
And we’d stay like that ’til it was time to go

“Wrong Night” was written by Josh Leo and Rick Bowles and was a 1999 single for Reba McEntire. The song reached #6 for Reba:

Suddenly I heard love songs.
Playing real soft on the jukebox.
Somebody ordered up moonlight.
And painted stars all across the sky.
Is it gravity or destiny.
Either way there’s nothing I can do.
Looks like I picked the wrong night.
Not to fall in love with you.

Lisa’s vocal resemblance to Dolly is very pronounced on both “Wrong Night” and the next song “Blue Smoke”, a Dolly Parton song from 2012. This song is given the full bluegrass treatment. I very much like this track.

Blue smoke climbin’ up the mountain
Blue smoke windin’ round the bend
Blue smoke is the name of the heartbreak train
That I am ridin’ in

“Dance With the One” was written by Sam Hogin and Gretchen Peters and featured on Shania Twain’s first major label release for Mercury back in 1993 (before Mutt Lange). When I first heard the song, I thought it would be Shania’s breakthrough song – it wasn’t topping out at #55. Lisa does a nice job with the song.

Well he shines like a penny in a little kid’s hand
When he’s out on a Saturday night
He’s a real go-getter and the best two-stepper you’ll see
But when I’m sittin’ alone at a table for two
Cause he’s already out on the floor
I think about somethin’ that my mama used to say to me

You got to dance with the one that brought you
Stay with the one that want’s you
The one who’s gonna love you when all of the others go home
Don’t let the green grass fool you
Don’t let the moon get to you
Dance with the one that brought you and you can’t go wrong

“Favourite Boyfriend of the Year” comes from the song-bag of the McClymonts, a very attractive Australian sister trio. The McClymont version was a little sassier than McHugh’s version, but she does a fine job with this up-tempo romp. I would have liked Lisa’s voice to be a little more up front in the mix. Again, this sounds like 1990s country to my ears.

I’m a little fussy
But I got a little lucky
When the boss from the corner store
He took me out to dinner
And the waiter was a winner
And the boss he was out the door
You’re the one who’s caught my eye
This could be something worth your while

Hey it’s not a waste of time
You’re maybe one of many but you will never
Be the last in line
Hey I’m really glad you’re here cuz you’re one
Of my favourite boyfriends of the year

Nathan Carter (the next artist up in our spotlight) is featured on “You Can’t Make Old Friends”, a quiet ballad that was a Kenny Rogers-Dolly Parton duet back in 2013. While Lisa sounds a lot like Dolly, Nathan does not remind me of Kenny Rogers, although he is a fine singer. Anyway the voices blend nicely.

What will I do when you are gone?
Who’s gonna tell me the truth?
Who’s gonna finish the stories I start
The way you always do?

When somebody knocks at the door
Someone new walks in
I will smile and shake their hands,
But you can’t make old friends

You can’t make old friends
Can’t make old friends
It was me and you, since way back when
But you can’t make old friends

Carly Pearce currently has a song on the radio titled “Every Little Thing” but this is NOT that song. The song Lisa McHugh tackles here is the up-tempo #3 Carlene Carter hit from 1993. Lisa’s voice does not have the power of Carlene’s voice (the daughter of country legends June Carter and Carl Smith should have very substantial pipes) but she does an effective job with the song:

I hear songs on the radio
They might be fast or they might be slow
But every song they play’s got me thinkin’ ’bout you
I see a fella walkin’ down the street
He looks at me and he smiles real sweet
But he don’t matter to me
‘Cause I’m thinkin’ ’bout you

Every little dream I dream about you
Every little thought I think about you
Drives me crazy when you go away
I oughta keep you locked up at home
And like a wild horse I want to break you
I love you so much I hate you
Every little thing reminds me of you
Honey when you leave me here all alone

“The Banks of the Ohio” is an old warhorse, a murder ballad that has been covered by everyone from Ernest Stoneman, The Monroe Brothers and Charley Pride to Olivia Newton-John. Lisa gives this song a very slow folk-Celtic treatment after a spoken narrative. It is very nice and does not sound very similar to any other version I recall hearing.

Lisa gives “Livin’ In These Troubled Times” a Celtic/bluegrass touch with accordion, mandolin taking it at a somewhat faster clip than Crystal Gayle did in her 1983 top ten recording of this song, written by Sam Hogin, Roger Cook and Philip Donnelly. It’s probably heresy to say I like Lisa’s version better than the original, but in fact I do.

