My Kind of Country

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

Tag Archives: Bergen White

Album Review: Janie Fricke and Johnny Duncan – ‘Nice ‘n Easy’

Nice ‘n’ Easy was released in October 1980, in response to significant demand for an album that collected the earlier Johnny Duncan recordings that prominently featured Janie Fricke, whether or not Janie was actually credited on the original recordings. It also served as a true duets album.

The album actually falls neatly into two categories: (1) new recordings made in order to have enough tracks to complete an album and give customers who already had the earlier tracks a reason to purchase this album, and (2) the earlier hit singles. The new recordings are on side one of the album, with the older tracks being on side two.

Billy Sherrill was the producer of the album. While albums of this era often did not provide musician credits, the album cover notes tell us that on side one the background singers were Lea Jane Berinati, Jackie Cusic, Larry Keith and Steve Pippin whereas on side two the Nashville Edition provided the background harmonies.

Side one opens with “He’s Out of My Life”, a song written by Tom Bahler. Pop artist Michael Jackson recorded the song on his 1979 album Off The Wall and released it as a top ten pop single. The original title was “She’s Out of My Life”, retitled for duet purposes with Duncan and Fricke swapping verses but most of the song told from the male perspective. I think it is a bit of an overwrought ballad (Bahler wrote it after breaking up with his girl friend) but it works. The song was a #20 country hit for Johnny & Janie in 1980.

He’s out of my life
He’s out of my life

And I don’t know whether to laugh or cry
I don’t know whether to live or die
And it cuts like a knife
He’s out of my life

It’s out of my hands
It’s out of my hands

To think the two years he was here
And I took him for granted, I was so cavalier
Now the way that it stands
He’s out of my hands

Track two is the title cut “Nice ‘n’ Easy” written by Alan Bergman, Marilyn Keith and Lew Spence. The song is best known for Frank Sinatra’s 1960 recording. The Sinatra album Nice ‘n’ Easy was nominated for a Grammy in 1960 and Frank took the title track onto the pop charts that year. Charlie Rich had a minor pop hit with it in 1964, and in later years country radio sometimes played the track (or a later 1970 Epic re-recording of it). It would be blasphemy to suggest that any of the covers were better than Sinatra’s recording (they weren’t) although Rich’s recording was nearly as good.

Let’s take it nice and easy
It’s gonna be so easy
For us to fall in love

Hey baby what’s your hurry
Relax and don’t you worry
We’re gonna fall in love

We’re on the road to romance – that’s safe to say
But let’s make all the stops along the way

The problem now of course is
To simply hold your horses
To rush would be a crime
‘Cause nice and easy does it every time.

Paul Anka is often thought of as a late50s-early 60s teen idol, but he was much more than that, providing a number of classic songs to other artists such as “My Way” to Frank Sinatra and “Guess It Doesn’t Matter Anymore” to Buddy Holly. “(I Believe) There’s Nothing Stronger Than Our Love” is a song that Paul kept this song for himself, recording it as a solo (#15 pop / #3 AC) in 1975 and later as a duet with Odia Coates. It works fine as a duet.

I believe there is nothing stronger than our love
I believe there is nothing stronger than our love
When I’m with you Baby
All my worries disappear

Troubles that surround me
Disappear when you are near
When you need my loving
I’ll be there

“Baby (You’ve Got What It Takes)” is a 1960 song written by Clyde Otis, Murray Stein and Brook Benton. It was originally recorded as a duet by Dinah Washington and Brook Benton, and reached #5 pop / #1 R&B. Later recordings include Jerry Lee Lewis & Linda Gail Lewis, Charlie Louvin & Melba Montgomery, Michael Buble (with Sharon Jones & The Dap Kings) and Kevin Mahogany. Obviously it works as a duet, and it works for Duncan and Fricke, although they do not bring the soulfulness to the song that Dinah & Brook achieved, nor the excitement of the Jerry Lee & Linda Gail recording. By the way, if you are unfamiliar with Brook Benton and/or Dinah Washington, you really should check them out.

