My Kind of Country

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

Tag Archives: Conway Twitty

Classic Rewind: Conway Twitty – ‘Grand Ole Blues/I May Never Get To Heaven’

Advertisements

Classic Rewind: Conway Twitty – ‘She’s Got A Single Thing In Mind’

Album Review: Daryle Singletary – ‘That’s Why I Sing This Way’

By the end of the 90s, Daryle’s hits had dried up at radio as the industry moved away from his pure country sound, and Giant decided to drop him from the label. He moved to independent label Koch Records, and released Now And Again, an album which mixed his Giant hits with a handful of new songs (including two of his own co-writes, the title track and ‘I’ve Thought Of Everything’, a very good mournful ballad which is worth downloading).

2002 saw Daryle pay tribute to his roots with a set of mainly classic country covers. Not everyone likes this kind of project, but if nothing else it proves definitively that Daryle was a great country singer who would have been an enormous star had he been born a few decades earlier.

Two singles were released, both peaking in the 40s. The title track was the album’s sole new song, and was written by the great Max D Barnes. Set to a cheerful mid-tempo, the tongue-in-cheek song recalls a childhood devotion to country music:

My mama used to tell me
“Son, you better get your work done
Your Daddy’s coming home at five
And if you ain’t all through with the chores you gotta do
Boy, I’m gonna tan you alive”

I was glued to the radio, listening to my hero
Singing them sad old songs
Singing them sadder than a one car funeral
Nobody sings like Jones

I’d take that old kitchen broom up to my room
And I’d play it like an old guitar
Or sit out on the porch tryin’ to sing like George
Dreaming of becoming a star

Well, things I never did when I was just a kid
Made me what I am today
You see, Mama used to whoop me with a George Jones album
That’s why I sing this way

‘I’d Love To Lay You Down’, Daryle’s last ever charting single, is a sensual love song to a wife, which is a cover of a Conway Twitty hit.

George Jones, namechecked in the title track, also receives tribute in the form of a cover of, not one of his heartbreak classics, but his trustingly romantic ‘Walk Through This World With Me’, a hit in 1967. The arrangement is gorgeous, with piano, steel and fiddle prominent, and Jones himself sings harmony.

Merle Haggard makes a guest appearance on his ‘Make Up And Faded Blue Jeans’, in the form of a couple of lines near the end. Johnny Paycheck provides a similar cameo on one of the highlights, an intense version of ‘Old Violin’; the fiddle on this is suitably beautiful.

John Wesley Ryles is one of the most ubiquitous of backing singers in Nashville, but he started out as an artist in his own right, with the song ‘Kay’, a top 10 hit in 1968, when he was only 17 years old. Daryle’s version of this fine song about the man left behind to a life driving a cab, when his sweetheart makes it big in country music is excellent, and Ryles adds harmonies.

Rhonda Vincent joins Daryle on a superb version of one of my favorite classic country duets, ‘After The Fire Is Gone’. The final guest, Dwight Yoakam, plays the part of Don Rich on the Buck Owens classic ‘Love’s Gonna Live Here Again’. Daryle also covers Buck’s Hank-Cochran-penned hit ‘A-11’ in authentic style. I think Darrin Vincent may be among the backing vocalists here.

A measured version of ‘Long Black Veil’, a mournful ‘I Never Go Around Mirrors’ and ‘Dim Lights, Thick Smoke (and Loud, Loud Music)’ are all also highlights.

Grade: A

This album set the tone for the remainder of Daryle’s career, focussing on great traditional style country music. We have reviewed all his subsequent albums.

Album Review: Daryle Singletary – ‘Ain’t It The Truth’

 

Released in February 1998, Ain’t It The Truth was Daryle’s third, and most successful album release, reaching #18 on Billboard’s Country Albums chart, his only album to crack the top forty. This seems strange in that Daryle’s days of producing hit singles were over. There were three singles released from this album, only one of which cracked the top thirty country singles.

