My Kind of Country

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

Tag Archives: Allen Frizzell

Classic Rewind: Keith Whitley ft Allen Frizzell – ‘I Never Go Round Mirrors’

Album Review: ‘The Very Best of David Frizzell & Shelly West’

One of the hottest male-female duet acts of the early 80s, David Frizzell and Shelly West released four studio albums together. None of them ever had a CD release, nor are they currently in print. However, this 2009 anthology includes all of their big hits, plus a few misses and some key alubm cuts, and provides a more than adequate overview of their duet career.

The younger brother of Lefty Frizzell, David had had a singles deal with Columbia from 1970 to 1976. Only one of those recordings, 1970’s “I Just Can’t Stop Believin'” (not included in this collection) cracked the Top 40; the rest languished in obscurity on the lower rungs of the charts. His younger brother Allen joined his band in 1977. Alan had been the lead guitarist for Dottie West, and had married West’s daughter Shelly. Shelly began performing with David, and eventually they caught the attention of producer Snuff Garrett. Their big break came in 1981 when their recording of “You’re The Reason God Made Oklahoma” was included in the Clint Eastwood film Any Which Way You Can. The song was written by the legendary Felice and Boudleaux Bryant, along with Larry Collins and Sandy Pinkard. It reached the #1 spot on the Billboard country singles chart. It was the duo’s biggest hit, telling the story of a couple dealing with a painful separation when one of them leaves their hometown for the bright lights of the big city. It’s a theme that the duo would explore a number of times, beginning with their follow-up hit “Texas State of Mind”, which peaked at #9 and the following year’s “Another Honky-tonk Night On Broadway”, which reached #8. Of the three songs, it isn’t difficult to see why “Oklahoma” is the best-remembered (the other two have been virtually forgotten); it is the best-written of the three songs and also managed to avoid some of the early 80s production excesses that marred the other two records; there is a somewhat intrusive string section on “Texas State of Mind”. While this is less of a problem on “Broadway”, “Oklahoma” sounds the least dated and would stand a reasonable chance at success today with very little tinkering to the arrangement.

In between “Texas State of Mind” and “Another Honky-tonk Night on Broadway”, Frizzell and West did an excellent cover version of Roger Miller’s “Husbands and Wives”, which peaked at #16. One of Miller’s more serious efforts, his original 1966 version had reached #5, as well as reaching #26 on the Hot 100. Brooks & Dunn would cover it again in 1998 and take it all the way to #1 on the country charts. Their version also reached the Hot 100, peaking at #36.

Frizzell and West stopped recording together after 1985. It was speculated that West’s acrimonious divorce from Allen Frizzell was a contributing factor, but the rest of the songs in this collection — and their performances on the charts — suggest that the official reason, a lack of good duet material, was probably the truth. The duo had only one more Top 10 hit, 1982’s “I Just Came Here To Dance”, a cover of an R&B hit by Peabo Bryson and Roberta Flack. The Frizzell and West version is barely country, yet managed to reach #4. Their next release, the decent but somewhat overproduced “Please Surrender” only reached #43. 1983’s “Cajun Invitation” was a song that I liked a lot when it was first released, but it sounds very cheesy today. The duo reached the Top 20 two more times in 1984 with the beautiful “Silent Partners” and “It’s a Be-Together Night”. Their final single together “Do Me Right”, released in 1985, failed to chart at all.

Also included in this collection are some very good non-single releases. “Carryin’ On The Family Names”, which was the title track of their first duet album, name checks other stars such as Hank Williams Jr., Rex Allen Jr., Debby Boone, and Crystal Gayle, who, like David and Shelly, were trying to emerge from the shadows of their more famous relatives. Also quite good is a medey of “The Wild Side of Life” and “It Wasn’t God Who Made Honky-tonk Angels” which are performed as a single song, much like Waylon Jennings and Jessi Colter had earlier done. Missing the mark entirely, however is a cover version of the 1963 Ruby and the Romantics’ R&B hit “Our Day Will Come.”

The collection does not include any of David or Shelly’s solo hits, which is a shame, because there is sufficient room on the disc for “I’m Gonna Hire a Wino To Decorate Our Home”, “Lost My Baby Blues”, “Jose Cuervo” and “Flight 309 To Tennessee”. It does, however, include one solo performance by Shelly of “I Just Fall In Love Again”, which is very good, though it does not compare with Anne Murray’s version that topped the country charts for three weeks in 1979.

David and Shelly’s careers — as a duo and as solo artists — were largely over before the CD era, so very little of their work was ever released in that format. This collection appears to about the best that is currently available, and will suffice for all but the most die-hard fans.

