My Kind of Country

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

Tag Archives: Charley Pride

Classic Rewind: Charley Pride and Janie Fricke – ‘Four Walls’

Album Review: Charley Pride – ‘Sweet Country’

Charley Pride released his seventeenth album, Sweet Country, via RCA Victor in 1973. It was helmed, as per usual, by Jack Clement.

The album spawned two singles, both of which topped the charts. The honest, “A Shoulder To Cry On,” a ballad about a man taking advantage of a friend’s emotional support, was lovingly written by Merle Haggard (he recorded his own version, on It’s Not Love (But It’s Not Bad) a year earlier). “Don’t Fight the Feelings of Love,” written by John Schweers, is an excellent country shuffle.

No less than three of the album’s ten tracks were penned by Ben Peters, who had given Pride his career hit (“Kiss an Angel Good Mornin’”) just two years earlier. “The Happiest Song on the Jukebox,” a bright traditional tune, is both a study in familiarity and contrast. This is Pride’s signature style, yet the lyric contradicts everything we’ve come to know about jukebox songs. Trading sad songs for happy ones isn’t something you hear every day. Peters also contributed “Just To Be Loved By You,” a pleasant string-laced ballad and “Tennessee Girl,” a mid-tempo ode to the woman and lifestyle left behind in hopes of greener pastures that never materialized.

Don Williams is responsible for “The Shelter of Your Eyes,” which he recorded the following year on his Volume One album. Pride does a surprisingly decent job with the dobro accented ballad, especially since he and Williams don’t have similar styles at all (in all fairness, no one captures the mellow conversational tone Williams brought to his music).

“I’m Learning to Love Her,” written by Johnny Duncan, is as honest and forthright a love song as I’ve ever heard. The protagonist is talking with his old love about his new flame, admitting that he’s simply “learning to love her in time.” George Strait knows “You Can’t Make A Heart Love Somebody,” but with a little patience, Duncan and Pride believe it’s possible to come around.

“Along the Mississippi,” an ode to happy memories along the titular river, is an engaging and ear-catching mid-tempo number. “Love Unending” is a sonically adventurous love song, with a man making promises to the woman he hopes will confess her love to him. “Pass Me By” is a piano and steel drenched ballad in which a guy wants something more, but if the woman can’t give it to him, he hopes she’ll just leave him alone.

Of the three albums I reviewed this month, Sweet Country shows the most progression in Pride’s development as an artist. The Nashville Sound era trappings are gone, due to the changing tides in mainstream country, and the music itself is less cheesy. This is the style of Pride’s music I prefer and thus Sweet Country is indeed excellent.

Grade: A

Classic Rewind: Charley Pride – ‘It’s Gonna Take A Little Bit Longer’

Album Review: Charley Pride – ‘Songs Of Love’

Released in December 1972, Songs of Love By Charley Pride was Charley’s 13th studio album and his least successful album since 1967. The album did reach #1 on Billboard’s Country Album chart, but only reach #149 on Billboard’s all-genres album chart. As usual Jack Clement was the producer.

For whatever reason, the songs on this album and the arrangements seemed mostly derivative of Charley’s prior efforts. Make no mistake about it, this is a solid country album, with fiddle and guitar throughout; however, the overall production has a little more of an easy listening feel to it.

The opening track is “Too Weak To Let Go”, a mid-tempo ballad that is pleasant enough but not really worthy of consideration as a single. The song is about an affair that the narrator feels that he should end but really can’t bring himself to do.

I was on the rebound from a broken love affair
When I first caught a glimpse of her in you
And though you never measured up to what she meant to me
I couldn’t find the words to tell you so

Cause I’m not strong enough to leave you and too weak to let you go
You give me precious love to hold on to
But somehow deep inside I’ve got a feeling that you know
I’m not strong enough to leave you and too weak to let you go

The only single on the album was the Johnny Duncan composition “She’s Too Good To Be True”, a solid country song with fiddle and steel tandem work on the introduction and thereafter. The song spent three weeks at #1 and is what love should be about.

