My Kind of Country

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

Category Archives: Spotlight Artist

Classic Rewind: Jessi Colter – ‘I Belong To Him’

Classic Rewind: Jessi Colter – ‘I’d Rather Have Jesus’

Album Review: Jessi Colter – ‘Out of the Ashes’

Out of the Ashes was released in 2006, four years after the death of Waylon Jennings, and with the exception of a 1996 children’s collection, was Jessi Colter’s first album in 22 years. She teamed up with Don Was, who had a reputation for reinvigorating the careers of other veteran artists both inside and outside of country music. He was best known for his work with Bonnie Raitt and had also worked with Waylon, Willie Nelson and Kris Kristofferson both as individuals and as members of The Highwaymen.

Out of the Ashes is not a straight country album. It is heavy on blues and roots rock, with a touch of Gospel occasionally thrown into the mix. Jessi wrote or co-wrote nine of the album’s twelve tracks. It has an earthier sound than her earlier work and her voice sounds grittier but is still in fine form. It is a concept album but only in the very loosest sense. It is about grieving and eventually emerging from that grief and moving on. It opens with a cover of the Gospel song “His Eye Is on the Sparrow”, given a bluesy treatment, and moves on to the sassy, bluesy “You Can Pick ‘Em”. The piano-driven “The Phoenix Rises” is a beautiful ballad about rebirth and new beginnings and is my favorite. The similarly-themed mid-tempo “Out of the Rain”, performed with its writer Tony Joe White is an older song dating back to the 1980s. Waylon had supplied vocals on an unreleased version and they are incorporated into this version. It signals that Jessi has moved on and is ready to explore new relationships, and she takes the plunge headfirst on the steamy “Velvet and Steel”.

Other favorites include the ballad “The Canyon” — about a couple ready to go their separate ways, and told metaphorically from the point of view of a horse:

Don’t lay your bridle on my shoulder
Don’t bring your bit to my mouth
Don’t lay your blanket on my body
Just take your saddle and move out.

The album closes with another Gospel number “Please Carry Me Home”, performed with Jessi’s co-writer and son Shooter Jennings. The track had previously been included on a multi-artist anthology of songs inspired by the film The Passion of the Christ.

The only track I didn’t care much for was the cover of Bob Dylan’s “Rainy Day Women #12 & 35”, which seems slightly out of place, with its ambiguous references to people “getting stoned”. It’s not clear if this is a drug song or people being pelted metaphorically with stones, or both.

I wasn’t sure what to expect from this collection, but the more I listened to it the more I liked it and I ended up enjoying it much more than I expected to. It is available on streaming services and can also be downloaded or purchased on CD.

Grade: A-

Classic Rewind: Jessi Colter – ‘Without You’

Album Reviews: Jessi Colter and Waylon Jennings duets

There currently isn’t much available by this duo, and they did not record much together since their voices really didn’t blend all that well.

Leather & Lace was issued on vinyl & cassette by RCA in February 1981 and features the following ten songs:

01) You Never Can Tell (C’est La Vie)
02) Rainy Seasons
03) I’ll Be Alright
04) Wild Side Of Life
05) Pastels And Harmony
06) I Believe You Can
07) What’s Happened To Blue Eyes
08) Storms Never Last
09) I Ain’t The One
10)You’re Not My Same Sweet Baby

All American Country was issued on CD by BMG in 2003 and features the following ten songs:

Suspicious Minds
Under Your Spell Again
I Ain’t The One *
Storms Never Last *
Wild Side Of Life *
You Never Can Tell (C’est La Vie) *
Sight For Sore Eyes
I’ll Be Alright *
What’s Happened To Blue Eyes *
You’re Not My Same Sweet Baby *

Songs marked by * also appear on Leather & Lace.

There are only four actual duets on Leather & Lace (01, 04, 08, 09) with Jessi being solo on 02 and 06 and Waylon being solo on the remaining four songs.

All American County has the four duets on Leather & Lace plus “Suspicious Minds”, “Under Your Spell Again” and “Sight For Sore Eyes” are duets, meaning that the modern era CD is the better collection if you are looking for actual duets. This CD is still readily available, whereas Leather & Lace has been out of print for a long time.

