Country music from a fan's point of view since 2008
1957 (Sales): Gone — Ferlin Husky (Capitol)
1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Disc Jockeys): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1967: It’s Such a Pretty World Today — Wynn Stewart (Capitol)
1977: Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)
1987: It Takes a Little Rain (To Make Love Grow) — The Oak Ridge Boys (MCA)
1997: Sittin’ On Go — Bryan White (Asylum)
2007: Good Directions — Billy Currington (Mercury)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Hurricane — Luke Combs (Columbia)
Bryan White was an established newcomer when Between Now and Forever dropped in March 1996. The final two singles from his self-titled debut had topped the charts and he was on his way to winning the ACM for Top Male Vocalist and the CMA Horizon Award.
White teamed once again with Kyle Lehning and Billy Joe Walker, Jr for his sophomore set. They led with “I’m Not Supposed to Love You Anymore,” an excellent power ballad written by Skip Ewing and Donny Kees. The song tells of a man conflicted by thoughts of his former flame:
We agreed that it was over
Now the lines have all been drawn
The vows we made began to fade
But now they’re gone
Put your pictures in the shoebox
And my gold ring in the drawer
I’m not supposed to love you anymore
Now Sherri says she’s jealous
Of this freedom that I’ve found
If she were me, she would be out on the town
And she says she can’t imagine
What on earth I’m waiting for
I’m not supposed to love you anymore
Oh, I shouldn’t care or wonder where and how you are
But I can’t hide this hurt inside my broken heart
I’m fighting back emotions that I’ve never fought before
‘Cause I’m not supposed to love you anymore
Also admirable was the second single “So Much For Pretending,” a break-neck uptempo that became White’s third number one hit. The catchy guitar and drum driven arrangement coupled with the charming lyric make this one of my favorites of his.
White was back in ballad territory for the lowest charting single, the #15 peaking “That’s Another Song.” The ballad of lost love is lovely, with a beautiful steel-led instrumental break framing White’s passionate performance. I wanted to say this was my least favorite of the album’s singles, but I love it as much as anything he released from his first two albums.
The album’s fourth single, the uptempo “Sittin’ On Go” impacted country radio twenty years ago this week. It’s yet another worthy turn from White and a perfect slice of uptempo radio fodder. The song deservedly hit #1 and retained its impact for years, at least on my local country station here in Boston.
I’ve owned this album since its release; I was nine at the time, a point in my musical journey in which I primarily listened to the radio hits a record had to offer. But I distinctly remember being enamored with the title track, a mid-tempo ballad co-written by White. I still find the track appealing although it is a bit more thickly produced and less subtle than the ballads released as singles.
The remaining uptempo numbers – “Nickel in the Well” and “A Hundred and One” are typical mid-1990s album filler. White also co-wrote “Blindhearted,” a ballad with nice flourishes of steel and “On Any Given Night,” just more of the same steel-fueled pop balladry.
I hold anything Mac McAnally writes in the highest of regard, as he composed “Café On The Corner,” one of the strongest down-on-your-luck working man tunes of the 1990s, and the best of the sub-genre I’ve ever heard. To Between Now and Forever he contributes “Still Life,” a ballad I wouldn’t have given a second look but for he wrote it. The track begins shaky, and is not McAnally even close to his best lyrically, but hits its stride in the second verse when the story, about a man stuck without his woman, takes a memorable turn:
The chances were given to get on with livin’
The truth is that he never tried
And no one ever sees him most folks don’t even
Remember which one of ’em died
But he still denies it, he closes his eyes and
It’s still life without you and I still hold on
What it feels like you can’t go by that
It’s still life, still life without you
Oh, still life, still life without you
Between Now and Forever is above average as far as squarely mainstream releases go. The set is very solid and the singles were worthy of release. White would have success as a writer when Diamond Rio took his co-penned “Imagine That” into the Top 5 in 1997. He would score just two more notable hits, both coming the following year. He would hit #4 with his own “Love Is The Right Place” and #6 as Shania Twain’s duet partner on “From This Moment On,” which later abandoned his contributions in favor of a solo pop-focused rendition of the now-classic love song. He would fade away at dawn of the new millennium.