It takes all the faith that’s in you
Takes your heart and it takes mine
It takes love to be forgiven
Living in these troubled times

When it rains on the range
And it snows in the Spring
You’re reminded again
It’s just a march of the dying
Living in these troubled times

When I saw the song list for the album, I wondered whether this was the Michael Martin Murphey classic about a horse or the Mac Wiseman bluegrass romp or even possibly the Demi Lovato song from a few years back. As it turns out this “Wildfire” is an entirely different song, by someone named John Mayer. It’s taken at a very fast tempo and given a quasi-bluegrass arrangement.

Don’t get up just to get another
You can drink from mine
We can’t leave each other
We can dance with the dead
You can rest your head
On my shoulder if you want to
Get older with me
‘Cause a little bit of summer makes a lot of history

And you look fine, fine, fine
Put your feet up next to mine
We can watch that water line
Get higher and higher
Say, say, say
Ain’t it been some kind of day
You and me been catchin’ on
Like a wildfire

I got a rock from the river in my medicine bag
Magpie feather in his medicine bag

Say, say, say
Ain’t it been some kind of day
You and me been catchin’ on
Like a wildfire

“Thinking Out Loud” comes from the pen of Ed Sheeran. I don’t know anything about Sheeran (or John Mayer, for that matter) except that my stepson says both are good singers. This is a nice song, a slow ballad nicely sung but I don’t like the instrumentation which strikes me as smooth jazz or cocktail lounge R&B

When your legs don’t work like they used to before
And I can’t sweep you off of your feet
Will your mouth still remember the taste of my love
Will your eyes still smile from your cheeks
And darling I will be loving you ’til we’re 70
And baby my heart could still fall as hard at 23
And I’m thinking ’bout how people fall in love in mysterious ways
Maybe just the touch of a hand
Oh me I fall in love with you every single day
And I just wanna tell you I am

So honey now
Take me into your loving arms
Kiss me under the light of a thousand stars
Place your head on my beating heart
I’m thinking out loud
Maybe we found love right where we are

I’m not a huge Dolly Parton fan so I thought that I would find Lisa’s vocal resemblance to Dolly Parton off putting. I should note that the Parton resemblance only shows up on some songs – on other songs she reminds me of Liz Anderson (mother of Lynn Anderson and a fine songwriter). I’ve listened to this album constantly for the last two days and find that I really like it. With the exception of the last song, the instrumentation is solidly country and while the focus is on faster songs, Lisa varies the tempos sufficiently to keep it interesting and sticks within her vocal range.

With the possible exception of “Bring On the Good Times” for which I could not find any information, all of the songs are covers of earlier recordings. That does not bother me in the least as I’ve always preferred a cover of a great song, than a recording of an unworthy new song.

I’d give this album an “A” – with a better arrangement on the the last song, I’d be tempted to give it an “A+”

Album Review: Robert Mizzell – I Don’t Want To Say Goodbye

When the group here at My Kind of Country opted to focus on Irish country acts, I certainly was not displeased as I became quite familiar with the Irish version of American country music during my years living in London (1969-1971). Unfortunately, before the days of the internet, it was nearly impossible to keep up with the more contemporary Irish artists. For the most part, the Irish artists I recall are deceased, retired or else really old. Louisiana-born Robert Mizzell is the exception to that statement in that a friend of mine brought back three Robert Mizzell cassettes for me after a visit to the emerald island some years ago. Since I rarely listen to cassettes anymore, I had forgotten about them. I pulled them out, listened to them and decided to digitize them.

Robert Mizzell is indeed an exceptional singer, so I was looking forward to reviewing his newer material. I Don’t Want To Say Goodbye was released in December 2013; unfortunately, music purchased via digital download does not come with liner notes (or any other useful information for that matter), so while I suspect that a few of these songs may be original to Robert Mizzell, I recognize most of these songs as exquisitely performed covers.