Waylon & Jessi did not have a tremendous amount of chart success as a duet, with “Wild Side of Life” (a medley of Hank Thompson’s hit and Kitty Wells’ answer song) reaching #10 in 1981 and “Storms Never Last” reaching #17” in 1981. The only other top twenty hit was “Suspicious Minds”, the old Elvis #1 pop hit from 1969 reaching #2 in 1976.

Truthfully, while I am a big Waylon Jennings fan, neither of these albums is particularly satisfactory. I would regard the best song (found on both albums) as “You Never Can Tell”, a Chuck Berry song from 1964. The solo efforts on Leather & Lace (especially the Waylon tracks) are throw-aways so I would give Leather & Lace a C. I would give All American Country a B for having more duets and better songs.

Album Review: Jessi Colter – ‘Ridin’ Shotgun’

Jessi’s career slowed down in the late 70s as her radio success fizzled out and she and Waylon had their first (and only) child, Shooter, in 1979. However, in 1981 she recorded a popular album of duets with Waylon (Leather and Lace). This prompted her to return to the studio on her own account, and she resumed her deal with Capitol. Waylon shared production duties with Randy Scruggs.

Although jessi’s duets with Waylon had been hits, it turned out that country rado was now really only interested in jessi as Waylon’s wife. Her solo singles were roundly ignored, with the most successful release from this album, ‘Holdin’ On’, peaking at #70. This is a nice quite upbeat song about splitting up, written by Jessi and Waylon with Basil McDavid.

McDavid is the main co-writer for the album, with another five songs credited to him and Jessi. The charming love song ‘Ain’t Making No Headlines (Here Without You)’ about coping with separation was also covered by Hank Jr, with slightly altered lyrics.

Slightly different versions of the bluesy title track bookend the album. ‘Ridin’ Shotgun (Honkin’)’ features backing vocals and harmonica and ‘Ridin’ Shotgun (Tonkin’)’. ‘Hard Times And Sno-Cone’ is a little quirky; its precise meaning is unclear but with its references to a man who ‘called her a woman but he knew she was a child’, it may possibly have been inspired by Jennifer Harness, Jessi’s teenage daughter by her first marriage to Duane Eddy. She had had a baby at just 15, who Jessi and Waylon helped to raise alongside their own son Shooter, just a year older, and married soon afterwards. The most interesting of the McDavid co-writes is the airy ‘Jennifer (Fly My Little Baby)’, to and about Jennifer. Jennifer and Waylon both guest on vocals, making this a real family affair, with Jennifer singing:

Mama don’t worry about Jennifer
Jennifer’s gonna be fine
I know it won’t be easy
Mom I’m gonna give it a try
You gave me some dreams
Now I’ve got wings and I’m headed for the sky
I have the trust in you to have the faith in me
So come on won’t you watch me fly…

Jessi and Waylon then advise:

To all you mamas and daddies
Who have a Jennifer you love so
If you wanna hold on to her
First you gotta learn to let her go

Jessi throws in a pair of very current covers: Waylon’s 1981 hit ‘Shine’, and Corbin/Hanner’s spiritual ‘On The Wings Of My Victory’, later recorded by Glen Campbell. She also takes on a much older song, the delicately pretty ‘A Fallen Star’.

‘Somewhere Along The Way’, the only solo Jessi Colter composition on this album, is a subdued ballad about regret for past choices. Co-producer Randy Scruggs contributed ‘Nobody Else But You’, a pretty love song with a lilting melody.

The album is available on a three-album/double CD with Mirriam and That’s The Way A Cowboy Rocks And Rolls.

Grade: B+

Classic Rewind: Jessi Colter – ‘What’s Happened To Blue Eyes?’

Album Review: Jessi Colter – ‘That’s The Way The Cowboy Rocks and Rolls’

After detouring with religious and inspirational music on Miriam, Jessi Colter returned to originals for 1978’s That’s The Way The Cowboy Rocks and Rolls. Much like her previous releases, the album was co-produced by her husband Waylon Jennings.

The album arrived too late to capitalize on the success of either Wanted! The Outlaws or her #2 peaking duet with Jennings, “Suspicious Minds.” Thus, the two singles failed to gain any traction at radio. “Maybe You Should’ve Been Listening,” a gentle ballad, peaked at #45. The second and final single, “Love Me Back to Sleep” only reached #91. Jacky Ward would score a #7 hit with the title track, a beautiful steel-drenched mid-tempo number, in 1980.