Between Now and Forever captures an artist at their artistic peak, a time when everything worked for hits and platinum level sales. White was never truly a hot comity in country music although those from this era will remember his music, especially “Sittin’ On Go.”
Grade: A
After featuring more than 100 artists over the past eight years of writing for this blog, it’s becoming more challenging to find interesting artists to spotlight. This month we decided to do something a little different. When discussing possibilities, it occurred to us that there have been quite a few country music acts that have shared the surname White. Since none of them really has a discography large enough to write about for an entire month, we’ve decided to do a group spotlight and feature the best work of each:
1. The Whites are a family act consisting of Buck White and his daughters Sharon and Cheryl. Buck played piano for Ernest Tubb and Hank Snow in the 1950s. He and his wife Pat performed in Texas and Arkansas with another couple and were known as The Down Home Folks. Their daughters joined the family act in the 1960s. The family relocated to Nashville in 1971 and Pat retired from the group shortly thereafter. Buck White and the Down Home Folks released a few independent albums in the 70s and in 1978 Sharon and Cheryl were invited by Emmylou Harris to sing harmony vocals on her Blue Kentucky Girl album. Sharon married Ricky Skaggs in 1982 and the following year the group, now known as The Whites, released their first major label album on Curb Records in partnership with Warner Bros. The album yielded four Top 10 hits, including “You Put The Blue In Me”, “Hangin’ Around”, “I Wonder Who’s Holding My Baby Tonight”, and “Give Me Back That Old Familiar Feeling”. The following year they moved to Curb/MCA and enjoyed another handful of hits, which tapered off by the end of the decade. They joined the Grand Ole Opry in 1984 and have been one of its flagship acts ever since.
2. Lari White, a native of Dunedin, Florida, grew up singing gospel with her family, and in 1988 she was a winning contestant on The Nashville Network’s You Can Be a Star. She was awarded a recording contract with Capitol, but was dropped from the label when her debut single failed to chart. She joined Rodney Crowell’s band in 1991 and he produced her first album when she landed a deal with RCA the following year. She released three albums for RCA, and scored three Top 10 hits in the process: “That’s My Baby”, “Now I Know”, and “That’s How You Know (When You’re In Love)”. She released one album for Lyric Street in 1998 and has released a pair of independent albums after leaving that label.
3. Michael White is the son of songwriter L.E. White, who wrote some of Conway Twitty’s hits. Michael’s composition “You Make It Hard To Take The Easy Way Out” was released as the B-side of Twitty’s 1973 hit “You’ve Never Been This Far Before”. Michael’s brief stint with Reprise Records in the early 90s produced one album and a few singles, one of which (“Professional Fool”) reached the Top 40.
4. Joy Lynn White, also known as simply Joy White, is a critically acclaimed singer who released two albums for Columbia and one for Mercury in the 1990s, before moving to indie labels in the early 2000s. Her 1993 single “Cold Day In July” reached the lower rungs of the Billboard country singles chart and was later a hit for The Dixie Chicks.
5. Bryan White enjoyed a string of hits in the 90s as an Asylum Records recording artist, beginning with “Eugene You Genius” which was released when he was just 20 years old. In 1995 he enjoyed his first #1 hit with “Someone Else’s Star”. In 1998 he teamed up with Shania Twain for the duet “From This Moment On”. By the time his fourth album was released, his commercial momentum had slowed, so he took a five-year sabbatical from the music business. He returned in 2009 with the independently released Dustbowl Dreams and is currently running a Kickstarter campaign to finance the release of a new album.
We hope that you will enjoy revisiting — or discovering for the first time — the work of this group of artists during the month of February.