Despite the lack of singles success, this is a really fine country album with a cast of stalwart country musicians plying their trade on the album, headed by the following:

Larry Byrom – acoustic guitar, electric guitar

Joe Chemay – bass guitar

Larry Franklin – fiddle

Paul Franklin – dobro, steel guitar

Sonny Garrish – steel guitar

Steve Gibson – acoustic guitar, electric guitar, mandolin

John Hobbs – keyboards, synthesizer

Dann Huff – bass guitar, electric guitar

The album opens up with “The Note” a fine song that had been recorded by the likes of Conway Twitty, Tammy Wynette and Doug Supernaw before Daryle got around to releasing the song as a singleDaryle’s version reached #28 on the Country chart but also reached #90 on Billboard’s Hot 100.

The note was short, but lord so strong
It simply said I can’t go on
And live a lie with someone I don’t love
She couldn’t tell me face to face

Oh, but how my world was changed
By the hand that held the pen
That wrote the words that broke the heart
Of the one the only one that really loves her

My tears fell down like falling rain
But they can’t wash away the pain
How will I go to sleep without her in my arms
She never meant to break my heart

Oh,but how my world was torn apart
By the, hand that held the (f) pen
That wrote the words that broke the heart
Of the one the only one that really loves her

This is followed up by “Love or the Lack Of” by Mary Ann Kennedy and Rich Wayland, a mid-tempo ballad of what life really is about.

Jeff Crossan’s “That’s Where You’re Wrong” is a nice ballad, sung well by Daryle, and serves this album well by keeping the tempos on the album mixed. I don’t think the song had real potential as a single but it was released as the second single on the album, just cracking the top fifty.

 You said, what you had to say, would come as a surprise

You were right, honey, you were right

You told me, nothing I could do was gonna change your mind

I knew then, you’d be right again

But, when you said we were through, I knew that wasn’t true

 

[Chorus]

That’s where you’re wrong, that’s where you’re wrong

Deep down inside love lingers on, it won’t let go, it’s still too strong

That’s where you’re wrong

Daryle was never timid about tackling classic country ballads, and in Jerry Reed’s “A Thing Called Love” he has picked a good one. The song was originally released as a single by Jimmy Dean back in 1968 (still my favorite version of the song), taken to #1 (Record World) in 1972 by Johnny Cash, and covered by countless artists as an album track. Daryle gives this mid-tempo ballad a straight-ahead country treatment that does credit to the song.

Dwayne Blackwell’s rather tongue-in-cheek “I’d Live For You” would have made an excellent single:

 I won’t climb the highest mountain I won’t swim the deep blue sea

I won’t brave a raging river I’m no hero on TV

Well there are other ways to prove my love if you’re not too choosy

I’d swim the deep blue swimming pool climb the highest barroom stool

Brave the raging waters of a hot tub or Jacuzzi

 

Honey I’d live for you that’d be a lot more fun

Work and give to you vacations in the sun

No I wouldn’t die for love like the poets say they’d do

I love you so much honey I’d live for you

“A Miracle In The Making” finds Daryle as a duet partner with Kerry Singletary (now Kerry Harvick), his then- wife. Kerry’s not a bad singer, her voice somewhat reminiscent of Dolly Parton and I think this recording would have made a decent single

So I’m told it happens every day

Common as a wedding in the month of May

It’s something my heart won’t soon forget

There was nothing ordinary in that moment we met

 

We may not have seen the sea parted

We may not have tasted water turned to wine

And it may not appear all that earth shaking

Oh but I believe we could be a miracle in the making

Delbert McClinton’s “My Baby’s Lovin’ “ was the third and final single released from the album, reaching #44. Mc Clinton is a fine song-writer wih a bit of a bluesy touch to his ballads. This song is taken at a medium fast tempo and I’m surprised that it did not chart better.