The album opens up with “Louisiana Red Dirt Highway”, a 1990 solo endeavor by William Lee Golden. The song did not chart for WLG but it was a video hit, an excellent song and worthy of revival:

Pulled out the driveway
Passed an old tar paper shack
Standing at her mailbox
An old woman waves as I look back
I’m going to miss my family
And I’ll need all the letters that they’ll send
It’s going to be a long time before I travel doen this red dirt road again

Louisiana Red Dirt Highway
I’ve been down a million times
Where the tin barns and the pine trees
I’m going to take them with me in my mind
I’m gonna take them to the city
Where a man could make good money so they say
I’m already pretty lonesome and my tires ain’t even swung off all the clay

“Little White Line” is not the Shooter Jennings song of a few years ago but it is a well performed mid-tempo song of youthful indiscretion.

“The Colour Of Your Dreams” is a gentle ballad about the loss of a brother.

“Wham Bam!” was as featured as a Buck Owens duet with son Buddy Alan on the 1972 album Too Old To Cut The Mustard. The song is given the same up-tempo treatment that Buck gave it.

“Your Man” was a 2005 US hit for Josh Turner. While Mizzell’s voice is not as low pitched as Turner’s, he does have a nice resonant voice and does an outstanding job with the song.

Baby, lock the doors and turn the lights down low
Put some music on that’s soft and slow
Baby, we ain’t got no place to go
I hope you understand
I’ve been thinking ’bout this all day long
Never felt a feeling quite this strong
I can’t believe how much it turns me on
Just to be your man

Travis Tritt and Marty Stuart had a fine recording of “The Whiskey Ain’t Workin’ Anymore”. Mizzell keeps the buddy feel of the song with duet partner Chuck Owens

“Loving You Could Never Be Better” comes from the George Jones song bag, a #1 (Record World) hit for George in 1972. Doing George Jones material can be tricky – the shadow of the Possum tends to hang over the material, particularly when covering the more familiar material. This was not one of George’s more famous (or best remembered) songs so the shadow is lessened. Mizzell does a very good job on this song, which will undoubtedly be new to many listeners. George’s recording was given the full ‘Nashville Sound’, which is missing here.

Well here we are, again, tonight alone just us two
Where the lights are dim and true love is comin’ through
There’s no one else in this whole world as far as we’re concerned
We’ve built ourself a fire, so let it burn

When you look at me like you do right now I go to pieces
Because I know what’s on your mind, it’s just me
You’ve got that love-me-look in your eyes like you’ve had so many times and how
Loving you could never be better than it is right now

“I Love A Rainy Night” was a #1 pop and country smash for the smiling American of Irish descent, Eddie Rabbitt. Rabbitt, who died much too young at age 57, seems largely forgotten. While retaining the basic rocking rhythm of Rabbitt’s recording, the instrumentation is much more country.

Another George Jones classic “Wild Irish Rose” is next up. Whether the song is considered anti-war or is simply the story of a combat vet who returned as damaged goods, I will leave up to the listener to decide:

They sent him to Asia to fight in a war
He came back home crazy and asking, “What for?”
They had him committed oh, medals and all
To a mental hospital with rubber walls

They cut off the funding oh, they cut off the lights
He hit the street runnin’ that cold winter night
Now the streets are the only place he can call home
He seems, oh so lonely, but he’s never alone

“One More Last Chance” was a 1993 Vince Gill hit. Mizzell’s voice is pitched lower than Vince’s and it doesn’t seem to work as well on this song. Don’t get me wrong, Mizzell’s recording is quite decent but pales next to the original:

Give me just a one more last chance
Before you say we’re through
I know I drive you crazy baby
It’s the best that I can do
We’re just some good ol’ boys, a makin’ noise
I ain’t a runnin’ ’round on you
Give me just a one more last chance
Before you say we’re through

I never saw the film Brokeback Mountain, but my wife said she recognized “I Don’t Want To Say Goodbye” from the movie so I looked it up and found that the song was written by Teddy Thompson. It’s is a nice ballad sung well by Robert Mizzell

“Sweet Home Louisiana” may be original material. The song is upbeat, up-tempo and has a definite Cajun feel complete with accordion. I really liked the song.

“Down On The Bayou” is another upbeat up-tempo Cajun-flavored song. This is not the Creedence Clearwater Revival song, but perhaps original material.

This album is excellent. I wish I knew the names of the musicians so I could give them proper credit. The musicianship is both real country and excellent. Robert Mizzell has a great voice and knows how to use it.

I look forward to hearing more from him.

A

Country music in the United Kingdom and Ireland part 1: 1950s-1972

Since American folk and country music, particularly that of the of the Appalachian region, had its roots in the English and Irish folk traditions, it seems only fair that the American product crossed back over the Atlantic Ocean to the home of its forbears.