1956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)
1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)
1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)
1966: Almost Persuaded — David Houston (Epic)
1976: Here’s Some Love — Tanya Tucker (MCA)
1986: Always Have, Always Will — Janie Fricke (Columbia)
1996: So Much For Pretending — Bryan White (Asylum)
2006: Give It Away — George Strait (MCA)
2016: Forever Country — Artists of Then, Now & Forever (MCA)
2016 (Airplay): You Look Like I Need a Drink — Justin Moore (Valory)
1956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)
1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)
1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)
1966: Almost Persuaded — David Houston (Epic)
1976: If You’ve Got the Money, I’ve Got the Time — Willie Nelson (Columbia)
1986: In Love — Ronnie Milsap (RCA)
1996: So Much For Pretending — Bryan White (Asylum)
2006: Give It Away — George Strait (MCA)
2016: Peter Pan — Kelsea Ballerini (Black River)
2016 (Airplay): Different For Girls — Dierks Bentley featuring Elle King (Capitol)
1956 (Sales): Crazy Arms — Ray Price (Columbia)
1956 (Jukebox): Hound Dog/Don’t Be Cruel — Elvis Presley (RCA)
1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)
1966: Almost Persuaded — David Houston (Epic)
1976: I Don’t Want to Have to Marry You — Jim Ed Brown & Helen Cornelius (RCA)
1986: Got My Heart Set on You — John Conlee (Columbia)
1996: So Much For Pretending — Bryan White (Asylum)
2006: Brand New Girlfriend — Steve Holy (Curb)
2016: Peter Pan — Kelsea Ballerini (Black River)
2016 (Airplay): Peter Pan — Kelsea Ballerini (Black River)
Released in 2003, What the World Needs Now was Wynonna’s debut for Curb/Asylum after cutting ties with Mercury. Wynonna produced most of it with Dann Huff, and there is an overarching theme of vaguely uplifting spiritual encouragement, but with little in the way of country music. She had reportedly been planning on making a straight soul record, but decided, perhaps at the promptings of her record label, to at least pay lip service to still being a country artist.
The bluesy title track with a touch of gospel is competently performed but not country at all (apart from the rustic banjo introduction, which seems to belong to another song, and is soon swallowed up by all the other instrumentation). Country radio treated it with some scepticism, and it peaked at #14, marking Wynonna’s last top 20 hit. The follow-up, ‘Heaven Help Me’, is a classy AC ballad, with a spiritual edge, and beautifully interpreted with a tender vocal. It just crept into the top 40, but is much better than its predecessor, although the orchestral arrangement is a bit too much.
A dramatic cover of the rock ballad ‘I Want To Know What Love Is’, produced by R&B producer Narada Michael Walden and featuring rock guitar hero Jeff Beck, has absolutely no country elements, and perhaps represents the original plan for the album. Unsurprisingly, it won no country airplay, but it was a top 20 hit on both Adult Contemporary and Dance charts. The dance remix is tacked on as a ‘bonus’ track; it is quite unlistenable for me, but makes the other version sound much better in comparison. The only other track surviving from these sessions, ‘Who Am I Supposed To Love’, is a decent soul ballad, but a long way from country.
The final single ‘Rescue Me’, promoted to AC and Christian radio, failed to chart anywhere, and falls somewhere between gospel and Christian Contemporary. It was written by Katie Darnell, a terminally ill 17 year old, and had previously been recorded, but not released, by John Rich.
Most vaunted at the time of the record’s release was Wy’s reunion with mother Naomi on ‘Flies On The Butter (You Can’t Go Back)’. The third single, and Wynonna’s last solo top 40 country hit, it is charmingly nostalgic. The song was written by Chuck Cannon, Allen Shamblin, and Austin Cunningham, and is the album’s most convincingly country moment. Although it is billed as a duet, Naomi really only contributes harmonies on some lines.
‘Sometimes I Feel Like Elvis’, written by Derek George, Neil Thrasher, and Bryan White, is about longing for love rather than all the meaningless material goods remaining after a failed marriage, and the lyric is interesting although the melody and arrangement are pedestrian. It leads into a strong cover of the real Elvis’s ‘Burnin’ Love’ which was previously released on the soundtracks of the animated movie Lilo And Stitch. This is highly enjoyable.
‘I Will Be’ is a powerfully sung big ballad which isn’t a bad song underneath, but is heavily over-produced and pop rather than country. ‘Your Day Will Come’ is more contemporary country, and quite well done but a touch bland. The rocker ‘(No One’s Gonna) Break Me Down’ is rather busy with everything imaginable thrown in, including some nice honky tonk piano but too much in the way of electric guitar on top.
The black gospel-influenced ‘It All Comes Down To Love’ is partly spoken and too loud for my taste, but would appeal to fans of that style of music as it is powerfully performed. ‘It’s Only Love’ is in the same vein.