Sometimes late at night I wake up dreaming
I reach and feel for her she’s too good to be true
Then I touch the sleeping softness of my angel
And half asleep she turns to whisper I love you

Cause she’s just too good to be true but she is
And in my arms she reassures me with a kiss
She’s everything I ever looked for in a woman
She’s just too good to be true but she is

Ben Peters, who supplied Charley with “Kiss An Angel Good Morning” and “It’s Gonna Take A Little Bit Longer”, also provided Charley with “She’s That Kind”, another positive love song. Some of the instrumental accompaniment harkens back to “It’s Gonna Take A Little Bit Longer”.

She can take the morning rain falling on my window pane
And turn it into sunshine in my mind
And she can take the darkest night and brighten it with a love sweet light
And I’m satisfied just knowing she’s that kind

And I can feel so down and out but she knows what it’s all about
And she can help me leave it all behind
There’s someting in the way she smiles that seems to brighten all my trials
It’s good to know my woman is that kind

[Chorus]
She’s that kind that I’m thankful to the Lord above
For sending me that kind of woman for me to love
If I could live another life and I could choose another wife
I wouldn’t change a thing cause she’s that kind

“You Were All The Good In Me” is a slow ballad about what the narrator lost when he lost his woman. The melody reminds me of “All I Have To Offer You (Is Me)”.

“Give A Lonely Heart A Home” has an upbeat arrangement that that seems overly familiar. It’s a nice song, a mid-tempo ballad, although the vocal chorus seems a bit obtrusive.

Well, just look close and you might find the saddest heart in town is mine
And should we give true love a try our hearts just might see eye to eye
So if you’re looking for a way to do your good deed for today
The one thing you could do and not go wrong is give a lonely heart a home
So just give a lonely heart a home…

If I need to give the history of “Good-Hearted Woman”, that means that you must have dropped in from another planet. Charley does a nice job with the song, but if released as a single by him, I suspect it would not have been a chart topper. Nice fiddle and piano on the chorus are the standout features on this recording.

“Love You More In Memory” is a chugging ballad about a lost love.

I heard “My Love Is Deep, My Love Is Wide” with some frequency on the radio, leading me to wonder if RCA considered releasing this upbeat Ben Peters song as a single. I think it would have made an excellent single.

My love is deep, my love is wide
You can’t see across to the other side
My love is deep my love is wide
I’ve got too much love for you for me too hard to hide

People say I’m not the man they used to know
Something made a change come over me
And when I feel such happiness I guess it’s gotta show
Cause I’m a happy man, that’s plain to see
Cause baby my love is deep…

Johnny Duncan’s “(Darlin’ Think of Me) Every Now and Then” is a really nice ballad that someone should have issued as a single. Duncan’s career as a performer would not hit high gear until 1976, but this song might have accelerated the process for him.

The album closes with “I’m Building Bridges”, a slow ballad about the protagonist’s efforts to win back his lost love:

I’ve been working every day since you’ve been gone
Mending the road that our love once traveled on
And I’ll have you back when I am through
Cause I’m building bridges that will take me back to you

Back in the day I would eagerly purchase every new Merle Haggard, Buck Owens and Charley Pride albums as they were release, with other artists being purchased if I had any money left over. While I liked this album, it wasn’t as satisfactory as Charley’s previous albums and thereafter I skipped over some of Charley’s albums, either waiting his hits collections to be issued, or waiting until a used or cut-out copy could be obtained.

I’d give this album a B+

Classic Rewind: Charley Pride – ‘God’s Coloring Book’

Classic Rewind: Charley Pride – ‘Kiss An Angel Good Morning’

Album Review: Charley Pride – ‘A Sunshiny Day With Charley Pride’

A Sunshiny Day With Charley Pride was released in 1972, and produced as usual by Cowboy Jack Clement. The album’s sole single, sitting on top of the country charts for three weeks in the summer of 1972, was the Ben Peters song, ‘It’s Gonna Take A Little Bit Longer’, set to a jaunty medium tempo, it proclaims the narrator’s enduring love despite his lady’s departure. It’s a highly likeable recording with a Cajun flavor, which still stands up very well today. Peters also contributed the title track, a suitably sunny tune about happiness which is pleasant to listen to but a little bland lyrically.