The main problem with That’s The Way The Cowboy Rocks and Rolls is the album’s lack of commercial viability. The title track and opening number “Roll On” are the only two cuts that can pass as uptempo and either one would’ve been better choices for singles than what Capitol sent to radio. Colter also does well with “Black Haired Boy” and “My Cowboy’s Last Ride,” both very good story songs. The remainder of the album is good, but nothing terribly exciting.

Grade: B

Classic Rewind: Jessi Colter – ‘I’m Not Lisa’

Classic Rewind: Jessi Colter – ‘You Hung The Moon (Didn’t You Waylon)?’

Album Review: Jessi Colter – ‘Mirriam’

Though you’d never know it from the title, 1977’s Mirriam is a collection of inspirational and religious-themed tunes, all composed by Jessi Colter. Her chart success had tapered off since the high point she’d reached two years earlier with “I’m Not Lisa”, but but thanks to the success of 1976’s Wanted! The Outlaws, she had gotten back on the radio with “Suspicious Minds”, a duet with Waylon Jennings that had reached #2. It seems odd, therefore, that Capitol would follow up that success with a religious album which was bound to have more limited commercial appeal.

Like Jessi’s earlier Capitol albums, Mirriam (a title chosen to honor Jessi’s birth name), was produced by Ken Mansfield. This time, however, Richie Albright stepped as co-producer, a role previously held by Waylon. Waylon does appear in the musician credits, however, both as a guitarist and as a background vocalist on “I Belong to Him”, the album’s sole and non-charting single. Roy Orbison is also credited as a background vocalist on this track. Steel guitar great Ralph Mooney is once again onboard as well.

Some of the songs are more overtly religious than others. The opening track “For Mama” is, as the title suggests, a tribute to Jessi’s mother. “Put Your Arms Around Me” and “I Belong To Him” could be taken as either love songs or prayers, while others such as “God, If I Could Only Write Your Love Song” and “New Wine” are unquestionably spiritual. “There Ain’t No Rain” is a rollicking gospel number complete with a choir and is one of the album’s standout tracks, but I think “I Belong To Him” is probably my favorite.

Mirriam wasn’t as well received critically or commercially as Jessi’s earlier work, but it provides an interesting look at the more devotional side of country music’s premier female outlaw. While nothing here reaches the level of greatness, it’s an album that grows on the listener with repeated playings. It is available on a two-disc collection along with Jessi’s two subsequent albums That’s The Way A Cowboy Rocks and Rolls and Ridin’ Shotgun.

Grade: B

Classic Rewind: Jessi Colter ft Carter Robinson – ‘Please Carry Me Home’

The song starts 2.45 in:

Classic Rewind: Wynonna – ‘No One Else On Earth’

Album Review: Jessi Colter – ‘Diamond In The Rough’

Released in July 1976, Diamond In The Rough was Jessi’s third album for Capitol, and her third album release in eighteen months. Like her first two Capitol album, it reached #4 on Billboard’s Country Albums Chart. Unlike its two predecessors, it generated no significant hits – the only single released, “I Thought I Heard You Calling My Name”, died at #29. Basically sales-wise this album coasted on the success of the first two Capitol albums.

Since the last single from the prior album had died at #50, it is pretty clear that the forward momentum her career received from “I’m Not Lisa” had already been lost. From this point forward none of her solo albums would crack the top forty and none of her singles would reach top twenty status.

Diamond In The Rough
is not a bad album but I am not sure as to the identity of the target audience since the song selection seems rather random.

The title track “Diamond in the Rough” written by Donnie Fritts (a long-time veteran of Kris Kristofferson’s band) and Spooner Oldham, is a bluesy ballad that is much closer to being piano jazz than anything resembling country music.

“Get Back” a Lennon-McCartney composition, was a huge hit on both sides of the Atlantic in 1969, with Billy Preston’s energetic electric organ giving the song an energy that the Beatles had seemingly lost. Jessi’s rendition is not terrible, but is lethargic and not very interesting.

