My Kind of Country

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

Category Archives: Spotlight Artist

Album Review: Nathan Carter – ‘Time of My Life’

Nathan Carter was all of 21 when he released his third album, Time of My Life, in 2011. The album opens with the title track, a surprisingly effective cover of Green Day’s 1997 pop classic, with lovely Irish touches. His version of “Take Another Little Piece of My Heart” is a solid yet jarring interpretation of Faith Hill’s much-disparaged rendition of the song. The lyric, when taken from a man’s perspective, sounds oddly juvenile.

Carter transforms Don Williams’ “Lay Down Beside Me” into a mid-1990s power ballad. His take, which I like, is so convincing I would’ve expected to hear it grace country radio circa 1995-1996. I’m not so keen on his reading of “Delta Dawn,” which he transforms into a bright country shuffle. He treats “Fishin’ In The Dark” well, but he’s no match for Jeff Hanna or Nitty Gritty Dirt Band.

“Where Do You Go To My Lovely” was composed and originally released by British singer-songwriter Peter Sarstdet in 1969. The song is perfect for Carter, who wraps his vibrato around it gorgeously. The beautiful “My Forever Friend” is presented here as a duet with Charlie Landsborough, from who the song originates. “One For The Road” is an excellent and bright sing-a-long brimming with fiddle. “The Dancer,” a mid-tempo waltz, is just as wonderful.

“The Rainbow in Glenfarne” is a moderately paced Irish folk tune that fits nicely with the other bright fiddle tunes on the album. The medley of “Spanish Dancer / Holy Ground / Westmeath Bachelor” might be more of the same sonically, but it’s the fastest track on the record and just a delight.

I wholly recommend the album, even if I found the cover songs to be a bit subpar. As Paul pointed out, these songs are likely new to Carter’s audience, but to my ears they aren’t very good. But Carter possesses a lot of charm and has a strong voice, which carries the album over the finish line.

Grade: B+ 

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Classic Rewind: Nathan Carter – ‘Summer In Dublin’

Album Review: Nathan Carter – ‘The Way That You Love Me’

Nathan Carter, born in Liverpool to Northern Irish parents in 1990, followed a similar path to that of Lisa McHugh. He moved to Ireland on his own at just 18 with the aim of making a career in country music. His very pleasing smooth tenor voice is ideally suited to both country ballads and Irish songs, with its lovely tone and timbre.

The Way You Love Me, his second album (the first, Starting Out, was released when he was just 17), is a very assured and mature record from such a young artist. The title track is a likeable mid-tempo shuffle of a love song with a Bakersfield feel. This theme is revisited a little less successfully with a Buck Owens medley, which unfortunately ends up feeling rather karaoke; I feel tackling a single song would have worked better. Nor does he quite convince on the Nitty Gritty Dirt Band’s ‘story song ‘Face On The Cutting Room Floor’, although there is a lovely fiddle solo.

‘After All These Years’ is a lovely ballad, a cover of a song popularised by veteran Irish country duo Foster & Allen. The song really suits Nathan’s voice. The Patty Loveless hit ‘Mr Man In The Moon’ also works very well, allowing him to soar vocally. His take on Vince Gill’s ‘I Still Believe In You’ is just gorgeous and, perhaps surprisingly, rivals the original, although the orchestral arrangement is a bit too much in the later stages.

Another nice cover is of ‘Break My Mind’, which was originally written by John D Loudermilk and had been recorded by dozens of country singers over the years, with Vern Gosdin’s version being the one I am most familiar with. Nathan’s version of the Gene Watson hit ‘Got No Reason Now for Going Home’ is also very good. ‘How Could I Love Her So Much’, a Johnny Rodriguez hit from the early 1980s, is another great song, in which the narrator has a little chat with his old flame’s new love. I also quite enjoyed a catchy version of Joe South’s ‘Games People Play’.

‘My Dear Ireland’ is a pretty Irish folk style paean to the country. Also in the same style is an enjoyably sprightly medley of ‘The Leaving Of Liverpool’, ‘Star Of The County Down’ and ‘Donegal Danny’, which is very entertaining and probably a live favorite.