Grade: B+

Spotlight Artist: 80s Duos

This month we’ve decided to do something a little different; instead of spotlighting a single artist for the entire month, we’ll be taking a look at the careers of several of the duos that came to prominence during the 1980s:

1.  David Frizzell & Shelly West

This duo’s pedigree was impressive; he was the younger brother of the legendary Lefty Frizzell, while she was the daughter of Dottie West and the wife of another Frizzell brother.   Together they charted 11 singles on the Billboard country charts between 1981 and 1985, the first and best known of which was “You’re The Reason God Made Oklahoma”.  That #1 single had been featured in the Clint Eastwood film Any Which Way You Can, and released on the Viva label, which was distributed by Warner Bros.   They were awarded the CMA’s Duo of the Year trophy twice, and both Frizzell and West scored some solo hits during this period, though neither’s career was to enjoy any longevity.  Shelly’s divorce from Allen Frizzell may have been partially responsible for the end of her professional relationship with David.

2.   The Judds

The most commercially successful of the duos we’re spotlighting this month, the story of this mother-daughter act is well known.  Record producer Brent Maher’s daughter was hospitalized and under the care of nurse Naomi Judd in the early 1980s, which provided the opportunity for Naomi to give Maher a demo tape, leading to a live audition and on-the-spot signing with RCA/Curb.   The Judds were an immediate success, scoring 15 #1 singles between 1983 and 1990.  During that time, they also won seven Academy of Country Music awards, nine CMA trophies, and five Grammys.   A bout with Hepatitis C prompted Naomi’s retirement in 1991, while Wynonna went on to enjoy a highly successful career as a solo artist.  During the 20 years since Naomi’s retirement, the two have occasionally reunited in concert and in the studio.

3.  Sweethearts of the Rodeo

Sisters Kristine Arnold and Janis Gill sang together as children in California and began performing as The Oliver Sisters when they were teenagers.  They later renamed their act after the title of the classic album by The Byrds.   Both women married musicians; Kristine’s husband is Leonard Arnold of the band Blue Steel,  while Janis is the ex-wife of Vince Gill.   The Sweethearts of the Rodeo signed with Columbia Records in 1986, and for a brief time were one of the hottest acts in country music.  Their debut single “Hey Doll Baby” peaked just outside the Top 20.  Their second single “Since I Found  You” reached the Top 10.  Six more Top 10 hits followed.   Though they were never top record sellers, they were staples at country radio in the late 80s.  Their first two albums for Columbia racked up a number of radio hits, but after that the hits began to taper off.   After two more albums failed to generate any more hits, Columbia dropped the Sweethearts from its roster in 1992.  They re-emerged the following year on Sugar Hill Records, for whom they recorded two critically acclaimed albums in 1993 and 1996.

4.  The O’Kanes

Jamie O’Hara and Kieran Kane recorded three albums for Columbia between 1986 and 1990.  Six of the nine singles released during that period charted in the Top 10, including their best known hit “Can’t Stop My Heart From Loving You”, which reached the #1 spot in 1987.  Jamie, a native of Toledo, Ohio, had penned “Older Women”,  which had been a #1 hit for Ronnie McDowell in 1981 and  The Judds’ signature hit “Grandpa (Tell Me ‘Bout The Good Old Days)”, which won a Grammy for Best Country Song in 1986.  The two met while working as songwriters for the same publishing company.   They disbanded in 1990 and resumed their solo careers.  Brooklyn-born Kane eventually went on to become one of the founders the independent Dead Reckoning Records.

5.  Foster & Lloyd

Country rockers Radney Foster and Bill Lloyd recorded three albums together for RCA between 1987 and 1990, and in the process scored nine charting singles, four of which reached the Top 10.   Prior to landing their own record deal, they wrote “Since I Found You”, which became the breakthrough hit for The Sweethearts of the Rodeo.   Foster & Lloyd’s biggest hit was 1987’s “Crazy Over You”, which rose to #4.  Perhaps a bit too offbeat for conservative country radio in the late 80s, they were more of a critical, rather than commercial, success and disbanded in 1990.   Lead vocalist Radney Foster subsequently signed with Arista Records and enjoyed a moderately successful solo career, while Bill Lloyd went back to earning a living as a session musician.  They reunited in 2011, with the release of It’s Already Tomorrow, their first album together in over 20 years.

As always, we hope that this spotlight will provide our readers with a pleasant trip down memory lane, or perhaps inspire them to explore music that they may have overlooked or are too young to remember.

Keith Whitley & Allen Frizzell — ‘I Never Go Around Mirrors’