Better is Jessi’s “Would You Leave Now”, a lovely ballad, exquisitely sung by Jessi. The background features some gentle steel guitar amidst a light string accompaniment.

Although it was a massive hit, I never liked “Hey Jude”, the second Lennon- McCartney song on the album). Jessi sings it well, but at 7:16 the song is simply too long. Had she shortened it to about four minutes, I might have actually liked her gentle approach to the song, but at some point I simply lost interest – the only thing of interest in the coda is the fiddle.

Another Jessi Colter composition follows in “Oh Will (Who Made it Rain Last Night)”. This is another lovely ballad about the pain of leaving, this more of the folk variety rather than jazz. Jessi’s piano is impeccable and the song is quite lovely, just not country.

Oh Will who made it rain last night?
Who could take blue from my sky and paint it black night?
Who’s telling me to look so I’ll see the tears for years we will cry?
Talk to me Will.
You never told lies; who made it rain last night?

Lee Emerson’s “I Thought I Heard You Calling My Name” was the chart single from the album and is a country break-up song. I heard this song quite a bit upon its release and was surprised to find out later that this topped out at #29. There is an interesting story behind Lee Emerson’s death, but I won’t go into that here. Porter Wagoner and George Strait (Strait Out of The Box) both recorded the song.

I said goodbye to you this mornin’
With only these words to explain
I said I’d found someone I love better
But I still hear your voice call my name
I thought I heard you callin’ my name
Funny, I still feel this way.
Your voice seem so close, but I knew
That by now you were many miles away
I walk through the streets of the city
People passing by think it’s so strange
I’m talkin’ but there’s no one beside me
I thought I heard you call my name

“Ain’t No Way” by Tere Mansfield is a good country ballad which I think could have been a decent single. The problem for Jessi, is that she doesn’t have a really forceful voice, but on this song she gets across enough power to sell the song.

Obviously Jessi really loved Waylon, sticking with him through good times and bad times. “You Hung the Moon (Didn’t You Waylon)” is exhibit number one for this proposition. Too personal to be a single, the song leaves the listen with no doubts as to its sincerity.

You did hang the moon, didn’t you Waylon?
` You did hang that moon, didn’t you Waylon?
Weren’t you the one they called the seventh son?
You did hang the moon, didn’t you Waylon?

You take so many words and bring them all home with one
You walk into my room and it lights up like the sun
Each step you take leads a way for someone
And I know you’d never do love wrong

“Woman’s Heart is a Handy Place to Be” by Cort Casady and Marshall Chapman is a jog-along ballad with a story to tell about a charmer who can never be faithful, but whom the narrator wants anyway . Jessi does a nice job with the song, but Crystal Gayle also recorded the song to better effect.

He’s a charmer
He’s broken every heart that’s tried to hold him
It’s tearin´ me apart to know I want him
Knowin´ I can never tell him so

He’s a loner
Runnin´ from a friend to find a stranger
It makes me weak it makes me wonder
Will I ever make it on my own
Will I ever make it on my own

A woman’s heart’s a handy place to be
For a man afraid of givin’ and fightin´ to be free
Yes a woman’s heart’s a handy place to be
I just wish the heart that’s broken now was not a part of me

Ms Marshall Chapman has led an interesting existence (she is six feet tall and much more of a rock & roller than a country songsmith, but she has had considerable success in country music with Sawyer Brown having a major hit with Betty’s Being Bad”.

The album concludes with an unnecessary reprise of “Oh Will (Who Made it Rain Last Night)”. I would have much preferred an additional song.

This is a tough album to evaluate in that both of the Beatles’ covers were complete misfires and several of the songs seem to be out of context on this album.

Grade: C+

Classic Rewind: Jessi Colter – ‘Storms Never Last’

Album Review: Jessi Colter – ‘Jessi’

Released in January 1976, Jessi’s second Capitol album was produced by Waylon and Outlaw prouducer Ken Mansfield. The overall sound is distinctly more pop influenced than country to my ears.

The first single, ‘It’s Morning (And I Still Love You) is a fairly lush ballad about the morning after a one night stand, with the prospect that it might turn out to be more. It was a moderate success, peaking at #11 on the country chart. Jessi’s voice is stronger than usual on this. The second single, ‘Without You’, is a very intense song begging a lover not to leave, although the vocals are weaker in the up-tempo sections (verging on shouty in places) and much of the arrangement now sounds dated. It didn’t crack the top 40.