The age of recorded music dates back over a century but it appears that the cross-pollination of English pop music with American Country music began in earnest in 1952 when Slim Whitman, a smooth-voiced American country singer with a wide vocal range and outstanding ability as a yodeler released “Indian Love Call” as a single. The song reached #2 on the US country charts but also got to #9 on the US pop charts and #7 on the British pop charts. Then in 1954, “Rose Marie” topped the British pop charts. While Whitman would have only one more top ten British hit, his recordings continued to chart occasionally through 1957, and received some airplay thereafter. The BBC played Slim’s 1968 single “Livin’ On Lovin’ (And Lovin’ Livin’ with You)” with some frequency.

Although no longer a pop singles charts factor, Slim’s albums would continue to sell well with the last charting album falling off the British album charts in 1978. Red River Valley charted at #1 in 1977 and Home On The Range reached #2. Slim would tour the UK and Europe for the next several decades.

Because of his highly individual style, perhaps Slim isn’t a good exemplar; however, a few years later the heavily country-influenced rockabilly artists such as Elvis Presley, Gene Vincent Craddock, Carl Perkins and Eddie Cochran began making their presence felt. Initially the presence was to be found in the work of skiffle artists such as Lonnie Donegan and the Vipers. Skiffle was an amalgam of American blues, folk and country, and would fuel the early English rock ‘n roll movement. One American act, Johnny Duncan and the Bluegrass Boys, also would thrive as skiffle artists.

While the skiffle artists were not, per se, country artists (and like rockabilly, the movement was short-lived), Nashville songwriters were beginning to have success in England with country songs, even if not necessarily performed as country music. During the 1960s artists such as Max Bygraves, Val Doonican, Ken Dodd, Des O’Connor, Englebert Humperdinck and a dynamic singer from Wales, Tom Jones, were having huge success with American Country songs.

One of the first English groups to actually feature American style country music was the Hillsiders. Signed to RCA, they found their way to Nashville to record an album with country great Bobby Bare. The album The English Countryside reached #29 on the US country album charts and spawned the single “Find Out What’s Happening” that went to #15 on the US country chart and reached #5 on the Canadian country chart. While neither the album nor the single charted in England, the album reputedly sold decently and the single received some airplay. While there were no further chart hits, the Hillsiders remained an integral part of the English country scene through the mid-1990s.

Thanks to a pair of BBC radio programs, Country Meets Folk (hosted by Wally Whyton) and Country Style (hosted initially by David Allan and later by Pat Campbell), there were weekly shows that featured country music. Country Meets Folk was a live program that was about 50-50 folk and country whereas Country Style mostly featured recorded music with an occasional live performance by a local act. Through Country Style, I became familiar with such entertaining acts as Tex Withers, Roger Knowles, Nick Strutt, Brian Golbey, Pete Stanley and a host of Irish acts such as Larry Cunningham, Big Tom & The Mainliners, Dermot O’Brien and Joe Dolan. I should mention that Irish Country music often came in the form of an Irish Showband, with the music sometimes resembling that of modern day American polka star Jimmy Sturr.

The First International Festival of County Music at Empire Pool – Wembley, was organized by Mervyn Conn and took place on April 5, 1969 and featured a number of prominent American country artists such as Conway Twitty, Bill Anderson and Loretta Lynn (my father and I both attended) and also showcased a number of fine English and Irish country acts as follows: Phil Brady & The Ranchers, Larry Cunningham and the Mighty Avons, The Hillsiders, and Orange Blossom Sound (a fine bluegrass group).

The Second International Festival of Country Music was held March 28, 1970, and my father and I again were both in attendance, to see the Roy Acuff, Tompall & The Glaser Brothers and Lynn Anderson, along with other American acts and the English acts Orange Blossom Sound, The Hillsiders, and Country Fever.

These festivals continued through 1991 and gave such fine English and Irish acts as Brian Coll, Lee Conway, Ray Lyman & The Hillbillies, Patsy Powel and The Honky Tonk Playboys, The Jonny Young Four and Frank Yoncho exposure.

Meanwhile Lucky Records was formed to provide an outlet for local artists. One of my most treasured albums was by acoustic country artist Brian Golbey titled The Old & The New Brian Golbey.

At about the same time The Nashville Room opened in Kensington, which featured music by local country acts with an occasional Nashville star such a Hank Locklin dropping in.

