My Kind of Country

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

Tag Archives: Billy Henderson

Album Review: Linda Davis – ‘In A Different Light’

Released on Capitol-Nashville in February 1991, In A Different Light was Linda’s first major label album. Released nearly a decade after her moderately successful duets with Skip Eaton as “Skip & Linda”, this album was Linda’s first opportunity to shine as a solo act.

As it happened, the album itself failed to chart and none of the three singles released from the album make much of an impact on the country charts.

By my lights, this is not at all a country album. I think it should have been marketed to the easy listening/middle of the road. Don’t get me wrong, Linda Davis is a fine singer but the singles from this album received virtually no airplay on county stations around Central Florida.

The album opens with “In A Different Light,” an overwrought ballad from the pens of Ed Hill and Jonathan Yudkin. This song was released as the first single and died at #61.

Next up is “Some Kind of Woman” by Annette Cotter and David Leonard. This song was released as the second single from the album, and died only reached #68. I think this gritty up-tempo ballad was the best track on the album – similar to something Brooks & Dunn might have released, but I suspect that country radio was so disgusted with the previous single, that they simply did not give this song a chance

 Well, I guess you’re showing me a thing or two

Loving with a vengeance every night with someone new

And I got this funny feeling, it’s for my benefit

So I’m gonna take it as a kind of compliment

 

Oh, I must be some kinda woman

Look how many women you seem to need

To take the place of one good one

And give you what you had when you had me

Oh, I sure must be some kinda woman

 

Since you need a different girl each night

There must not be a one of them, knows how to do you right

So add them little numbers, try and equal me

Meanwhile I’ll just take it as a form of flattery

Next up is “Three Way Tie” (written by Mary Beth Anderson, Lisa Silver, and Carol Grace Anderson) was the third single released. Another overwrought ballad, this song failed to chart, and frankly, it sounds like something any cocktail lounge singer might tackle.

None of the remaining tracks were released as singles:

“From Him to Here” (Mark D. Sanders, Verlon Thompson) is a pretty good mid-tempo song, that actually sounds like a country song. I think this would have made a decent single

“If Your Greener Grass Turns Blue” (Cindy Greene, Marsha Spears) has a bit of that country cocktail lounge feel to the mid-tempo instrumentation but it is a decent song, that Linda sings well. This would have made a decent single.I had never even been outside the county line

Unless you count the million times I left inside my mind

In my day dreams, I could see

The way the luck would shine on me

When I finally found the wings to fly

As my mama helped me pack my suitcase

She said you know I love you and I’ll say it once more anyway

 

So you’ll know what to do if your greener grass turns blue

If your sunny sky turns gray

Sometimes you gotta run

To see just what you’re running from

Here at home there’ll always be place for you

If your greener grass turns blue

“There’s a Problem at the Office” (Annette Cotter, Kim Tribble) is a bland ballad …

He calls to tell me he’ll be late again

There’s a problem at the office

So don’t wait up for him

And I guess I shouldn’t worry but I do

Cause a woman senses changes

Her man is going through

 

He’s changed the way he’s worn his hair for years

And bought some shirts in colors

I’ve never seen him wear

And when we touch that old time feeling’s gone

There’s a problem at the office

And it’s hitting close to home

… whereas “Knowin’ We’ll Never Know” (Jim Rushing, James Dean Hicks) is a nice ballad of what might have been

What if we’d stayed together
What if we’d really tried
Would we still be in Tennessee
Would I have been your bride
Would we be blessed with children
Lovingly watching them grow
Oh the hardest part of seeing you now
Is knowing we’ll never know

We’ll never know
How much we missed
By not taking love all the way
If we held on just a little bit longer
Where would we be today

“White Collar Man” (Vernon Rust) is a slow semi-acoustic ballad, nicely sung about a husband who places all of his priorities on work and none on family.