I was really impressed by this album. I like Nathan’s voice a lot, and if I had not known he was only 20 when this album was released I wouldn’t have believed it. Although the selected songs are all covers (with the possible exception of the title track), they are a well chosen group, and the arrangements are excellent.

Grade: A

Album Review: Lisa McHugh – ‘#country’

Lisa McHugh’s most recent album was released just about a year ago. While its predecessors were heavily reliant on cover versions of other artists’ hits, none of the tracks on #country are originals. While that in itself does not concern me, the 14-track collection does lack focus and could have benefited from a little pruning. I think this is definitely a case of “less is more” and the omission of a few tracks could have resulted in an outstanding album instead of just a very good one.

Let’s start with what does work: Many of the songs will be familiar to country fans on this side of the Atlantic; McHugh covers a variety of artists that have had success in North America. Her versions of The Wilkersons’ “26 Cents” and Sweethearts of the Rodeo’s “Satisfy You” rival the originals, and she turns in a stunning version of The Pistol Annie’s “I Hope You’re The End of My Story”. She handles uptempo material like Jann Browne’s “Who’s Gonna Be Your Next Love” as adeptly as she does ballads like Joey + Rory’s “To Say Goodbye”. She also turns in a reverent treatment of Loretta Lynn’s first Top 10 hit “Success”. Less familiar to most listeners are “Play Me the Waltz of the Angels”, which has been recorded many times — as far as I can tell the original version was by Buck Owens. This is my favorite track, followed by “Peggy Gordon”, an old folk song of Canadian origin, which is given a Celtic arrangement and sung as a duet with Malachi Cush, a folk singer from Northern Ireland. Lisa’s voice has been compared many times to Dolly Parton; on this particular track there are definite traces of Alison Krauss.

Not working as well are “He’s a Good Ole Boy”, which was Chely Wright’s debut single from 1994. I’ve always liked this song, which can best be described as Loretta Lynn with a twist — the protagonist confronts her romantic rival but instead of warning her to stay away, she is more than happy to unload her ne-er-do-well lover:

To steal him is your number one ambition
But sister, here’s one safe that you don’t have to crack
I’ll hand him over under one condition:
A deal’s a deal and you can’t give him back.

I’ve always liked this song and felt it deserved more attention that it received – and I really wanted to like McHugh’s version, but her delivery lacks the passion that Chely Wright brought to it. Her versions of Crystal Gayle’s “Why Have You Left the One You Left Me For” and Alabama’s “High Cotton” work a little better, but she doesn’t bring anything new to either of these songs. I would have omitted all of them from the album — and that goes double for the album’s biggest misstep “Stuck Like Glue”. The organic Celtic arrangement is not nearly as obnoxious as the Sugarland original but this is a bad song no matter who sings it.

McHugh is an extremely talented vocalist and this is a solid effort — with only one truly terrible song (“Stuck Like Glue”), but one gets the sense that McHugh is still struggling to find her artistic direction. She seems willing to record anything and everything. I’d like to hear more “Peggy Gordons” and “Play Me The Waltz of the Angels” and fewer “Stuck Like Glues” in the future. Still the album is worth downloading — just be sure to skip over “Stuck Like Glue”.

Grade: B+

Classic Rewind: Nathan Carter and Lisa McHugh – ‘You Can’t Make Old Friends’

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+”

Classic Rewind: Lisa McHugh – ‘Play Me The Waltz Of The Angels’

Classic Rewind: Crystal Gayle – ‘If You Ever Change Your Mind’

Album Review: Lisa McHugh – ‘A Life That’s Good’

Lisa McHugh released her sophomore album, A Life That’s Good, in October 2014. The title track, co-written by Sara Siskind and Ashley Monore, is a sweet ballad about personal fulfillment that first appeared early on in the second season of Nashville.

The album is ripe with covers. McHugh opens with “Applejack,” in which she more than adequately channels Dolly Parton. She turns to Trisha Yearwood with “She’s In Love With The Boy,” wrapping her innocent twang around the timeless tale of Katy and Tommy’s burgeoning love. As if to cover all ends of the spectrum, McHugh turns in a fine rendition of “Any Man of Mine,” which typically sounds like cheesy karaoke outside of Shania Twain’s hands.