“Loving Arms” was written by Tom Jans and is a ballad of longing and loneliness that has been recorded many times, initially by Dobie Gray, then Elvis and many times since then including the great Etta James and acts such as the Dixie Chicks. To my knowledge no one has ever had a big hit with the song.

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

This concludes side one of the album. You will note that none of these songs were initially country songs, although all were songs of a good pedigree. By 1980, for better or worse, the ‘Nashville Sound’ era had passed and none of the songs featured string arrangements. The production could best be described as pop-country with steel guitar used mostly as background shading.

Side two collects the Johnny Duncan hits that featured Janie Fricke. Since these songs have already been discussed earlier I will simply touch them lightly.

“Come A Little Bit Closer” was a cover of a Jay & The Americans hit that Johnny and Janie took to #4 in 1977. This song was billed to both of them.

“It Couldn’t Have Been Any Better” went to #1 for Johnny in 1977, his second #1. The string arrangements on this recording are by Bill McElhiney.

“Atlanta Georgia Stray” was not released as a single for Johnny Duncan. It appears on Johnny’s 1977 album Johnny Duncan.

The song was recorded by Kenny Price for RCA in 1969 and made the country charts. I was living in England in 1969, but when I returned to the USA in 1970, I recall the song receiving some airplay as an oldie. I really liked Kenny’s version, but Fricke and Duncan do a reasonable job with the song. Bergan White does the string arrangements

On the Greyhound bus trip home I was feelin’ all alone
When a long haired gal sat down next to me
She said she was Atlanta bound, kill some time, maybe kick around
Cause it sounded like a friendly place to be

From Chicago to Kentucky we just talked awhile
And somewhere in between I was captured by her smile
But why I left the bus in Nashville has been a mystery till today
Cause for two years I’ve been tracking down that Atlanta Georgia stray

“Thinkin’of A Rendezvous” was Johnny’s first #1 county hit in 1976. Bergan White did the string arrangements.

“Stranger”,also from 1976, was Johnny’s second top ten hit reaching #4 country.

I do not mean to downplay Janie Fricke’s contributions to the songs on side two, but they were released as Johnny Duncan records and Janie’s role was less prominent on some of them than on some of the others.

In retrospect, most of our readers will think that the success of these recordings was due to Janie Fricke, since Johnny Duncan dropped out of the music scene for family reasons during the 1980s and then died too young in 2006. He had a significant career and some big hits that did not feature Janie Fricke, including several of my favorites.

Janie, of course, went on to have a brilliant career and is still active today

This album has never been released on CD. The hit singles are available on several Johnny Duncan CDs and possibly some various artist collections. As best as I can tell, the tracks from side one are not available anywhere.

Johnny Duncan and Janie Fricke were both very polished performers and I think most listeners would find the tracks on side one very interesting indeed. This is a well produced album that I would give a B+

Album Review: Willie Nelson – ‘For the Good Times: A Tribute to Ray Price’

51vwrr-zq3l-_ss500Having outlived many of his contemporaries, Willie Nelson is well on his way to being the last man standing among his generation of country performers. His latest effort is a tribute to the late Ray Price. It is the latest in a long line of tribute albums from Willie, but an especially poignant one given his own advancing age and his lifelong friendship with Price, which began with Willie’s stint as one of Price’s Cherokee Cowboys band members in the 1960s.

The legendary Fred Foster came out of retirement to produce the collection, and Bergen White was responsible for all of the string and orchestral arrangements. Country music fans of a certain age will no doubt recall seeing White’s name on virtually every country album in the 70s and 80s that featured strings, as most of them did in those days.