“The Crash of 29” (Ron Moore, Billy Henderson) has a very folksy sound to it. The crash of 29 has nothing to do with the great Wall Street Crash of 1929, but rather the self-realization that time is marching on and she is getting bored. This a pretty good album track

“If I Could Only Be Like You” (Kendall Franceschi, Quentin Powers, Reba McEntire) is a slow piano ballad, nicely sung, but ultimately not very interesting.

Linda’s vocals on this album are very reminiscent of Reba McEntire, only not quite as powerful as Reba’s vocals – sort of a Reba-lite. I know Linda Davis can actually sing country music and do it well as I have heard her do it. I don’t dislike this album, but I am not very charged up about it. I regard two of the three singles released as mistakes, with several of the album tracks being more single-worthy.

This album has keyboards, synthesizers and, cello, but no fiddle, steel guitar, mandolin, banjo or anything else to lead you to think of this as a country album.

Grade: C+         

Album Review: Sammy Kershaw – ‘Don’t Go Near The Water’

1991 was the height of the neotraditional movement, and the period saw a host of exciting new artists rooted in traditional country music breaking through. It was the ideal time for Sammy Kershaw, with his astonishingly George Jones soundalike voice, to make his debut. Buddy Cannon and Norro Wilson produced his first album for Mercury, and did a fine job showcasing the artist’s voice.

His debut single ‘Cadillac Style’ was an immediate success, reaching #3. It sunnily celebrates the power of true love to overcome the limitations of poverty. The sultry title track (penned by Chapin Hartford and Jim Foster) relates the passions of first love somewhere in the South. Imbued with Southern atmosphere, the record peaked just outside the top 10.

The record’s finest song, ‘Yard Sale’ was Sammy’s third straight top 20 hit, and his finest single to date. Written by Dewayne Blackwell and Larry Bastian, it depicts in precise detail the sad aftermath of a failed marriage, with the couple’s goods being sold off cheap to all comers, leading to Sammy’s sardonic comment,

Ain’t it funny how a broken home can bring the prices down?

This excellent song would have been perfect for George Jones himself at his peak. While Kershaw isn’t quite the superlative interpreter Jones is, he still delivers the song very well.

The final single, ‘Anywhere But Here’, was Sammy’s second top 10. A vibrant up-tempo treatment belies the protagonist’s broken heart and desire just to get away from the scene of his broken heart.

Bob McDill’s regretful ‘Real Old Fashioned Broken Heart’ has a lovely fiddle/steel laden arrangement. The protagonist finds his sophisticated modern worldview collapses when his heart gets broken, and he reverts to an older style of dealing with heartbreak:

I play Hank Williams on the jukebox
Order up old whiskey at the bar
And through my tears I light another Lucky
I’ve got a real old fashioned broken heart

This is another gem, as is ‘Kickin’ In’, a heartbreak ballad written by Keith Stegall and Roger Murrah, with a pretty melody and fiddle underlining the sad mood.

Underlining the comparisons to George, Sammy picked an obscure George Jones song to record. ‘What Am I Worth’ has the protagonist plaintively questioning his value regardless of other achievements in life, because his loved one is rejecting him. A vivacious up-tempo mood belies the downbeat lyric.

My favorite track is the hardcore cheating song with a twist – both parties in the marriage are running around behind the other’s back, ‘Every Third Monday’. It was written by Larry Cordle, Larry Shell and Billy Henderson. Also with a twist, the ballad ‘I Buy Her Roses’ initially sounds like a sweet love song, but there is a sting in the tale. The protagonist’s loved one has actually left him, and he is buying the flowers he always forgot to do when they were together. A sincerely delivered vocal sells the song effectively.

Closing out the set, ‘Harbor For A Lonely Heart’ is a pleasant but not particularly memorable ballad written by Kostas and Jenny Yates.

While Kershaw’s vocal similarity to George Jones meant he perhaps lacked a degree of individuality, there are far worse singers to emulate. This was a pretty solid album with some very fine moments, and a promising debut. It sold well at the time, and was certified platinum. Used copies can now be found very cheaply, and it’s a worthwhile addition to any collection.

Grade: A-