A Life That’s Good proves McHugh to favor bright and uptempo material, which makes Vince Gill’s “Feels Like Love” the perfect addition to this set. Also excellent is Red-era Taylor Swift’s “Stay Stay Stay.” McHugh improves on Swift’s album track with a far more organic arrangement and mature performance vocally. Kacey Musgraves’ “My House” is also a delight, although I wish McHugh had settled for a bit less mimicry in her inflections.

On an album of curious covers, closing track “On The Road Again,” which has always been one of my favorite songs, stands above the rest. Her version of the Willie Nelson classic is excellent, infusing her own personality while keeping the essence of the song alive.

“Ireland” continues the album’s bright vibe, with an uptempo love song brimming with gorgeously ear catching fiddle. The cautionary “Hey I’m A Woman” finds McHugh delivering a stern warning to her man that she’s not just one of the guys. “What You Get Is What You See” might just be my favorite vocal of McHugh’s on the whole album. “Night Train to Memphis” is bluegrass in mainstream 1990s country style and every bit as wonderful as you might expect. “Hillbilly Girl” is cheesy but not without its charms.

McHugh does slow the pace on occasion, although those moments are rare. “Home to Donegal,” a power ballad, has good intentions but is way too loud and feels a bit staged. “All of Me” is a misplaced cover of John Legend’s song, far too pop, for placement on such a solidly country album. Steel Guitar-laced ballad “Left to Love,” which perfectly displays her sweet voice, is much better.

McHugh is a delight and I quite enjoyed listening to A Life That’s Good. It’s impossible to listen to her and not fall under her spell. There’s truly nothing not to like about what she’s given us here. I only wish she wasn’t so reliant on covering such well-known songs and was putting the focus, instead, on developing her own artistry. But I really can’t complain when an album sounds this good and this country.

Grade: A

Classic Rewind: Lisa McHugh – ‘There Were Roses’

Album Review: Lisa McHugh – ‘Old Fashioned Girl’

Lisa McHugh, born and raised in Glasgow, Scotland, moved to her parents’ Irish homeland In 2010, aged 22. Her debut album was released the same year, and made a very promising start to her career. Her clear, sweet voice is showcased on an interesting mixture of country and Irish folk material.

The title track is a rather charming mid-paced tune written by Joni Harms, an American singer-songwriter whose recorded work has focussed on cowboy songs/Western music. Her songs suit Lisa’s pretty voice very well, and three of them are included on this album. ‘When I Get Over You’ is a lovely sad ballad about coping with a breakup. ‘Catalog Dreams’ is a nicely observed story song about a farmer and his wife longing to buy a mail order tractor and sewing machine respectively, which is very much in an American setting rather than an Irish one.

The Irish side of Lisa’s music is represented by two songs in particular. ‘Buchaill On Eire’ is a very pretty Irish folk ballad with Gaelic lyrics. Lisa’s version sounds absolutely lovely, although I have no idea what it is about. She also covers the Northern Irish folk singer-songwriter Tommy Sands’ song ‘There Were Roses’, a gutwrenchingly moving song about a pair of friends across the sectarian divide in Northern Ireland, who are both killed during the Troubles in the 1970s, based on a true story. Lisa sings it beautifully, using the arrangement and minor lyrical changes made by another fine Irish folk singer, Cara Dillon, in her 2005 version.

Centuries of hatred
Have ears that do not hear
An eye for an eye
it was all that filled their minds,
And another eye for another eye
Till everyone was blind.

I don’t know what the moral is
Or where this song should end
But I wonder just how many wars
Are fought between good friends
And those who give the orders
Are not the ones to die
It’s Scott and young MacDonald
And the likes of you and I

There were roses, roses,
There were roses
And the tears of the people ran together

Also very good is ‘Beyond The Rainbow’s End’, a beautiful ballad about a loved one who has died, written by Daniel O’Donnell, the leading Irish country singer of the 1980s and 90s. The accordion-led ‘God’s Plan’, written by Derek Ryan, one of Lisa’s contemporary Irish country peers, is an attractive love song. ‘Ramblin’ Man’ is a cover of a song associated with Philomena Begley, the top female Irish country star of the 1970s and 80s.