‘She’s Helping Me Get Over You’ is a classic country song, written by A L “Doodle” Owens and Hal Bynum about finding a new love and getting past an older, stronger but toxic one which still has a pull on him. This is my favorite song on the album. The same pair wrote ‘One More Year’, a powerful plea from a husband to his wife to last through some more hard times:

Sweetheart, I know I’ve never made one dream come true for you
If you’ll just walk through one more storm our sunshine may appear
But if we wake up tomorrow and you don’t see a rainbow
Sweetheart, why can’t we try it one more year?

Texan rockabilly artist Al Urban provided a couple of fine ballads. ‘When The Trains Come In’ is an excellent ballad about loneliness with a haunting whistle and harmonica accompaniment. Even better is the steel led ‘You’re Wanting Me To Stop Loving You’, a gentle but firm reproach to the wife who is leaving him.

Johnny Duncan’s ‘Nothin’ Left But Leavin’’ is another highlight, an excellent song with echoes of a more bitter version of the classic ‘My Elusive Dreams’:

Tonight it’s so cold, the rain is fallin’
But it’s still not as cold as your love for me
That’s why I’m walking down this highway
And a diesel going my way
Will take me far from you and you’ll be free

There was nothin’ left but leavin’ for us in Tulsa
But then again the same was true out in LA
Seems like trouble always finds us
So I broke the tie that binds us
There was nothin’ left but leavin’ anyway

We tried to find our dreams in New Mexico
But the answers just weren’t there in Santa Fe
And we could blame it all on Texas
But the problem now with us is
We never had what we thought anyway

There was nothin’ left but leavin’ any longer
And I finally found the strength to walk away
Tell the kids their daddy loves them
They’ll understand I’m thinkin’ of them

‘Put Back Your Ring On My Hand’, written by Glenn Ash, is another excellent track, a regretful song in which the protagonist is desperate for a second chance. Also good is the melodic ‘Seven Years With A Wonderful Woman’, a wedding anniversary paean optimistically hoping for another 70 years together. (Charley had actually been married to wife Rozene since 1956 and they are still happily married, so this one was clearly heartfelt.) It was written by the Reverend Roland W Davisand is set to a hymnlike tune.

‘Back To The Country Roads’, written by Richard Jarvis, is quite nice, but the most disposable track on the record.

Charley is in excellent voice throughout, and Jack Clement knew how to keep the Nashville Sound relatively restrained. This is a strong album which is worth hearing, and can be found now on one of those excellent value multiple-album CDs we have mentioned before.

Grade: A-

Album Review: Lonesome River Band – ‘Mayhayley’s House’

The Lonesome River Band are a veteran band on paper, but have seen many changes of personnel over the years. As one expects from this band, the instrumental playing is brilliant but tasteful, with banjo star Sammy Shelor anchoring the sound. Both the current lead singers are outstanding too – the smoky characterful baritone of Brandon Rickman (one of my favorite singers across country and bluegrass) almost matched by the strong, if less distincive, tenor of Jesse Smathers.

A number of well known country songs get a bluegrass treatment . Crystal Gayle’s early hit ‘Wrong Road Again’ is delightful. The Don Williams hit ‘Old Coyote Town’ is given an absolutely beautiful reading by Brandon Rickman. Western Swing classic ‘Ida Red’ becomes a pacy bluegrass romp. A less well known cover, ‘Hickory Hollow Times & County News’ was on Charley Pride’s 2011 album Choices. Rickman’s warm vocals suit the song’s sweet nostalgia.

‘As The Crow Flies’, a plaintive Billy Yates/Melba Montgomery love song which Yates has recorded, has another lovely vocal from Rickman. The lyric refers to both the title bird and to blackbirds, both of which make a more ominous appearance in ‘Blackbirds And Crows’, an excellent murder ballad about a possesive husband and restless wife he just can’t bear to let go:

Blackbird sat on a fence line
Crow flew through the sky
I whispered low into Eva’s ear
Eva you’re gonna die

She’s a half a mile out, a quarter across
Beneath those wheatfield rows
And no one knows who put her there
But the blackbirds and the crows

Folks come by and we sit around
And I tell them how she’s gone
I tell them how she packed her bags
And wrecked our happy home
Lord I tell them she’s down in Atlanta
Doin’ cocaine and God only knows
But Eva’s not gone
She’s here with me
Right here where she’ll always be
With the blackbirds and the crows

It was written by Don Humphries.