I moved away from England in 1971 and lost track of the English and Irish country music scenes. In the days before the internet it was difficult to keep up with what was going on across the sea.

Album Review: Janie Fricke – ‘Black and White’

Released in June 1986, Black and White saw a strong directional shift in Janie’s music toward a more nuanced and adult approach to music. There is more blues influence evident than in her earlier recorded efforts. This was Janie’s eleventh album (her last name was spelled ‘Frickie’ on the album cover). Norro Wilson produced the album.

Although I regard this album as Janie’s masterpiece, some of the songs are marred by 1980s production. Also this album marked the end of her as a chart force. “Always Have, Always Will”went to #1, but the second single “When A Woman Cries” only reached #20, and no future Janie Fricke single would ever again reach the top twenty. Some would argue that the New Traditionalist movement shoved Janie aside, but I suspect that her age had as much to do with it as newer, younger faces arrived.

Side one of the original vinyl album opens up with “Till I Can’t Take It Anymore”. Written by Clyde Otis and Ulysses Burton, the song has a long history, having been a pop hit for Ben E. King in 1968, with numerous covers including Billy Joe Royal’s #2 country hit in 1990. Janie does a nice job with the song.

Let’s not fight it anymore
Unpack your bags and close the door
Girl, I’ll never leave you
Though you lied right from the start
I can’t convince my foolish heart
Not to believe you

You’ve got two good men strung out
And there’s not the slightest doubt
That other men have loved you before
But you drew your face away
I dream of Heaven and I live in Hell
Till I can’t take it anymore

“He’s Breathing Down My Neck” is a mid-tempo ballad with a very jazzy feel to it. I think this is the weakest song on the album and it’s not at all bad.

Kent Robbins wrote “Take Me Like A Vacation”, an interesting song taken at mid-tempo. The song was later covered by Lynn Anderson. “Nothing Left To Say” is a slow ballad about the end of a relationship. The song is really well sung by Janie, a very nice album track. “Coming Apart At The Seams” is the story of a breakup that the narrator wants no part of, and cannot accept.

Thus ends side one of the original vinyl album. Other than the first track, none of the songs themselves are anything special but the whole is greater than the sum of the parts.

Side two opens with the best song Janie Fricke ever recorded, the bluesy “Always Have, Always Will”. The song reached #1. There is some lovely steel guitar on the track by former Buckaroo Tom Brumley.

It seems funny I remember your number
After all this time
And I know that it’s late
And I hope that I’m not out o’ line
But for some crazy reason
I’ve been thinkin’ ’bout you all day
And every three hours now
I’ve been thinkin’ of somethin’ to say

Ilove you like a fool
Always have, always will
But you know that it’s just my point of view
But I love you still
Always have, always will
Always have, always will love you

“Don’t Put It Past My Heart” is a mid-tempo song about a woman’s warning to her lover telling him to not take her for granted. This would have made a good single.

“When A Woman Cries” was released as a single, topping out at #20. Written by Buck Moore and Mentor Williams, I would have expected the song to be a bigger hit.

The album closes out with a pair of slow ballads. “He’s Making A Long Story Short” and “I’d Take You Back Again”, one of the few songs penned by Ms. Fricke.

The key to this album is that the songs are all situated in such a way as to let Janie show off her vocal prowess without overstraining her voice. Fricke is in good voice throughout, and while parts of the production sound a bit dated, at no point are the arrangements cluttered and obtrusive. Unlike her prior albums, which were simply collections of songs, this album sets a mood and does it well.

Grade: A

Album Review: Charley Pride – ‘Music In My Heart’

Music In My Heart is Charley’s first new album since Choices, which was issued in 2011. Charley is now 79 years old; however, his voice seems to have hardly aged at all. I suspect that he may have lost a little off the top of his range but the quality of what remains is outstanding.

Noted songwriter Billy Yates served as the producer of this album, as well as providing several of the songs and singing background on a few of the songs. Yates provides Charley with an updated version of the Nashville Sound minus the strings and soulless vocal choruses. Such stalwarts as Mike Johnson, Robby Turner and Scotty Sanders handle the steel guitar, while Stuart Duncan handles fiddle and mandolin.

The album opens up with the Tommy Collins classic “New Patches” that served up the last top ten single for Mel Tillis back in 1984.

