My Kind of Country

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

Tag Archives: Dave Lindsey

Album Review: Donna Ulisse – ‘Trouble At The Door’

There was a lot of great music in 1991, and the debut album by Virginia-born Donna Ulisse fell through the cracks. Produced by Ray Baker, Josh Leo and Larry Michael Lee and released on Atlantic Records, which was dipping its toes into country music, it showcased Donna’s beautiful alto voice.

Lead single ‘Things Are Mostly Fine’ is an understated mournful ballad about not getting over an ex, which Donna sings beautifully. It is one of four songs written by John Adrian, whose other writing credits appear to be for Billy ‘Crash’ Craddock. Sadly it peaked in the 70s on the country charts. Also gorgeous is his tender steel-laced ‘Fall Apart With You’, about seeking consolation in a one night stand with some guy who a looks a little like her true love. The gentle waltz ‘My Broken Hearts Breaking All Over Again’ has lovely fiddle and an exquisite vocal. ‘Legend In My Heart’ is another ballad, a tender tribute to a real life hero who is better than fictional characters, with a beautiful melody.

The bright fiddle-led up-tempo ‘When Was The Last Time’ did a little better as the second single, with its #66 peak making it Donna’s most successful stab at radio. The Buck Moore/Frank D Myers song urges the protagonist’s husband to keep their love life fresh despite struggling through hard times. It is a really nice song which deserved to be a hit.

The title track failed to chart. Written by husband and wife team Kerry and Lynn Gillespie Chater, it is an emotionally intense but subtly sung story about a wife who answers the door to her husband’s secret lover:

She says she knows you
And she’s got the right address
She’s talkin’ crazy
So I didn’t catch the rest
She wouldn’t tell me
Just what her name is
There’s one thing for sure
Boy, you’ve got trouble at the door

I tried to tell her
That you’ve been out of town
She seems to know that
But she still won’t calm down
I even mentioned that it was business
She tells me it was more
Boy, you’ve got trouble at the door

Tell me she’s crazy
Tell me she’s wrong
Say that she’s mistaken
Say that you were strong
Tell me she’s lyin’
Then tell me one thing more
Tell me that’s not trouble at the door

This is a great song which should have been a career making record.

Bob McDill and Jim Weatherly contributed ‘Fire In An Old Flame’s Eyes’, a fine ballad about yearning for an ex, with regret for the path not taken replaced by a rekindling of that early passion. ‘Guess Who’s Back In Town’, written by Ernie Rowell and Dave Lindsey, is an up-tempo tune bewailing an on-and-off relationship. ‘Out Of Sight, Out Of Mind’ is a determinedly positive song about moving on after a breakup.

‘You Always Take Her Memory Out On Me’, written by R C Bannon, is another excellent emotional ballad, about dealing with the overpowering shadow of her partner’s ex:

I’m not the one who lied to you
Made you fall apart
I didn’t find someone else
And leave you in the dark
I’ve tried my best to heal the wounds and ease your misery
Then you turn around and take her memory out on me

How long before you let go of who let go of you?
How can you be blind to all her faults,
Then find fault in everything I do?

This album should have made Donna a star. Perhaps being on Atlantic was the problem, and a label with greater influence would have helped. Donna retired into obscurity, only emerging years later as a bluegrass singer-songwriter. I like her current work, but this is still my favorite of her albums. It does not appear to be available on iTunes, but used copies of the CD can be found cheaply. It is highly recommended.

Grade: A+

Album Review: Charley Pride – ‘Music In My Heart’

Music In My Heart is Charley’s first new album since Choices, which was issued in 2011. Charley is now 79 years old; however, his voice seems to have hardly aged at all. I suspect that he may have lost a little off the top of his range but the quality of what remains is outstanding.

Noted songwriter Billy Yates served as the producer of this album, as well as providing several of the songs and singing background on a few of the songs. Yates provides Charley with an updated version of the Nashville Sound minus the strings and soulless vocal choruses. Such stalwarts as Mike Johnson, Robby Turner and Scotty Sanders handle the steel guitar, while Stuart Duncan handles fiddle and mandolin.

The album opens up with the Tommy Collins classic “New Patches” that served up the last top ten single for Mel Tillis back in 1984.

Now and then an old friend tries to help me
By telling me there’s someone I should meet
But I don’t have the heart to start all over
‘Cause my heart is laying at another’s feet

[Chorus:]
You just don’t put new patches on old garments
I don’t want no one else on my mind
I just don’t need nobody new to cling to
I still love someone I’ve known a long long time

“Country” Johnny Mathis (1930-2011), so named so as to not be mistaken for the pop singer of the same name, is nearly forgotten today, but he was a fine songwriter and “Make Me One More Memory” is a fine mid-tempo song, handled with aplomb by Pride.

Take my heart, my soul, my heaven
Take my world away from me
All I ask is one last favor
Make me one more memory

Ben Peters provided Charley with many big hits so it is natural for Pride to raid the Ben Peters songbag for material. Co-written with son Justin Peters, “Natural Feeling For You” is the kind of ballad that could have been a hit during the 1970s or 1980s.