‘The Hand That Rocks The Cradle’ (not the better known hit of that name, but like every other song on the album a new Jessi Colter composition) is an uptempo bluesy rock number about a woman left home while her husband is out painting the town. ‘One Woman Man’ is a sultry demand for love from a potential partner with an extended brass arrangement. ‘Rounder’ is about loving a rogue, and I found it a bit repetitive.

I prefer Jessi on ballads, where her fragile voice makes her sound vulnerable. ‘Here I Am’ is a very nice love song with a tasteful arrangement which I enjoyed very much, and ‘Darlin’ It’s Yours’ is very pretty. The slow (and heavily strung in parts) ‘Would You Walk With Me (To The Lilies)’ and ‘I’ll See Your Face (In The Morning’s Window)’ are also quite good. Jessi’s vocals are shaky on the high notes of ‘All My Life, I’ve Been Your Lady’, another love song.

Grade: B-

Album Review: Jessi Colter – ‘I’m Jessi Colter’

12776715_f496After her debut failed to gain traction, Jessi Colter went a full five years between albums. She switched labels, from RCA Victor to Capitol Records, and released I’m Jessi Colter in January 1975. The record was co-produced by her husband Waylon Jennings and record executive Ken Mansfield.

Colter composed the entire project herself, which included lead single “I’m Not Lisa,” her most remembered song and biggest hit. The stunning ballad details the anguish of a woman in love with a man who still harbors feelings for his ex:

I’m not Lisa, my name is Julie

Lisa left you years ago

My eyes are not blue

But mine won’t leave you

‘Til the sunlight has touched your face

Not only did “I’m Not Lisa” top the country singles chart, but it hit #4 of the Billboard Hot 100, two major accomplishments that wouldn’t come her way again. Colter would crack the top five just once more with “What’s Happened To Blue Eyes,” the steel-laced second and final single from this album.

The remainder of the album is hit-or-miss, with a diversion into Memphis Soul that detracts from a majority of the tracks. These songs are well-executed, especially “Is There Any Way (You’d Stay Forever),” but the rest (“You Ain’t Never Been Loved (Like I’m Gonna Love You), “Come On In,” and “Love’s The Only Chain”) just aren’t to my taste. I summarily disliked the arrangement on “I Hear A Song,” but the ballad itself is quite lovely. “Storms Never Last” had much the same effect on me.

Colter’s strongest moments on the album are, not surprising, the country ones. “For The First Time” is a glorious slice of honky-tonk, a very welcomed change of pace. She’s even better on the stunning “Who Walks Thru Your Memory (Billy Jo),” the best track by a mile. The steel guitar perfectly frames her gorgeous vocal.

I’m not trying to suggest that I’m Jessi Colter is a bad album, it’s just extremely dated to modern ears, a victim of its era and a project designed to appeal to the popular trends of the time. While she never enjoyed solo success like this again, she struck gold a year later with an appearance along side her husband, Willie Nelson and Tompall Glaser on Wanted! The Outlaws. The album not only solidified the outlaw movement in modern country, but it was the first country album to be certified platinum.

Grade: B

Classic Rewind: Jessi Colter and Waylon Jennings – ‘I Ain’t The One’

Album Review: Jessi Colter – ‘A Country Star Is Born’

51sgd4uaavl-_ss500Whatever optimist gave this album its title jumped the gun just a little, for although it marks the official beginning of Jessi Colter’s recording career (not counting two prior singles issued under her birth name), it would be another five years before her commercial breakthrough that propelled her to stardom.  Released in 1970, A Country Star Is Born was her first and only solo album for RCA.  She was presumably signed to the label because her husband Waylon Jennings was already on its roster, but the album’s  lack of commercial success suggests to me that she perhaps was not a huge priority for RCA.