Now and then an old friend tries to help me
By telling me there’s someone I should meet
But I don’t have the heart to start all over
‘Cause my heart is laying at another’s feet

[Chorus:]
You just don’t put new patches on old garments
I don’t want no one else on my mind
I just don’t need nobody new to cling to
I still love someone I’ve known a long long time

“Country” Johnny Mathis (1930-2011), so named so as to not be mistaken for the pop singer of the same name, is nearly forgotten today, but he was a fine songwriter and “Make Me One More Memory” is a fine mid-tempo song, handled with aplomb by Pride.

Take my heart, my soul, my heaven
Take my world away from me
All I ask is one last favor
Make me one more memory

Ben Peters provided Charley with many big hits so it is natural for Pride to raid the Ben Peters songbag for material. Co-written with son Justin Peters, “Natural Feeling For You” is the kind of ballad that could have been a hit during the 1970s or 1980s.

“All By My Lonesome” reminds me of the 1992 Radney Foster song “Just Call Me Lonesome”, although this song comes from Billy Yates and Terry Clayton. This is a mid-tempo ballad with a solid vocal by Pride.

All by my lonesome
Heart broke and then some
Watchin’ ol’ re-runs
On my TV

Drinkin’ and cryin’
So close to dyin’
I’m next to no one
All by my lonesome

Thanks for sendin’ someone by to see if I’m alright
I appreciate your concern tonight
But I don’t need no company
To offer up their sympathy
If it ain’t you then I would rather be

All by my lonesome
Heart broke and then some
Watchin’ ol’ re-runs
On my TV

“It Wasn’t That Funny” was written by Yates and Dobby Lowery. The song is a lovely ballad about an almost breakup, that a couple experienced and can laugh about now, but brought moments of anguish along the way.

Lee Bach penned “The Same Eyes That Always Drove Crazy”, a mid-tempo ballad of a chance meeting after years of separation. This song would have made a good single at any point before about 2005. The song features some really nice steel guitar by Mike Johnson and piano by Steve Nathan.

Billy Yates and Billy Lawson chipped in the introspective ballad “I Learned A Lot”, in which the narrator relives the lessons he’s learned from losing his previous love. The song first appeared on Billy’s album Only One George Jones.

“You’re Still In These Crazy Arms of Mine” was written by Lee Bach, Larry Mercey and Dave Lindsey. The title references what was on the jukebox the first time the narrator met his love. The song has a nice Texas shuffle arrangement (the song references the Ray Price classic “Crazy Arms” and mentions taking out Ray’s old records). Again, this is another song that would have made a good single in bygone years.

“The Way It Was in ‘51” was written by Merle Haggard and was the title track for one of the Hag’s great albums and was the B-side of Hag’s “The Roots of My Raising”.

Sixty-Six was still a narrow two-lane highway
Harry Truman was the man who ran the show
The bad Korean War was just beginning
And I was just three years too young to go

Country music hadn’t gone to New York City yet
And a service man was proud of what he’d done
Hank and Lefty crowded every jukebox
That’s the way it was in fifty one

“Lee Bach” wrote “I Just Can’t Stop Missing You”, a nice ballad that makes for a good album track but wouldn’t ever have been considered for a single. This song apparently has keyboards mimicking the sound of strings giving it more of a Nashville Sound production than the other tracks on the album.

“Whispering Bill” Anderson wrote “You Lied To Me” a song that I don’t think he ever recorded, but Tracy Byrd recorded it on his 1995 album Love Lessons. Charley does a bang up job with the song

You looked at me as only you can look at me
You touched my cheek and told me not to cry
But you said you’d found somebody you loved more than me
And you told me I’d forget you by and by

But you lied to me, yes you lied to me
You said time would close the wound that bled inside of me
But every breath I take brings back your memory
You said I’d forget you, but you lied to me

“Standing In My Way” comes from Billy Yates and Jim McCormick, an interesting ballad of self-recriminations.

The album closes with a spritely up-tempo number from “Country” Johnny Mathis, “Music In My Heart”.

I really liked this album. In fact I would regard this as Charley’s best album in over twenty years. I like the song selections, I like the arrangements and I like Charley’s vocals. Radio won’t play these songs but they should – it’s their loss! Maybe Willie’s Roadhouse will play it – after all octogenarian Willie believes in giving the youngsters a chance. This album doesn’t have a dud among its tracks – solid A.