The atmospheric title track, an Adam Wright song based on a true story, is about a rural Georgia psychic from the mid 20th century, to whom the album as a whole is dedicated.

‘Diggin’’ is a pretty good mid-tempo song about struggling to make ends meet that manages to sound bright despite the despairing lyric. The similarly upbeat ‘As Lonesome As I Am’, written by Matt Lindsey and Shawn Camp, is a more overtly optimistic song about expecting things can only get better. ‘I Think I’m Gonna Be Alright’ sees the protagonist coping well enough with a breakup.

Some fantastic fiddle (from Mike Hartgrove) leads the fast paced ‘Lonesome Bone’. ‘It Feels Real Good Goin’ Down’, written by Gary Nicholson and Shawn Camp, is a vibrant drinking-away-the-pain song. Thw album closes with a frenetic arrangement of the bluegrass standard ‘Fly Around y Pretty Little Miss’.

This is an excellent album which should appeal to country fans with an interest in bluegrass.

Grade: A+

Classic Rewind: Charley Pride – ‘I’d Rather Love You’

Album Review: Charley Pride – ‘I’m Just Me’

In many respects, Charley Pride was the George Strait of his day: a consistent hit maker who frequently hit #1, whose music rarely offered surprises but never disappointed his fans. 1971’s I’m Just Me was no exception. It reached #1 on the Billboard Top Country Albums chart and also produced two number one singles: “I’d Rather Love You” and the title track. The former spent three weeks at the top of the chart and was written by Johnny Duncan. It finds Pride speculating about how things might have turned out had he never met the live his life. The title track, written by Glen Martin, is a catchy, feel-good fiddle and steel number that is as unpretentious as the title suggests. It has a slight Bakersfield feel to it, despite the occasional chiming in by the Nashville Sound-style vocal chorus. In between these two singles, RCA released “Did You Think to Pray” from Pride’s gospel album, which broke his string of consecutive #1s.

In addition to “I’d Rather Love You”, Johnny Duncan contributed two other numbers. “(In My World) You Don’t Belong”, about a married man who struggles to come to terms with his infidelity. It includes a subtle string arrangement which is a bit of a departure for a Pride recording. “Instant Loneliness” is more traditional. I’m not sure why it wasn’t released a single; perhaps Duncan wanted to release the song himself, though he does not appear to have done so.

Unlike many albums of the era, I’m Just Me doesn’t rely too heavily on covers of recent hits by other artists. The one exception is a very nice rendition of “Hello Darlin'” which rivals Conway Twitty’s original version. The entire album is a solid effort, though it is slightly more heavily produced than Charley’s previous work. Thankfully these old albums are finally being re-released so they can be heard by fans of traditional country who are too young to remember when they were first released. I’m Just Me is available on an import collection with three other early Charley Pride albums.

Grade: A

Classic Rewind: Charley Pride – ‘I Wonder Could I Live There Anymore’

Album Review: Charley Pride – ‘Did You Think to Pray’

Produced by Jack Clement and released in 1971, Did You Think To Pray was Charley Pride’s first gospel album. The album, which emerged at the height of Pride’s popularity, hit #1 and was certified Gold.

Despite his goodwill with country radio, his previous six singles had been chart toppers,  Pride could only get the album’s sole single to #21. “Let Me Live” has a strong lyric about the guidance of God’s love, but a melody that leaves much to be desired. The song takes a bizarre and jarring turn halfway, turning from a simple ballad into a gospel rave and back again.

The title track, which opens the album, preaches about the power of prayer. The track is somewhat overwrought and brought down by the heaviness of the background vocalists and what appears to be a low humming throughout.

The album kicks into high gear with Pride’s spirited take on “I’ll Fly Away.” The fiddle is a perfect accompaniment for the backing vocalists who join Pride throughout. Also fantastic is his banjo-drenched take on “Angel Band,” one of the album’s strongest tracks. “Whispering Hope” is also fantastic, with Pride channeling Jim Reeves.

Pride gets back to preaching on “Take Time out for Jesus,” which is heavy-handed but otherwise excellent. The melody is inviting and draws you right in. The confessional “Jesus, Don’t Give Up On Me,” finds Pride hoping for redemption after failing to heed his own advice.