‘You Are’ had appeared on the soundtrack of one of her sister Ashley’s films a few years earlier. It’s rather bland and forgettable with some odd effects in the arrangement.
I like the album better than Revelations, which didn’t do anything for me, but not as much as he first two solo efforts. Wynonna is a great singer, and sings with conviction throughout, but her musical spectrum is wider than mine. This is not a bad album by any means – in fact it is rather a good one. It just has very little for country fans. Diehard Wynonna fans will love it regardless.
Grade: B
1956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)
1956 (Jukebox): Love, Love, Love — Webb Pierce (Decca)
1956 (Disc Jockeys): Sixteen Tons — Tennessee Ernie Ford (Capitol)
1966: Giddyup Go — Red Sovine (Starday)
1976: Convoy — C.W. McCall (MGM)
1986: Have Mercy — The Judds (RCA/Curb)
1996: Rebecca Lynn — Bryan White (Asylum)
2006: Must Be Doin’ Somethin’ Right — Billy Currington (Mercury)
2016: Die a Happy Man — Thomas Rhett (Valory)
2016 (Airplay): Die a Happy Man — Thomas Rhett (Valory)
By 2002, you couldn’t find a male country singer bigger than Toby Keith. He was routinely topping the charts turning over multi-week numbers ones with each radio offering. But it was also during this time he lead by his ego and lost of some of his better judgment. That fall made a mockery of himself with the Country Music Association, blasting them for making him the belle of the ball with a front row set and prime exposure, only to lose each of the six awards for which he was nominated.
Two of those nominations were for the lead single from his seventh album Unleashed. I first heard “Courtesy of the Red, White and Blue (The Angry American)” when Keith debuted it in April at the CMT Flameworthy Awards (now the CMT Video Music Awards). When he got to the line, “We’ll put a boot in your ass, it’s the American way” I was cheering. I really enjoyed the fire in that one line.
Thirteen years later, “Courtesy of the Red, White and Blue (The Angry American)” is nothing more than a bombastic document capturing an era in country music. The brash attitude of the track worked well with Keith’s persona, but caught the ire of Natalie Maines, who called the track ‘ignorant.’
I still can’t believe I ate up the second single, the horrible chart-topping “Who’s Your Daddy.” Keith’s ego exploded as he failed to mix humor, brash, and country-rock on a song that had very little redeeming value. Radio was surprising cool to “Rock You Baby,” a bland power ballad that was the only slower song released from Unleashed. Given Keith’s prominence at the time, I was very surprised when it stalled at #13.
The final single was the Willie Nelson duet “Beer For My Horses.” I quite like this song, although the production has worn thin through the years. The song is a battle cry for justice, detailing despicable actions that deserve repercussions:
Well a man come on the 6 o’clock news
Said somebody’s been shot, somebody’s been abused
Somebody blew up a building
Somebody stole a car
Somebody got away
Somebody didn’t get too far
We got too many gangsters doing dirty deeds
We’ve got too much corruption, too much crime in the streets
It’s time the long arm of the law put a few more in the ground
Send ’em all to their maker and he’ll settle ’em down
“Beer For My Horses” went on to spend six weeks at number one, becoming Keith’s longest consecutive stay at the top. Nelson, who was 70 at the time, became the oldest male artist to score a chart topping single.
Keith had a hand in co-writing all twelve of the album’s songs, including two with long-time collaborator Chuck Cannon. “Good to Go to Mexico” is a catchy yet far too lightweight mariachi drenched number about making a permanent escape to paradise. They succeed on the splendidly sweet, “Huckleberry,” a plucky love song in the vein of Bryan White’s ‘Rebecca Lynn:’
Baby I’ll be your Huckleberry, you don’t have to double dare me
If the storm gets wild and scary count on me to be right there
You’re so extra ordinary sweet like maraschino cherries
We’ll grow up and we’ll get married
I’m gonna be your Huckleberry
Five more of the album’s tracks found Keith co-writing with his close friend Scotty Emerick. “It’s All Good” begins with poignant commentary, by ends up as an immature tale of two lovers. “Losing my Touch” is a nicely restrained ballad about the inability to shine in a relationship. “Ain’t It Just Like You” has a by-the-numbers lyric about the end of a relationship, but the melody is a bit too progressive for my liking. Even worse is “That’s Not How It is,” a slice of pure pop that goes nowhere melodically. Thankfully the pair wrote “It Works for Me,” a pure country shuffle about being with not having the newest or shiniest possessions. It’s one of the strongest tracks on the album.