The album closes with two songs on which Daryle has co-writing credit. “The Real Deal” is a good up-tempo song about the state of the narrator’s love (‘it’s the real deal’), whereas the title track is a ballad that pays homage to past country classics. I love the song, it definitely tells it like it is for Singletary and it would have made a great single. The track received some airplay here in Central Florida.

Born in this country red white and blue

From church pews to bar stools it’s always been true

From up in the mountains way back in the pines

From Crazy to Sweet Dreams to Yesterday’s Wine

 

All of my heroes from Lefty to Jones

Some are still with us and some have gone home

Oh precious are the memories of the music they made

Forever living not held by the grave

 

Forever and Always Chiseled in Stone

Like honky tonk prophets their words linger on

If you don’t believe me if you need some proof

Ask any old jukebox hey ain’t it the truth

 

Honest and simple never ashamed

Lord help us Jesus never to change

One day I’ll see Lefty when my work is through

He’ll say son you were country oh ain’t it the truth

 

Forever and Always Chiseled in Stone…

Ask any old jukebox hey ain’t it the truth      

 

I really like this album, and I play it with some regularity – I actually had been listening to the album the week before Daryl’s death. I’d call it a solid “A”

Johnny Cash: A Look Back

We lost Johnny Cash and his wife June Carter Cash within months of each other back in 2003, so 2018 marks a very sad 15th-anniversary farewell to the “Man In Black”.

The release last year of UNEARTHED, a nine album 180 gram vinyl box set (originally released on CD two months after his death) of unreleased tracks recorded by Rick Rubin, (it features some interesting pairings such as Fiona Apple providing guest vocals on Cat Stevens’ “Father & Son,” and the late Joe Strummer’s duets with Cash on Bob Marley’s “Redemption Song”) provides us with a excuse to take another look back at his career.

While modern country radio has no use for the likes of Johnny Cash, preferring more commercial fodder, other sections of the music industry have kept his music alive, whether on Willie’s Roadhouse (Sirius XM Radio) or through the musical press. Cover bands continue to play his music and while younger so-called country singers play music that bears little connection to country music, his music remains a staple of Roots-Rock, Texas Red-Dirt and Bluegrass performers

Make no mistake about it: Johnny Cash was a huge commercial success, despite his own apparent lack of concern about how commercial his music was at any given moment–Cash’s inquisitive artistry meant that he flitted from realm to realm, sometimes touching down in areas with limited commercial appeal.

Cash had 24 songs reach #1 on the Billboard, Cashbox or Record World country charts (often all three), but unlike more chart-oriented artists including Webb Pierce, Buck Owens, Sonny James, Alabama, Conway Twitty or George Strait, Cash never ran off a long string of consecutive #1s, with his longest streak being four during 1968 when “Roseanna’s Going Wild,” “Daddy Sang Bass,” “A Boy Named Sue,” and his iconic “Folsom Prison Blues” all reached the top of one of the charts.

Read more of this post

Occasional Hope’s top 10 albums of 2017

While the mainstream sinks further away from country music, I have found some great music this year. It is marked, however, that much of the best music harks back to the past in one way or another. Another difference from radio trends is that half of the top 7 are female artists. Here are my favourite full length albums of 2017:

10. John Baumann, Proving Grounds

An overlooked gem I never got round to reviewing in the summer, this release from a young Texas singer songwriter of the troubadour type was full of high quality songs. Definitely an artist to watch.

Highlights: ‘Old Stone Church’, ‘Lonely In Bars’, ‘Here I Come’, ‘The Trouble With Drinkin’’, ‘Meg’

9. Chris Stapleton, From A Room, vols 1-2

While his music is not traditional country, it is a lot better than most mainstream efforts these days. Chris Stapleton has a great voice and is a superb songwriter, and wife Morgane’s harmonies add the final touch. I am counting these two almost-full length albums as one for the purpose of this list.