There is an enjoyable version of ‘You Ain’t Woman Enough To Take My Man’, together with some less known covers. Lisa’s energy works well on the Gail Davies song ‘I’m A Little Bit Lonely’ and the sassy ‘You Were Right’ (from Australian girl group The McClymonts):

The biggest damn mistake I made was loving you
Well, you were right, you were right, you were right
Until I proved you wrong
You can fight all night to say what you like
I’ll still be gone
You said I’ll never make it out there on my own
You were right, you were right, you were right
Until I proved you wrong

The Nanci Griffith song ‘I Wish It Would Rain’ is more plaintive, and Miranda Lambert’s ‘Love Letters’ is also very effective.

This is a very strong album which I enjoyed a great deal. I would recommend checking it out.

Grade: A

Classic Rewind: Robert Mizzell – ‘Two Rooms And A Kitchen’

Album Review: Robert Mizzell – ‘Travelling Shoes’

Produced by Wayne Thorose, Robert Mizzell’s latest offering was released late last year. As usual, there is a heavy reliance on cover material, although he largely avoided covering song that have been overdone already. That complaint aside, there is little to gripe about here; this is a solid collection of the kind of country music that rarely gets made anymore on this side of the Atlantic.

The title track is Sawyer Brown tune dating back to the band’s 1992 Cafe on the Corner album. Mizzell also covers Lefty Frizzell (“Gone, Gone, Gone” written by Harlan Howard), Johnny Cash (“Greystone Chapel” from 1968’s Live at Folsom Prison), Mel Street (“Borrowed Angel”) and Kris Kristofferson (“Why Me Lord”), as well as more contemporary artists such as Josh Turner (“Firecracker”) and Phil Vassar (“Like I Never Loved Before”). He acquits himself nicely on all of these, although “Firecracker” is not one of my favorite Josh Turner songs. “Like I Never Loved Before” is a pop-tinged power ballad, and though well done, seems out of place on this otherwise very traditional album. However, the best cover on this album is “Her Carried Her Memory”, an obscure Bradley Walker number dating back to 2006. This is a great song that deserves to be better known than it is.

“Day Job” was written and originally recorded by Gord Bamford, an Australian country singer who was raised in Canada and has enjoyed some success there. Mizzell’s version enjoyed some success on the Irish charts. It’s a fun song, whose central theme is one to which most of us can relate:

This crazy day job, it ain’t no thrill
But it makes those ends meet and pays my bills
I ain’t complainin’, but it ain’t right
‘Cause my old day job, is ruining my night life.

This is a song that could have bit a big hit in the US for someone if it had come along 20 years earlier.

There is also a decent amount of original material on the album, the best of which is “She’s On The Way” an upbeat number that Mizzell wrote himself about his new wife and daughter. This was the first time he recorded one of his own compositions and I look forward to hearing more in the future. “John Deere Beer” is a fun and somewhat lyrically light summer song that was hit for Robert in Ireland in 2015. On a more serious note, “City of Shreveport” is a nice tribute to Robert’s hometown, and “Two Rooms and a Kitchen” is a typical Irish country song about spending time at Grandma’s house. It might pass for an American country song if its references to digging spuds and drying turf (to fuel the fire) didn’t betray its origins.

The album closes with a remake of Mizzell’s 2010 hit “Mama Courtney”, his tribute to the foster parents who raised him in Louisiana. The tempo is slowed down considerably and it’s done as a piano ballad but the new arrangement is quite effective.

Although Travelling Shoes contains a fair amount of remakes, they are all well done, and thanks to its generous 15 tracks, there is also a decent amount of new material. The album comes across as a bit incohesive — at times it seems like a hits compilation since the songs don’t always share a common theme; however, I enjoyed listening to this more than anything else that I’ve heard lately, with the possible exception of Zephaniah OHora’s album. I’m very glad to have discovered Robert Mizzell and I will make it a point to continue following his career.