“The Highway Leads to Glory” is about the journey, and it’s glorious. His take on the oft-covered “The Church In The Wildwood” is of similarly high quality. The album closes with “Lord, Build Me a Cabin in Gloryland,” which retains the album’s winning ways.

Apart from a couple of moments that get the album off track, Did You Think To Pray is an excellent recording, gospel, secular or otherwise. It’s well worth checking out if you want to hear it again after many years or are just discovering it for the first time.

Grade: A

Album Review: Charley Pride – ‘Charley Pride’s 10th Album’

Released in June 1970, Charley Pride’s 10th Album was actually his ninth album of new material as his actual ninth album was the hits collection The Best of Charley Pride.

Only one single was released from the album, Dave Kirby’s “Is Anybody Goin’ To San Antone”, but there were three or four other songs that were worthy of single release. The album reached #1 on Billboard’s Country Albums charts (also #1 in Canada), and went to #30 on the all-genre’s charts, becoming Charley’s fourth consecutive and sixth total gold albums. I strongly suspect that had Sound Scan been around, this album would have tracked higher.

The album opens up with “Able Bodied Man”, the Bill Rice – Jerry Foster composition about an itinerant laborer who moves from job to job, all the while working hard to keep his marriage working. It’s a truly great song and one I would have liked to see released as a single

If I had more education now I’d have made a better life for me and you
But just simple manual labor is the only kind of work that I can do
The bus is loadin’ for Missouri so I guess I’d better go
I’ll call you just as soon as I can
I’ll be sending you a ticket cause I think I’ll get a job
If they’re looking for an able bodied man
And remember I’m your able bodied man

Next up is Bill Rice’s “Through The Years”, a nice slow country ballad about a relationship that has grown stronger through the years. The song had no potential as a single, but makes a nice complement to the album.

“Is Anybody Goin’ To San Antone” would be Charley’s best remembered song had “Kiss An Angel Good Morning” never come along. The song reached #1 for two weeks and was his biggest pop hit up that time. The song became an immediate favorite of country cover bands everywhere. Doug Sahm recorded the song twice (once with the Texas Tornados) and Larry Cunningham & The Mighty Avons had success with the song in the UK and Ireland. There was even a rough Swedish translation of the lyrics that became a hit in Sweden.

Rain drippin’ off the brim of my hat,
It sure looks cold today.
Here I am a-walkin’ down 66,
Wish she hadn’t done me this way.

Sleepin’ under a table in a roadside park,
A man could wake up dead;
But it sure seemed warmer than it did
Sleepin’ in my king-size bed.

[Chorus]
Is anybody goin’ to San Antone or Phoenix, Arizona?
Any place is all right as long as I can forget I’ve ever known her.

The nest three songs are basic slow country ballads: Jerry Foster’s “The Thought of Losing You”, Jack Clement’s “I Think I’ll Take A Walk”, and the Hugh X Lewis composition “Things Are Looking Up”. All three are nice songs with vivid imagery, but none would be considered as singles material.

Charley picks up the tempo a little with Bill Foster’s “Special”, a train song of wanderlust. There was a time when a song such as thius one would have been a viable single, but by 1970, that time was probably was past.

The only thing I really own is what you see me wearing on my back
The only friends I’ve ever known are the kind you meet along a railroad track
The kind you bum tobacco from and view the world through a boxcar door
A friend who talks and makes you laugh has nothing much but gives you half

And maybe you don’t see him anymore
Special I hear your lonesome whistle whine
It’s calling me
Special keep moving me on down the line

Alex Zanetis, who wrote several of Jim Reeves’ big hits, wrote a “Poor Boy Like Me”. Thematically it was too similar to several of his earlier singles for Charley to have released the song as a single. Ditto for the Allen Reynolds-Dickie composition “(There’s) Nobody Home To Go Home To”. I would have thought that someone would have taken a chance on one of these songs, both excellent album tracks.

I have no idea why RCA chose not to release “This Is My Year For Mexico” as a single. The song screams hit single. Crystal Gayle recorded the song in 1975 and reached #13 on Record World, 16 on Cashbox and 21 on Billboard, but her career had not reached high gear yet (it was her second biggest hit at that point in her career). Released later in Crystal’s career it would have been a huge record, as it would have been for Charley had it been released as a single. As it was, the song received considerable airplay, although Billboard did not track album tracks at the time. Bluegrass superstar Dale Ann Bradley has the song on an upcoming album and several other bluegrass acts have recorded the song.

