September 25, 2014
Posted by on
2001’s Tell The Truth was Lee Roy Parnell’s first post-major label release, the one that obstensibly “freed” him to record whatever he wanted without regard to commercial concerns. It is no surprise that the album isn’t particularly country; even in his hit-making days Parnell was no traditionalist. Tell The Truth is a combination of delta blues, blues rock, boogie, and blue-eyed soul but has only the loosest connection to country music. Lee Roy co-wrote nine of the album’s ten tracks and produced the project along with John Kunz. He was joined by a number of guest artists, none of whom are connected to mainstream country, but all of whom are highly respected in their own genres.
Albums like this are always difficult to review. The credits of Tell The Truth contain the names of some of music’s most respected musicians and songwriters, but this type of music is really not my cup of tea and I found listening to it to be quite a chore. Overly long songs always annoy me, even when they are songs that I like. Many of the tracks on Tell The Truth clock in at more than five, six or even seven minutes. The album produced one single, “South By Southwest”, performed as a duet with Delbert McClinton, who seems to have been an inspiration for the entire project. The single failed to chart, not suprisingly since it doesn’t fit in comfortably with any major radio format.
Although I didn’t care for much of Tell The Truth, it does contain some songs that I did enjoy. In general, the ballads and the quieter numbers were the ones I enjoyed more: “Breaking Down Slow”, on which Parnell was joined by blues singer Bonnie Bramlett was nice, as were the title track (a co-write with Tony Arata), and the Gretchen Peters-penned “Love’s Been Rough On Me”. I also enjoyed the rollicking gospel number “Brand New Feeling”, performed with the Mississippi Mass Choir.
Although Tell The Truth doesn’t really coincide with my personal taste, the talent of Lee Roy Parnell, the supporting musicians and the songwriters is not in question. Parnell is in good voice and the songs are all well produced and well performed, if you like this sort of thing. It’s worth seeking out if you’re looking for a change of pace record, but fans like me who would just prefer to keep it country will probably want to pass on this one.
May 16, 2011
Posted by on
Readers of The 9513 will be familiar with Paul W. Dennis’ excellent Country Heritage (aka Forgotten Artists) series. We are pleased to announce that Paul has agreed to continue the column for My Kind of Country:
A few years ago, the venerable Ralph Stanley issued an album titled A Short Life of Trouble: Songs of Grayson and Whitter. Neither Grayson nor Whitter, a musical partnership of the late 1920s, lived to be fifty years old. Beyond that I don’t know much about the duo, but the title certainly would apply to the life of Gary Stewart.
Gary Stewart was a hard rocking, hard drinking artist who arrived at the wrong time and in the wrong place. Often described as “too country for rock radio and too rock for country radio”, Gary simply arrived on the market at the wrong time for his rocking brand of hard-core honky-tonk music to achieve general acceptance, for his music was neither outlaw nor countrypolitan, the two dominant strains of country music during the 1970s.
Gary Stewart was born in Kentucky, the son of a coal miner who suffered a disabling injury when Gary was a teenager. As a result Gary’s family relocated to Fort Pierce, Florida, where Gary learned to play guitar and piano and started writing songs. Playing the clubs at night, while working a full-time job in an airplane factory, Gary had the good fortune to meet Mel Tillis. Mel encouraged Gary to travel to Nashville to pitch his songs. While early recording efforts for minor labels failed to interest radio, Gary achieved some success pitching songs to other artists. Among the early efforts were “Poor Red Georgia Dirt”, a 1965 hit for Stonewall Jackson and “Sweet Thang and Cisco” a top ten record for Nat Stuckey in 1969 . Other artists also recorded his songs, most notably Billy Walker (“She Goes Walking Through My Mind,” “Traces of a Woman,” “It’s Time to Love Her”) and Cal Smith (“You Can’t Housebreak a Tomcat”, “It Takes Me All Night Long”).
In 1968 Gary was signed by Kapp Records where he recorded several unsuccessful singles. Disheartened, Gary headed back to Fort Pierce, again playing the skull orchards and juke joints.
Read more of this post