“All By My Lonesome” reminds me of the 1992 Radney Foster song “Just Call Me Lonesome”, although this song comes from Billy Yates and Terry Clayton. This is a mid-tempo ballad with a solid vocal by Pride.

All by my lonesome
Heart broke and then some
Watchin’ ol’ re-runs
On my TV

Drinkin’ and cryin’
So close to dyin’
I’m next to no one
All by my lonesome

Thanks for sendin’ someone by to see if I’m alright
I appreciate your concern tonight
But I don’t need no company
To offer up their sympathy
If it ain’t you then I would rather be

All by my lonesome
Heart broke and then some
Watchin’ ol’ re-runs
On my TV

“It Wasn’t That Funny” was written by Yates and Dobby Lowery. The song is a lovely ballad about an almost breakup, that a couple experienced and can laugh about now, but brought moments of anguish along the way.

Lee Bach penned “The Same Eyes That Always Drove Crazy”, a mid-tempo ballad of a chance meeting after years of separation. This song would have made a good single at any point before about 2005. The song features some really nice steel guitar by Mike Johnson and piano by Steve Nathan.

Billy Yates and Billy Lawson chipped in the introspective ballad “I Learned A Lot”, in which the narrator relives the lessons he’s learned from losing his previous love. The song first appeared on Billy’s album Only One George Jones.

“You’re Still In These Crazy Arms of Mine” was written by Lee Bach, Larry Mercey and Dave Lindsey. The title references what was on the jukebox the first time the narrator met his love. The song has a nice Texas shuffle arrangement (the song references the Ray Price classic “Crazy Arms” and mentions taking out Ray’s old records). Again, this is another song that would have made a good single in bygone years.

“The Way It Was in ‘51” was written by Merle Haggard and was the title track for one of the Hag’s great albums and was the B-side of Hag’s “The Roots of My Raising”.

Sixty-Six was still a narrow two-lane highway
Harry Truman was the man who ran the show
The bad Korean War was just beginning
And I was just three years too young to go

Country music hadn’t gone to New York City yet
And a service man was proud of what he’d done
Hank and Lefty crowded every jukebox
That’s the way it was in fifty one

“Lee Bach” wrote “I Just Can’t Stop Missing You”, a nice ballad that makes for a good album track but wouldn’t ever have been considered for a single. This song apparently has keyboards mimicking the sound of strings giving it more of a Nashville Sound production than the other tracks on the album.

“Whispering Bill” Anderson wrote “You Lied To Me” a song that I don’t think he ever recorded, but Tracy Byrd recorded it on his 1995 album Love Lessons. Charley does a bang up job with the song

You looked at me as only you can look at me
You touched my cheek and told me not to cry
But you said you’d found somebody you loved more than me
And you told me I’d forget you by and by

But you lied to me, yes you lied to me
You said time would close the wound that bled inside of me
But every breath I take brings back your memory
You said I’d forget you, but you lied to me

“Standing In My Way” comes from Billy Yates and Jim McCormick, an interesting ballad of self-recriminations.

The album closes with a spritely up-tempo number from “Country” Johnny Mathis, “Music In My Heart”.

I really liked this album. In fact I would regard this as Charley’s best album in over twenty years. I like the song selections, I like the arrangements and I like Charley’s vocals. Radio won’t play these songs but they should – it’s their loss! Maybe Willie’s Roadhouse will play it – after all octogenarian Willie believes in giving the youngsters a chance. This album doesn’t have a dud among its tracks – solid A.

Album Review: Ron Williams – ‘The Longer You’re Gone’

The Longer You're GoneRon Williams, son of the often underrated Leona Williams and one-time stepson of Merle Haggard, has a nice voice with a warm tone and soft timbre which is very pleasing. His third album, produced by Eddie Kilroy, on Ah-Ha Music Group, is solidly country, with some lovely fiddle from Rob Hajacos, and 80s star Janie Fricke guests on backing vocals. Williams is not a writer, unlike his mother, but he and his producer have found some excellent songs for this record.

Bill Anderson contributed three very good songs to the set, starting with the outstanding title track co-written with Jim Collins, a soulful ballad about the increasing regrets about a broken relationship after the event, as the protagonist starts to remember the good things he misses rather than the fights and bad times, concluding,
“It’s a funny thing about a memory
The longer you’re gone
The better our love used to be”

Just as good is the ironic reproach to a former love now dating another guy, written by Bill with Don Cook, ‘You Should Have More Respect For The Dead’:

“Can’t you see you’re killing me
Your happiness is messing up my head
I’ve died a thousand times since I threw away your love
You should have more respect for the dead”

Anderson and Cook joined up with Matt Jenkins to write ‘The F Words’ about a man whose cheating ex wants him back, but,

“I can’t say the F words
Forgive and forget”

Another highlight is the cover of ‘Where The Tall Grass Grows’, recorded previously by George Jones on his 1991 album And Along Came Jones, and also covered by Ricky Van Shelton on 1994’s Love And Honor. While Ron is not in quite the same league as Jones (few are), he tackles the fine song with an honest emotion, as he depicts a house that is no longer a home, with haunting steel and lonesome fiddle.

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