The album was produced by Chet Atkins and Waylon Jennings, and upon the first listening, one might be a bit confused as to why it didn’t perform better in the marketplace.   In order to understand why, one has to bear in mind the way it would have been perceived back in 1970.   The album follows the standard practice of the day of using one or two hit singles to drive sales and padding it with covers of recent hits for other artists and perhaps some original songs by the artist and/or producer.   In this case, the lead (and non-charting) single was one of Jessi’s original compositions “I Ain’t The One”, performed as a duet with Waylon.    The second single was “Cry Softly”, another Colter original that also failed to chart.  Its melody is somewhat similar to “I’m Not Lisa”, which would become her breakthrough career record a few years later.  It’s a decent song that might have enjoyed some success if a more established artist had released it.

Filling out the rest of the album are three more songs Jessi wrote — all credited to her real name Miriam Eddy:  the uptempo “If She’s Where You Like Livin'”, the mid tempo “Don’t Let Him Go”, and the bluesy “It’s All Over Now”, none of which were strong enough to be considered for release to radio.  Along with these originals are two excellent songs written by Harlan Howard, which might have had hit potential had they not been relatively recent releases for other artists.  “Too Many Rivers” had been a Top 20 pop hit for Brenda Lee in 1965 and “He Called Me Baby” had been a minor posthumous hit for Patsy Cline in 1964.  The latter would go on to be recorded by many other artists and would eventually (with a pronoun change) become a big hit for Charlie Rich in 1974.   The album’s best track “It’s Not Easy” had previously been recorded by its composer Frankie Miller.  “Healing Hands of Time” was a non-charting Willie Nelson single from 1965.

I enjoyed all of the album’s songs, but I get the distinct impression that RCA only made a half-hearted effort to promote it.  Pairing her up with Waylon for her first release was a reasonable strategy.  It’s surprising that “I Ain’t The One” didn’t at least enter the charts.  A great song it is not, but his star power at the time was sufficient that it should have garnered some attention from radio.  When it failed, it was almost inevitable that the next single would also tank, since Jessi Colter was still an unknown entity.  Why they didn’t have more songs to try and promote her is somewhat puzzling.

RCA released two more solo singles in 1971 and 1972  (not on this album) — including “I Don’t Want To Be a One Night Stand” which would become Reba McEntire’s debut single a few years later.  There were also two minor hit duets with Waylon (“Suspicious Minds” and “Under Your Spell Again”), but it would be five years and a label change later before the world learned who Jessi Colter was.

A Country Star Is Born is available for download and streaming and is worth a listen.

Grade: B+

Spotlight Artist: Jessi Colter

Our March spotlight artist has led a very interesting life indeed as she not only is an accomplished performer in her own right, but she has been married to two legendary figures in the world of music and has a son who is an active performer.

ditrlpBorn in Phoenix Arizona, in 1943, as Miriam Johnson, Jessi (as we shall refer to her in this article, although she did not use the ‘Jessi Colter’ sobriquet until sometime after 1968) began singing professionally after graduating from high school in 1961. Along the way, she met legendary guitar player Duane Eddy, whose family had moved to Arizona during the early 1950s.  Duane and Jessi were married in 1961. Jessi toured with Duane until their divorce in 1968, and had a pair of non-charting singles in 1961 on the Jamie label (Duane’s early label). It would be over a decade before she recorded again.

In 1969, Jessi met and married rising country star Waylon Jennings. With Waylon’s help, Jessi landed a recording contract with RCA and recorded an album titled A Country Star Is Born. Although the album and singles released from the album went nowhere, at least they got her face (and voice) back in front of country audiences. During this period she adopted her stage name, taken from her great grandfather Jesse Colter.

In January 1975, Jessi signed with Capitol Record where her first single “I’m Not Lisa” would prove to be her biggest hit, reaching #1 on the Billboard Country chart and #4 on the Billboard Hot 100. While she would never again reach such heights, the release of the RCA album Wanted: The Outlaws would raise her profile considerably.

I’m not sure that Jessi Colter ever really aspired to be a big star as she spent much of her time being Mrs. Waylon Jennings, touring and occasionally recording with him, and serving as mother to their only child Waylon Albright “Shooter” Jennings (Jessi also has a daughter by Duane Eddy).  She would only issue ten albums from 1970 – 2006, plus a few duet albums with Waylon. Although she had only a few top ten hits, she had an ear for interesting material, performed with grace, style and elegance.

We hope you enjoy our look back at the career of our March Spotlight artist Jessi Colter.