My Kind of Country

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

Tag Archives: David Sanger

Album Review: Asleep at the Wheel – ‘Keepin’ Me Up Nights’

0001597610Released in 1990 as their only studio album for Arista Records, Keepin’ Me Up Nights will do just that as it is a interesting effort throughout.

Asleep At The Wheel (“AATW”) can often feature an astounding number of musicians on stage but this album finds the band being comprised of Ray Benson on lead vocals and guitar; Larry Franklin on fiddle, guitar, and harmony vocals; Tim Alexander on piano, accordion and harmony vocals; John Ely on pedal and lap steel; Michael Francis on saxophone, Joe Mitchell on acoustic and electric bass; and David Sanger on drums. The band is augmented by Greg Jennings playing guitars and six string bass.

The album opens with “Keepin’ Me Up Nights”, a bluesy/jazzy number written by James Dean Hicks and Byron Hill.  In the albums notes Benson says the intent was to do a ‘Ray Charles sings western swing’ arrangement. I would say there were successful.

“Boot Scootin’ Boogie” was written by Ronnie Dunn and would prove to be a major hit for Brooks & Dunn two years later. Since I heard AATW’s version jazzy version first, I found myself surprised at the Brooks & Dunn arrangement and frankly I think AATW did it better, albeit quite differently and definitely not suitable for line dancing.

“Dance With Who Brung You” is a Ray Benson original inspired by a phrase used by former Texas football coach Darrell Royal. This song is done as a mid-tempo ballad.

You got to dance with who brung you, swing with who swung you,
Don’t be a fickle fool,You came here with a gal, who’s always been your pal
Don’t leave her for the first unattached girl, it just ain’t cool
You got to dance with who brung you, swing with who swung you,
Life ain’t no forty-yard dash, be in it for the long run,
’cause in the long run you’ll have more fun, if you dance with who brung You to the bash

Ray collaborated with co-producer Tim Dubois on “Quittin’ Time”, a boogie with real nice sax solos by Michael Francis.

Lisa Silver (who played fiddle on AATW’s second album), Judy Rodman and Carol Chase join the band to provide background vocals on Bobby Braddock’s lovely “Eyes”, an exquisite slow ballad.

Troy Seals and John Schneider wrote “Goin’ Home” is a ballad about the joys of going home after being away too long. This song has a rhythmic arrangement suitable for line dancing.

Well I’ve got a lot of friends on the West Coast,
Got a lot of memories
Well I want you to know that I won’t forget
Everything you’ve done for me
But it’s been too long, just too long
T-T-T-T-T-Too long, I’m a-goin’ home
New York, Detroit, Chicago
You were really somethin’ else
You treated me just like kinfolk y’all,
And I swear I can’t help myself
But it’s been too long, way too long
T-T-T-T-T-Too long, I’m a-goin’ home

I’m gonna write a letter,
I’m gonna send a telegram
Gonna tell everybody this wanderin’ boy is packing his bags right now
And I’m’a goin’ home

“That’s The Way Love Is” was written by former (and founding) AATW member Leroy Preston in 1989. The song, a mid-tempo ballad with a strong Cajun feel to the arrangement (fiddle and accordion), tells of the ups and downs of life. John Wesley Ryles, briefly a star in his own right, chips in background vocals

“Gone But Not Forgotten” was penned by Fred Knobloch and Scott Miller is an up-tempo western swing song about where money goes. We’ve all lived this story …

The great Harlan Howard wrote “You Don’t Have To Go To Memphis”. The premise of the song is that you don’t have to go to Memphis to get the blues, just fall for the wrong woman. The song features nice piano and fiddle solos

You don’t have to go to Memphis to get the Blues
You just fall in love with the kind of women I do
Well, I’ve had me a dozen but I never had me one that
Did not fall through
You don’t have to go to Memphis to get the Blues
There she goes, here I stand
Watching good love slip away
Once again, I’m all alone
Love has come and gone

“Beat Me Daddy (Eight To The Bar)” is a classic boogie from 1940, originally recorded by Will Bradley’s Orchestra (with Ray McKinley on lead vocals). The song was a huge hit for Bradley and has been recorded many times since Bradley’s recording including Commander Cody, Ella Fitzgerald and The Andrews Sisters. The song was completely written by Don Raye although some other names also show up on the writer’s credits

In a little honky-tonky village in Texas
There’s a guy who plays the best piano by far
He can play piano any way that you like it
But the way he likes to play is eight to the bar
When he plays, it’s a ball
He’s the daddy of them all
The people gather around when he gets on the stand
Then when he plays, he gets a hand
The rhythm he beats puts the cats in a trance
Nobody there bothers to dance
But when he plays with the bass and guitar
They holler out, “Beat me Daddy, eight to the bar”

“Texas Fiddle Man” was written by fiddler Larry Franklin and he takes the lead vocals on this song, which features some extended fiddle solos. The folks at Alabama (the band) contributed the idea for the closing riffs.

The album concludes with “Pedernales Stroll” a gentle instrumental tribute to finger pickers such as Chet Atkins, Merle Travis. The song is the only instrumental on the album and as such, the perfect ending to an exciting album

Grade: A+

Album Review: Suzy Bogguss – ‘Swing’

swingAlthough there was a swing revival that lasted for a few years (roughly 1998-2003), swing as a musical genre had its heyday during the period from 1935-1946, the period in which swing was America’s popular music. The economics of trying to keep a large band on the road after World War II led to the great swing bands breaking up and the music scene becoming the domain of smaller musical groups and solo singing stars.

Suzy Bogguss falls into that small group of country artists who comfortably perform in a wide variety of musical genres. Western, folk, country, pop and jazz all are areas which Ms. Bogguss has conquered.

The title of the album, Swing, suggests an album full of classic swing-era music from the Benny Goodman, Duke Ellington, Count Basie era. I would love for Suzy to record such an album, but this one isn’t it, although she does reach into the past for some classic swing numbers.

Swing could be described as Suzy’s tribute to modern day swing/jazz, with five of the twelve songs on the album coming from the pen of April Barrows.  Ms. Barrows, an excellent singer in her own right, composes and sings songs with the feel of swing, but with more modern and introspective lyrics than customarily found in the swing of the big band era.

In order to achieve an authentic feel for this album, Suzy engaged country music’s leading purveyor of swing, Ray Benson and members of Asleep at the Wheel.  Ray Benson plays guitar, Floyd Domino is on piano, David Sanger beats and brushes the drums and Jason Roberts plays fiddle.   Suzy and Ray produced the album.

Swing opens up with the Nat King Cole-Irving Mills composition “Straighten Up and Fly Right”, a major hit for the Nat King Cole Trio during the middle 1940s reaching #1 on the Harlem Hit Parade and spending six weeks at #1 on Billboard’s country chart . The song was based on a folk tale that Cole’s minister father had used as a theme for one of his sermons. In the song, a buzzard who had been taking different animals for joy rides would bounce them off and eat them after they were smashed on the rocks below. The monkey who is riding the buzzard in this humorous song is much too smart to fall for this trick, hanging onto the buzzard’s neck, with the admonition to “straighten up and fly right”.  There are people who swear that Nat King Cole was the best male vocalist ever in any genre of popular music (they may be right). Suzy handles the song effectively, although perhaps not with the quite the humor permeating her vocal that Cole had in his version.

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