I no longer notice if you’re wearing perfume
I quit smoking, girl, you never even knew
And the road is full of young and restless people
And their full of the energy to move

[Chorus]
Its a habit for us to stay together
We sit and watch the nightly shadows grow
Every day last year I left for California
This is my year for Mexico

At the time I purchased the album (July 1970) I noted the album had only ten tracks and had a playing time of around 27 minutes, a bit of a short-change. On the other hand I would rather have 27 minutes of music that ranges from very good to excellent than 35 minutes of drivel. There is not a song on this album I dislike – a solid A.

Classic Rewind: Charley Pride – ‘Is Anybody Goin’ To San Antone?’

Classic Rewind: Charley Pride – ‘I’m So Afraid Of Losing You Again’

Album Review: Charley Pride – ‘The Sensational Charley Pride’

Produced by Jack Clement with Felton Jarvis (best known for his work with Elvis Presley), The Sensational Charley Pride was released in May 1969. The record is in the same style which fans had come to expect from Charley – solid country with a restrained version of the Nashville Sound.

It produced only one single, the #4 ‘Let The Chips Fall’. Written by Clement, it is a dramatic, slightly ponderous, ballad about a suspicious husband prepared to fond out the worst. It is not among my favorite Charley Pride hits, but Pride’s vocal is excellent. Another Clement tune, ‘She’s Still Got A Hold On You, is a nice song about not getting over an old love.

A song that perhaps should have been a single (and was by Mickey Gilley), ‘(It’s Just A Matter Of) Making Up My Mind’, is my personal favorite song on the album. A slow ballad about coping with a breakup, it is one of two Foster & Rice songs on the set. The other, ‘Even After Everything She’s Done’, serves as a kid of sequel to the former, and is also pretty good. Here the protagonist realises the day after a tumultuous goodbye that love endures despite all the angst:

I said I could despise her by the dawn of another day
But there’s the sun and I don’t hate her
Even after everything she’s done

I tried to make myself believe that I’m much better off
I’ve told myself she’s nothing special
And still I find that she’s the only one

‘Come On Home And Sing The Blues To Daddy’ is an enjoyable midpaced song, addressed to an ex whose new romance has faltered, with Charley once more playing the protagonist we met in ‘I Know One’, but sounding a little less rueful:

You’re like a child who’s found a brand new plaything
Each one is more fun than those before
But there’s a faithful one who’s always waiting
To be picked up and kicked around some more

It was also recorded by several the artists including Waylon Jennings, Faron Young and Bobby Bare.

Charley goes playfully Cajun for a pair of songs – a cheery cover of the classic ‘Louisiana Man’, and the less well remembered Jim Reeves hit ‘Billy Bayou’ (a Roger Miller penned tune). Both recordings are great fun, with Charley tackling them them with the same joie de vivre he showed in his live take on the Hank Williams song ‘Kaw Liga’, not included on this album but a #3 hit for him in 1969.

There are three songs written by Alex Zanetis, all quite good. ‘Never More Than I’ is a ballad with an attractive melody, comparing the poor man’s love to his richer rival. The steel-dominated ‘Let Me Live Again’ pleads a former love to take him back. In ‘Take Care Of The Little Things’ he regrets neglecting home and wife, versed as a message to the man who has taken his place.

The similarly titled ‘It’s The Little Things’ is a tender love song, paying tribute to a wife’s care. Lots of steel guitar ornaments the song beautifully. The album closes with ‘We Had All the Good Things Going’, a wistful look back at love. This song was a minor hit for Jan Howard in 1969, and also recorded by Dolly Parton.

This album is another strong offering from Charley Pride, and well worth finding. It is available individually or on a bargain 4-on-1 CD and has been certified gold.

Grade: A-

Classic Rewind: Charley Pride – ‘Let Me Live In The Light Of His Love’

Classic Rewind: Charley Pride – ‘All I Have To Offer You Is Me’

Album Review: Charley Pride – ‘Songs of Pride, Charley That Is’

Songs of Pride, Charley That Is was Charley Pride’s second LP of 1968. Boasting no fewer than four producers — Chet Atkins, Jack Clement, Bob Ferguson, and Felton Jarvis — it featured his highest charting hit to date, the #2 peaking hit “The Easy Part’s Over”, which was written by Jerry Foster and Bill Rice.