Highlights: ‘Up To No Good Livin’’, ‘Last Thing I Needed First Thing This Morning’, ‘Either Way’, ‘Drunkard’s Prayer’, ‘Scarecrow In The Garden

8. Conway Twitty – Timeless

The recently re-released recordings are a delightful reminder of what country music used to be. Arrangements laden with steel, great songs and Conway’s emotive vocals all contribute to a wonderful album, with only a couple of less stellar moments.

Highlights: ‘Lost Her Love) On Our Last Date’, ’15 Years Ago’, ‘Next In Line’


7. Gene Watson – My Gospel Roots

This only came out on 8 December, just in time to make my year-end list. It is an excellent religious album from one of the best living country vocalists, with an interesting selection of material. The full review will be posted on Friday.

Highlights: ‘Fit For A King’, ‘Help Me’, ‘Old Roman Soldier

6. Charley Pride – Music In My Heart

The legend’s 2017 album is his best music in years. He is in fine voice and the songs are great.

Highlights: ‘Standing In My Way’, ‘I Learned A Lot’, ‘The Way It Was In ‘51’, ‘It Wasn’t That Funny

5. Jason Eady – Jason Eady

A thoughtful, often compelling collection of songs from one of my favorite singer-songwriters.

Highlights: ‘Barabbas’, ‘Where I’ve Been’, ‘No Genie In This Bottle’, ‘Black Jesus’, ‘Why I Left Atlanta’, 40 Years


4. Sunny Sweeney – Trophy

The Texan singer-songwriter released another great record this year, mixing attitude and heartbreak in eqal measures.
Highlights: ‘Bottle By My Bed’, ‘I Feel Like Hank Williams Tonight’, ‘Trophy’, ‘Pass The Pain’

3. Alison Krauss – Windy City

Alison Krauss’s beautiful voice on a country leaning collection of standards, beautifully prodiced and exquisitely sung. Flawless.

Highlights: ‘You Don’t Know Me’, ‘River In The Rain’, ‘Losing You’, ‘Gentle On My Mind’, ‘All Alone Am I’, ‘Please Don’t Tell me How The Story Ends’


2. Rhonda Vincent and Daryle Singletary – American Grandstand

A delightful pairing of one of bluegrass’s best female vocalists with country traditionalist Daryle Singletary. Rhonda’s voice blends even better with Daryle than it did with Gene Watson https://mykindofcountry.wordpress.com/2011/06/02/album-review-gene-watson-and-rhonda-vincent-your-money-and-my-good-looks/ a few years ago. Magnificent.

Highlights: ‘We Must Have Been Out Of Our Minds’, ‘One’, ‘A Picture Of Me Without You’, ‘After The Fire Is Gone’, ‘American Grandstand


1. Erin Enderlin – Whiskeytown Crier

The singer-songwriter’s latest album is a superb collection of story songs. My only reservation is that several of the songs have appeared upon her previous releases, but this is a truly excellent album.

Highlights: ‘Broken’, ‘Caroline’, ‘His Memory Walks On Water’, ‘The Coldest In Town’, ‘Ain’t It Just Like A Cowboy

Classic Rewind: Conway Twitty – ‘Goodbye Time’

Classic Rewind: Conway Twitty – ‘That’s My Job’

Album Review: Conway Twitty – ‘Timeless’

I guess there really is a Santa Claus because I just received the “new” Conway Twitty album from Country Rewind Records, Timeless, just in time for Christmas.

These aren’t really new recordings. During the 1960s and 1970s it was not uncommon for the various branches of the US Military to put together fifteen or thirty minute radio shows for use on country radio stations. Mostly these shows aired on smaller radio stations, usually in air slots where it was difficult for them to sell advertising. Some of these shows, such as COUNTRY MUSIC TIME (a recruiting tool for the US Air Force) and COUNTRY COOKING WITH LEE ARNOLD (a recruiting program for the Army Reserves) featured some chatter with the weeks’ musical guests followed by some records by the musical guest. Others, such as NAVY HOEDOWN, featured some minimal chatter with the featured artist followed by live performances with the program’s band, or occasionally with the artist’s own band. These recordings were not made available for public purchase

Timeless comes from recordings made for an unspecified military recruiter program. The recordings were made at Scotty Moore’s Music City Recorders on May 24, 1972. The songs feature Conway’s tight road band of Joe E. Lewis on bass, Tommy Markham on drums, and the legendary John Hughey on steel guitar. Conway played rhythm guitar on the recordings and the band was augmented by Hargus “Pig” Robins on piano. At this time Conway normally did not have piano on his live performances.