The final song is the steel drenched waltz, “Rodeo Moon,” which Keith co-wrote with Chris LeDoux. It’s a great song (with beautiful harmonies by Lari White), in both Keith’s and LeDoux’s versions, but I feel like they need far more restrained vocal performances and a softer waltz melody.
I remember buying Unleashed the day it came out. I rushed to the store because I knew by the afternoon it would sell out. Looking back, I was a bit too eager to own what turns out to be a sonically disjointed album aimed at appealing to a wide array of country music fans. While most of the album is filler, I did enjoy “Huckleberry,” “It Works for Me” and the duet with Willie Nelson is a modern day classic.
Toby Keith is one of the most naturally talented country music vocalists of the past twenty or so years. More often then not, though, he fails to put his gifts to good use on quality material. There are a few notable tracks, but on the whole Unleashed just isn’t worth the effort.
Grade: B-
1955 (Sales): I Don’t Care — Webb Pierce (Decca)
1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)
1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)
1965: Is It Really Over — Jim Reeves (RCA)
1975: Feelin’s — Loretta Lynn & Conway Twitty (MCA)
1985: I Don’t Know Why You Don’t Want Me — Rosanne Cash (Columbia)
1995: Someone Else’s Star — Bryan White (Asylum)
2005: Mississippi Girl — Faith Hill (Warner Bros.)
2015: House Party — Sam Hunt (MCA)
2015 (Airplay): House Party — Sam Hunt (MCA)
Remember Skip Ewing? He was briefly a star in his own right, scoring four top 10 country hits in 1988-1989. When his singing career fizzled out in the 1990s, he turned to life as a professional songwriter, and this proved to be a great career decision. Skip has had several hundred cuts by other artists, many of them big hits. He hasn’t recorded for over a decade, apart from playing Reba McEntire’s duet partner on the radio version of ‘Every Other Weekend’ (one of his own compositions), and a rather odd-sounding album for children.
He has now released this album, apparently the first of three along similar lines. It is not a conventional Greatest Hits album, rather it contains a mixture of re-recordings of his early hits and his own versions of songs made famous by others. Skip is not one of the outstanding vocalists, but his voice has an urgency and commitment which is very effective, and a very listenable tone. Musically, he was never a hardcore traditional artist, but his style is what I would categorize the acceptable face (or sound) of pop-country, with production which is never too heavy.
The retreads of his own hits both come from Skip’s excellent debut album, The Coast Of Colorado, released in 1988 on MCA. This is no longer commercially available, but it may be possible to find used copies. (Notable tracks include the first versions of some of Skip’s best songs – the desperately sad ‘Autumn’s Not That Cold’, subsequently recorded to great effect by Lorrie Morgan, and the more measured regret of ‘A Lighter Shade Of Blue’, which has been covered by both Reba McEntire and Shelby Lynne). The urgent, pop-leaning ‘Your Memory Wins Again’ was Skip’s debut single, which reached #17; this is probably the track I enjoyed least on the original record, and is only okay here. Infinitely better is the excellent story song, ‘The Gospel according To Luke’, which squeezed into the top 10 in 1989. This track is preceded by a spoken introduction explaining the inspiration behind the song.
I have always been interested in hearing songwriters tackling their own material, since even if they are not as good technical singers as the artist who brought the song to a wider audience, they can sometimes bring a unique personal connection to the song. Excellent examples here are Skip’s treatment of two songs which provided Bryan White with enormous hits in the 90s, ‘Someone Else’s Star’ and ‘I’m Not Supposed To Love You Anymore’. The hit versions were a little too melodramatic for me, but Skip brings an intimate reading which makes them sound like new (and great) songs. I was surprised to find these ended up being my favorite tracks on this release (with ‘The Gospel According To Luke’), closely followed by ‘Love, Me’. Skip can’t challenge Collin Raye’s vocal on the latter song, but his version is nonetheless immensely engaging. This is an instance where the song’s original inspiration by Skip’s own family means his recording has a real emotional authenticity.
My Kind of Country 