Grade: 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

Classic Rewind: Robert Mizzell – ‘John Deere Beer’

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: Robert Mizzell – ‘Mama’s Rocking Chair’

2011 was a good year for Louisiana Born Irish country singer Robert Mizzell. He was inducted into the Shreveport Walk of Stars, which recognizes achievement in the world of country music, and is the highest honor his home city could bestow upon him. He also released his eighth album, Mama’s Rocking Chair, a collection of thirteen songs, many of which were classic country covers.

Among the tracks are three George Jones songs from his years recording for Musicor. The earliest, “Things Have Gone to Pieces,” written by Leon Payne, was his first single for the label, peaking at #9. Mizzell gives an excellent reading of the ballad, which nicely stands up to Jones’ recording. The other two were culled from Jones’ 1970 album Will You Visit Me On Sunday. The title track, written by Dallas Frazier is about a prison inmate and the woman he loves on the outside. Charlie Walker’s “Rosie Bokay,” tells the story of a man falls for an enigmatic bartender. Both are also excellent and devoid of the intrusive touches on Jones’ versions.

The jaunty “Sick, Sober and Sorry” was a duet for Lefty Frizzell and Johnny Bond in 1951. Mizzell reprises it here, beautifully, as a duet with Martin Cleary. John Prine’s “Grandpa Was A Carpenter” is newer, first seeing release by him in 1973 and again in 1989 from The Nitty Gritty Dirt Band on Will The Circle Be Unbroken, Vol. 2. Mizzell once again turns in an equally wonderful performance. Also very good is his version of Rodney Crowell’s “Leaving Louisiana In The Broad Daylight,” which came to prominence through recordings by Emmylou Harris and The Oak Ridge Boys.

The plight of Irish immigrants in the 1950s is covered on “Paddy,” an Irish folk ballad given a traditional arrangement. Also gut wrenching is “The Orphan Train,” a brutal ballad. The title track, a mid-tempo fiddle drenched ballad, is another excellent story song. “What We Don’t Have” and “Can You Hear Me Now” are pure honky-tonk.

Also featured on Mama’s Rocking Chair is Mizzell’s biggest hit to date at the time, the upbeat “I Ain’t Fallin’ for That” and “Cajun Dance,” a fiddle heavy ode to his Louisiana heritage written specifically for him by Peter McKeever. Of the two,“Cajun Dance,” which opens the album, is the stronger song, which recalls the line dance craze of the early 1990s.

Mama’s Rocking Chair, as a whole, does a great job of mixing both old and new cohesively. I thought it was a bit too clean and precise in execution, but it’s a fine album worth checking out. Individual tracks are available on YouTube and the album is also on Itunes.

Grade: A-

Classic Rewind: Robert Mizzell – ‘Mama Courtney’

Album Review: Robert Mizzell – ‘Redneck Man’

Released in 2010, Robert Mizzell’s seventh album Redneck Man contains 15 songs, the majority of them covers, but some of them relatively obscure songs. Mizzell has a strong baritone voice which does justice to the material, and he is effectively backed by an excellent band performing mostly traditional country arrangements.

Although not a songwriter himself, the one original song on the album draws directly on Mizzell’s own life story. ‘Mama Courtney’, specially written for him by Irish songwriter Henry McMahon, is a moving tribute to the loving foster parents who helped to raise him in Louisiana when his birth mother “lost her way in life”.

Us kids are all now grown up and gone our separate ways
I look back on my childhood of many happy days
And when I go back to Shreveport I place flowers on her grave
And I thank Mama Courtney for all those kids that she saved

There are many children in this world that suffered hurt and shame
I thank all the Mama Courtneys that took away their pain
God works in mysterious ways
I believe this is true
Though she had no children of her own she fostered 32…

God rest you Mama Courtney
I’ll always love you

This is a genuinely moving song, and was understandably a success for the artist on Irish country radio.