The songs featured here are songs from the first half dozen years of Conway’s career with MCA. In other words, this is a real county album with none of the MOR trappings that contaminated Conway’s later recordings. The revelation here is that most of these songs were originally recorded with studio musicians and occasional Owen Bradley strings and chorus production. Here we get the real stage sounds of Conway Twitty.

Originally recorded after a brief rehearsal, in a single take, these recordings were typically played once or twice in a given geographical area and then returned or discarded. Many years later pristine recordings were found and forwarded to Thomas Gramuglia at Country Rewind Records. Gramuglia contacted Conway Twitty United, a company dedicated to preserving Conway’s legacy, comprised of Conway’s four children. Gramuglia presented his idea to find a producer to update and modernize the sound for release to Joni Twitty.

After the family listened to the tapes, they felt that releasing them would not dishonor Conway’s memory at all, but Joni suggested that they do the new production in-house. Joni was a talented artist herself, and her husband John Wesley Ryles had several hits on his own and has appeared as a harmony singer on literally thousands of tracks.

The end result is an album they could have been released during the mid-1990s. Co-producers Joni Twitty Ryles and John Wesley Ryles have produced a great album. For the most part the post-production is limited to John Wesley Ryles providing some background vocals, Ron Oates adding a bit of keyboards, and some additional acoustic guitar, most notably on “15 Years Ago”. To me the most important difference between the studio recordings of the songs on this album, and these recordings is the gigantic presence of steel wizard John Hughey.

The song list is as follows:

(Lost Her Love) On Our Last Date – a #1 single with lyrics grafted onto a Floyd Cramer’s instrumental
Dim Lights, Thick Smoke (and Loud, Loud Music) – album track from 1968’s Here’s Conway Twitty
Hello Darlin’ – Conway’s biggest country hit
How Much More Can She Stand – a #1 single from 1971
Working Girl – an album track from the 1967 album Conway Twitty Country
I Can’t See Me Without You – a #1 single (according to Record World) from early 1972
I Love You More Today – a #1 single from 1969
Crazy Arms – nice cover of the Ray Price classic
15 Years Ago – the follow up to Hello Darlin’ – it hit #1
Honky-Tonk Man – cover of the Johnny Horton classic
The Image of Me – Conway’s first top ten country single
If You Were Mine To Lose – an album track from the 1966 album Look Into My Teardrops
Proud Mary – cover of protégé Anthony Armstrong Jones’ hit from 1969
Next In Line – Conway’s first country number one from 1968

A-

Classic Rewind: Conway Twitty – ‘Tight Fittin’ Jeans’

Classic Rewind: Conway Twitty – ‘Don’t Call Him A Cowboy’

Album Review: Conway Twitty – ‘Final Touches’

Conway had enjoyed his last top 10 single in 1990 as younger artists came to the fore. One of the most successful producers of the early 90s, Don Cook, took over production duties for what was perhaps hoped to be a comeback but was instead to prove Conway’s final studio album, released two months after his sudden death in June 1993.

His final charting single, ‘I’m The Only Thing I’ll Hold Against You’, peaked at a disappointing #62. That was a shame, as it is a great ballad co-written by Joe Diffie, who also recorded it some years later. The keyboards have dated a bit, but the vocal remains excellent (although I prefer Diffie’s own cut). ‘Don’t It Make You Lonely’, written by Jackson Leap, is a midpaced song about missing an ex, quite nice but not memorable enough to be an effective single, especially in the circumstances. It is not entirely surprising that it failed to chart at all.