There weren’t any other singles released from the collection, but there were a few that could have been worthy contenders. Among them was “She Made Me Go”, another Foster-Rice composition, which casts Charley in the role of a spurned spouse is assumed to be the party at fault for the breakup of his marriage. “The Right To Do Wrong” written by Fred Foster, the legendary founder of Monument Records, is another that could have been commercially successful on its own. My personal favorite is the upbeat “I Could Have Saved You The Time”, written by Jack Clement.

The album’s second half is equally strong, with a number of steel-drenched songs that won me over immediately, from Red Lane’s “Both of Us Love You” and Vincent Matthews’ “One Of These Days” (not the same song as Emmylou Harris’ 1976 hit). The Mel Tillis and Wayne Walker number “All The Time” is a bit schmaltzy, and the album opener “Someday You Will” (another Jerry Foster/Bill Rice effort) is a bit pedestrian but those are the album’s only two week links. The production is firmly traditional, with plenty of pedal steel and it is not as dependent on vocal choruses as many other recordings of the day.

Grade: A-

Album Review: Charley Pride – ‘Make Mine Country’

Make Mine Country, Charley Pride’s fourth album, was released via RCA Victor in 1968. The album didn’t produce any singles but featured covers of many notable songs that have become classics. It was produced by Chet Atkins along with Jack Clement, Bob Ferguson, and Felton Jarvis.

The album opens with Jack Clement’s “Now I Can Live Again,” a minor hit for Mickey Gilley the previous year. The uptempo track, about a newly-single man finally putting the sorrow behind him, is brimming with sunshine.

“A Word or Two to Mary,” written by Vince Bulla and Peter Cotton, is a ballad between friends in which a man asks his buddy to compose a letter to the woman he’s leaving behind in death. The track, typical of the era, is beyond creepy and has an inappropriate sing-song melody that clashes with the subject matter.

“If You Should Come Back Today” was also recorded by Johnny Paycheck although I couldn’t find the year he released his version. The honky-tonk uptempo number returns the album to the sunny disposition of the opening track, with a lyric (written by Johnny Mathis and Harlan Howard) about a guy who would forgive his ex if she came back into his life.

Clement also solely wrote “Guess Things Happen That Way,” which Johnny Cash took to #1 the year previous. Pride’s version is slicker sounding than Cash’s, which is the sole difference between the recordings.

The album’s fifth song is “Before The Next Teardrop Falls,” which appears here seven years before Freddy Fender had an international hit with it. Pride’s version is terrible by comparison, a by-the-numbers take that lacks the nuance Fender was able to find within the lyric.

Make Mine Country continues with Clement’s arrangement of “Banks of the Ohio.” The track, drenched in mandolin, feels rushed and like the song before it, lacks any care to bring the emotional qualities out in the lyric.

“Wings of a Dove” was already eight years old when Pride released his version. It’s a solid take, although the arrangement is far too cheesy for my tastes.

“A Girl I Used To Know” was six years old by 1968, a top 5 hit for George Jones that would top the charts as “Just Someone I Used to Know” in a duet recording by Porter Wagoner and Dolly Parton the following year. Pride’s version is very good, but hardly an essential take on the song.

“Lie To Me,” which only saw this version by Pride, is another sunny uptempo number. This one is about a guy who wants his woman to confess her love to him, even if she doesn’t truly feel it deep inside.

The regretful “Why Didn’t I Think of That” appears next, with Pride taking on the role of voyeur, watching the way his ex’s new love shows his affection towards her. The track is merely good.

Eight years after Buck Owens took it to #3, Pride unleashes his rendition of “Above and Beyond (The Call of Love).” He handles the song beautifully, allowing it to stand out among the twelve tracks on the album. “Baby Is Gone,” a mid-tempo ballad, closes out the record.

Make Mine Country is a very strong album, with solid takes on some of the hits from the day. Given that it didn’t have any singles, I can only guess it was an obligatory record aimed at fulfilling some clause of his recording contract. I found the album to be bogged down by a few second-rate relationship songs that could’ve been swapped out for a bit more meaty material.

Grade: B