Another single for him was a duet with US country star Collin Raye on ‘Murder On Music Row’. The two singers swap lines rather than harmonising except on the odd chorus line, but they contrast well, and both sing with feeling. Perhaps as a nod to Raye, Mizzell covers ‘I’m Gonna Love You’, a fluffy novelty song written by Robert Elis Orrall, which Raye cut on his children’s album Counting Sheep. It isn’t a very good song, and adds nothing to the album.

Much better is an entertaining cover of ‘Ol’ Frank’, a tongue in cheek story song about a young trophy bride who cashes in after “he died with a smile on his face”, which George Jones recorded in the 80s. Another late Jones cut, the up-tempo ‘Ain’t Love A Lot Like That’, is pleasant but definitely filler (plus it’s far too cavalier about missing pets).

Another excellent track is ‘More Behind The Picture Than The Wall’, a traditional country ballad written by Bill Anderson, Buddy Cannon and Don Miller, about a father remembering happy times past after the death of his soldier son in action. Mizzell’s vocals do the poignant nostalgia of the song (previously recrded by bluegrass band Doyle Lawson and Quicksilver) justice.

Too soon our little family was scattered to the winds
You fell out of love with me and wouldn’t fall back in
I was sleeping by myself the night I got that call
Yeah, there’s more behind this picture than the wall

Casey died a hero, that’s what the chaplain said
We couldn’t find sweet Lorrie, I doubt she knows it yet
You and I still tortured by the memories we recall
But there’s more behind this picture than the wall

Four happy loving faces, back then we had it all

Also very good is Mizzell’s version of ‘Someone To Hold Me When I Cry’, a great Wayland Holyfield/Bob McDill song which was a hit for last month’s Spotlight Artist, Janie Fricke and has also been recorded by Don Williams and Loretta Lynn.

He adds a soulful tinge to Jamey Johnson’s ‘She’s All Lady’, a married singer’s polite but firm rebuff to a potential groupie.

Thanks for coming out to see me
I hope you liked the show
Yeah, that’s right, I settled down about six months ago
No, she ain’t here tonight, she stayed at home
Yeah, it sure does get lonely out here on the road

By looking in your eyes, I can tell what’s on your mind
Yeah, I’d love to drive you home and’ hold your body close to mine
You’re everything a man could dream of, baby
Cause you’re all woman
But she’s all lady

I met her at a Baptist church in Tennessee
She was looking for someone
I was prayin’ it was me
No, she never thought she’d fall in love with a guitar man
Oh, it took some gettin’ used to
She does the best she can
No, she don’t like to stay at home alone
No, I don’t need your number
She’s probably waitin’ by the phone…

No, it ain’t you, Lord knows you’re a sight
Yeah, I probably could
But I could never make believe it’s right
I’d rather be alone, and I know that sounds crazy
‘Cause you’re all woman
But she’s all lady
You’re all woman, but she’s my lady

The album’s title comes from a briskly delivered version of Alan Jackson’s early single ‘Blue Blooded Woman’, which opens the album. Loaded with fiddle, this is a strong cut. Darryl Worley’s minor hit ‘Tennessee River Run’ is bright and pleasant. ‘The Wind Beneath My Wings’ is a bit more well worn; Mizzell’s warm vocal sells it convincingly, but gets a little overblown towards the end.

Also on the less successful side, John Denver’s ‘Love Is Everywhere’ is forgettable, while ‘Two Ways To Fall’ once recorded by Garth Brooks sideman Ty England is quite a good song but suffers from dubious production choices with the first couple of lines horribly muffled and echoey.

Mizzell was already a reasonably well established star on the Irish country scene by this point, and in 2009 he acted as mentor to Lisa McHugh, another of the artists we are spotlighting this month, on a TV talent show. She guests here on a duet of the Randy Travis hit ‘I Told You So’; this is quite nicely sung but feels inessential. The same goes for ‘I Swear’; Mizzell sings with emotion but the arrangement feels a bit dated.

Overall I was very pleasantly surprised by this album. Mizzell has a strong voice and interprets the songs well; it’s just a shame that there was not more original material available.

Grade: B+

Classic Rewind: Loretta Lynn – ‘Happy Birthday’