Perhaps the best track on the album is ‘An Old Memory Like Me’, written by producer Cook with John Barlow Jarvis). The downbeat ballad, filled with precisely remembered details, has Conway appealing wistfully to his ex-wife that maybe it isn’t over, and that her taste for old possessions might yet stretch to him:

There’s an old satin gown
Been twice handed down
You were saving for your wedding day
But you married in haste
What a terrible waste
And it never got used anyway


Is there room in your heart
For an old memory like me?

Also excellent, ‘I Hurt For You’ is a lovely, empathetic ballad (written by Deborah Allen and Rafe VanHoy, and previously recorded by Allen), in which Conway offers his unrequited love a shoulder to cry on. Conway does the song full justice with a tender, emotional vocal:

I can’t blame you for feeling cheated
Being so in love and so unneeded
But the reason you keep trying
Is a feeling that I know

Oh, I hurt for you
Every time he breaks your heart
Baby I hurt for you
And it’s tearing me apart
To care the way I do
Maybe I’m a fool
I watch you long for him
And I hurt for you

So love won’t work out the way you planned it
Darlin’, all too well I understand it
But I’ll be right here to console you
If that’s the only chance I’ll have to hold you
But you’re so lonely being stranded
With a dream you can’t let go…

If you could want the one who loves you
Oh, maybe you would want me now

‘The Likes Of Me’ is a more forgettable, up-tempo song on the same theme of hopefully replacing an unworthy ex with “more than a shoulder”. ‘Two Timin’ Two Stepper’, a tartly observed toe tapper written by hitmaker Kostas and Bobby Byrd about a wannabe cheater trawling the honky tonks, is pretty good. ‘I Don’t Love You’ is a dour breakup song of self-denial. The melodic title track is quite a nice love song with Southern color, while ‘You Are To Me’ (a Don Schlitz/Billy Livsey song) is quite pretty.

The closing ‘You Ought To Try It Sometime’ is Conway’s attempt at getting in on the line dance fever which was hot at the time. It is not entirely successful, but Conway delivers it with energy and a honky tonk piano saves the track.

This is a pretty solid record and not too hard to find as it was released on CD.

Grade: A-

Classic Rewnd: Conway Twitty – ‘Who Did They Think He Was?’

Classic Rewind: Conway Twitty – ‘I Don’t Know A Thing About Love (The Moon Song)’

Classic Rewind: Conway Twitty – ‘We Did But Now You Don’t’

Album Review: Conway Twitty – ‘Crazy In Love’

One of the reasons for Conway Twitty’s longevity as an artist was his knack for adapting to new musical trends. In the 1980s, as country music entered the Urban Cowboy era and adopted a slicker, more pop-oriented sound, Conway did likewise, and maintained his position at the top of the charts. His new sound was particularly evident on the Warner/Elektra recordings. Interestingly, though, he did not follow country music’s trend back toward a more traditional sound in the latter half of the decade. For whatever reason, it seemed to work. His albums from this era only sold modestly but he continued to have radio hits, although somewhat less consistently, and remained relevant to the genre.

Crazy In Love was Conway’s first full-length album of the 1990s. He produced it with his wife Dee Henry and MCA label chief Jimmy Bowen. Like his other recent efforts, there is nary a fiddle nor a steel guitar to be found, although the album itself encompasses a variety of styles from pop and R&B to more traditional country fare. The title track and lead single was perhaps his most pop-leaning single ever. It had originally been included on a Joe Cocker album in 1984 and Kim Carnes took it to #13 on the AC charts in 1988. Kenny Rogers had a competing version from his 1990 Love Is Strange album, which reached #9 on the AC charts. Conway’s version reached #2 on the country charts, a position where many of his singles had landed since he’d rejoined MCA in 1987. Written by Randy McCormick and Even Stevens, there is nothing even remotely country about this song, but it is very good nonetheless. The upbeat “I Couldn’t See You Leavin'”, written by Rory Michael Bourke and Ronny Scaife reached #3, making it the last bonafide hit single of Conway’s career. None of his subsequent efforts would chart in the Top 20. There was one last single released from Crazy In Love, though — the traditional-leaning “One Bridge I Didn’t Burn”, which peaked at a disappointing #57, despite being the best song on the album. It is, however, a track that is crying out for the fiddle-and-steel treatment. The album cut “What’s Another Goodbye”, written by Kent Robbins is another very good track that would have benefited from more traditional instrumentation.