Even at his peak, Willie was never in Price’s league as a vocalist and at 83 his vocal abilities are greatly diminished, and it is most likely for this reason that The Time Jumpers were brought in to join Willie on half of the album’s tracks, providing fiddle steel and background vocals, which in some cases are badly needed. Ray Price started his career as a hardcore honky-tonker, and in later years he was a crooner of middle-of-the-road ballads which often featured lush orchestral arrangements — despite having once been a harsh critic of countrypolitan and the Nashville Sound. The Time Jumpers are featured primarily on the more hardcore country numbers such as “Heartaches by the Number”, “I’ll Be There”, “Don’t You Ever Get Tired of Hurting Me”, “Crazy Arms”, Bill Anderson’s “City Lights” and Roger Miller’s “Invitation to the Blues”.

All of the songs are beautifully produced and lovingly performed, never straying far from Price’s original renditions. Willie sounds better on some tracks than others; he is at his best on “Heartaches by the Numbers”, “Night Life” (his own composition) and “City Lights”. His age-imposed limitations are most apparent on some of the more vocally challenging numbers. “Faded Love” isn’t the easiest song to sing and also not one I immediately associate with Ray Price, although his 1980 duet version with Willie enjoyed greater success on the singles chart than any other. Presumably that is why it was included. Similarly, “Make the World Go Away” is a song more closely associated with Eddy Arnold, although Price did enjoy a #2 hit with it in 1963, two full years ahead of Arnold’s chart-topping version. It’s given (appropriately) the full orchestra treatment here with the backing chorus doing so much of the vocal heavy lifting it could almost be billed as a duet.

The album contains two songs with which I was not previously familiar: “It Will Always Be” and “I’m Still Not Over You”. Both were written by Willie and the latter was a top 10 hit for Price in 1967. Both are decent but not as memorable as the others on the album.

For the Good Times is a bittersweet affair. It’s forty minutes of some of the best music to ever come out of Nashville, but it is of course very sad that Ray Price is no longer with us, and to hear Willie in decline. But aside from Willie’s vocal limitations (which can mostly be overlooked considering his age), I can’t find fault with anything on this album.

Grade: A

Album Review: Ray Price – ‘Beauty Is … The Final Sessions’

Ray PriceRay Price’s swan song was recorded last year while the legendary singer was battling pancreatic cancer. Beauty Is … The Final Sessions is a combination of countrypolitan and traditional pop, in the style for which Price was known in the 1970s when he scored such hits as “For The Good Times”, “I Won’t Mention It Again”, and “You’re The Best Thing That Ever Happened To Me”.

Released on the independent Amerimonte label, Beauty Is contains a number of names among its credits that will be familiar to long-time country fans, from Fred Foster, who produced the project, and Bergen White who conducted the orchestra to Vince Gill and Martina McBride who lend some vocal support. “Beauty Is In The Eyes of The Beholder” was written by Jon Gray and Rich Grissom, and went unrecorded for nearly twenty years, having been rejected by a number of marquee names such as Garth Brooks, Reba McEntire, John Michael Montgomery, and Whitney Houston. Kenny Rogers apparently recorded it but that version was never released. The lovely string-laden ballad is the first of two tunes featuring harmony vocals by Vince Gill; the second is a very nice version of the Cindy Walker-penned “Until Then”, which is the best song on the album. Willie Nelson’s “It Always Will Be” is a close second, although the background vocals on this track are a little too saccharine for my liking.

Ray Price began his recording career in 1948 as a honky-tonk singer and was later derided as a pop sell-out when he embraced the countrypolitan sound that was in vogue in the early 70s. There are no hardcore country songs on Beauty Is, but there are a few very nice traditional pop numbers including “I Believe”, “Among My Souvenirs”, and “An Affair To Remember”, which is performed as a duet with Martina McBride.

Beauty Is may be a bit too mellow for some tastes, and it might have benefited from an uptempo number or two, but Price knew who his core audience was and wisely avoided chasing more contemporary trends. Although his voice lacked the range of his heyday, it was in remarkably good condition and it is difficult to remember that Price was an 87-year-old man in failing health at the time these recordings were made. It doesn’t contain any stretches or surprises, but it is a very fitting capstone to a career that spanned more than six decades and a gift that Ray Price fans are sure to treasure.

Grade: B+