I wasn’t as enamored by Conway’s cover of the 1978 Dr. Hook hit “When You’re In Love With a Beautiful Woman” (another Even Stevens composition) or the slightly overblown power ballad “Just the Thought of Losing You”, written by Michael Bolton and Jonathan Cain. Both are well executed but with so many good country songs available in Nashville at the time (unlike today), one wonders why these two were chosen. The upbeat closing track “Hearts Breakin’ All Over Town” is not bad but is only truly noteworthy because of its co-writer Pam Tillis who was about to enjoy her own commercial breakthrough.

Conway Twitty’s long career saw him embracing a number of different musical styles and as such it is inevitable that everything he did will be to everyone’s taste. While I wouldn’t rate Crazy In Love as highly as his early 70s albums, it is a solid effort for its era. I don’t think I’ve ever truly hated anything Conway Twitty did — aside from his unfortunate treatment of “Danny Boy” during his rock-and-roll days. Crazy In Love is not essential listening, but it is a worthwhile late career effort from a true legend, who truly was the best friend a song ever had.

Grade: B+

Classic Rewind: Conway Twitty – ‘The Grandest Lady Of Them All’

Album Review: Conway Twitty – ‘House On Old Lonesome Road’

House On Old Lonesome Road was Conway Twitty’s third album since returning to MCA Nashville after six albums with Warner Bros. The record was released in 1989 and spawned three singles.

The lead radio offering, “She’s Got A Single Thing In Mind.” was a forceful Walt Aidridge-penned ballad that peaked at #2. The title track, a ballad reminiscent of “That’s My Job,” hit #19. “Who’s Gonna Know,” another bland ballad, stalled at #51.

Clinton Gregory had a #25 hit with “Play, Ruby, Play,” an excellent mid-paced number co-written by Tony Brown and Troy Seals when he released it in 1992. Twitty’s version provides the album with a much-desired change of pace. “Private Part of My Heart,” another Seals co-write (this time with Max D. Barnes), returns the album to the sounds of mid-1980s country somewhat successfully. “Pieces of You,” which Barnes co-wrote with Skip Ewing, is far and away the record’s most traditional number, with lovely doses of fiddle throughout.

“Too White To Sing The Blues,” co-written by Lacy J. Dalton, is reminiscent of Waylon Jennings. Karen Staley and Gary Harrison co-wrote the jaunty and ear-catching “Take Me Home to Mama,” a nice slice of modern honky-tonk. “Child With Child” is another of the sappy ballads for which Twitty had come to be known for during this period of his career. “Nobody Can Fill Your Shoes” feels a step out of touch and sounds just a couple years out of date.

I’m going to go out on a limb and reveal how truly out of touch I am. Given that House On Old Lonesome Road was released in 1989, at the height of the new-traditionalist movement, I had fully expected an album not unlike what Keith Whitley and Don Williams were turning out at the time. What I got instead was a kaleidoscope of sounds and textures attempting to showcase Twitty in the many different lights for which he found success that decade. There isn’t any truly outstanding number among these 10 tracks, although Gregory had the good sense to revive “Play, Ruby, Play.”

Grade: B

Classic Rewind: Conway Twitty – ‘Georgia Keeps Pulling On My Ring’

Classic Rewind: Conway Twitty – ‘The Games That Daddies Play’