My Kind of Country

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

Tag Archives: Dolly Parton

Single Review: Artists of Then, Now and Forever – ‘Forever Country”

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The Country Music Association has found a way of honoring their fiftieth anniversary – gather 30 of the genre’s biggest stars from the past, present and future for an unprecedented collaboration. The result is certainly buzzworthy and continues the tradition of the ‘all-star jam’ that saw its beginnings with the original 1972 recording of ‘Will The Circle Be Unbroken.’ The trend continued into the 1990s (Think “I Don’t Need Your Rocking Chair” and “One Heart At A Time”) before seemly dying off.

“Forever Country,” as the collaboration is called, blends three country standards – “Take Me Home, Country Roads,” “I Will Always Love You” and “On The Road Again” into a single song showcasing each of the artists involved with dedicated solos. The John Denver classic is the bedrock, with the others woven in.

The song succeeds because of Shane McAnally, who subtracts not distracts with his warm production values. He does a superb job of complimenting each artist with a sense of balance that allows each one to shine individually. While they also beautifully come together as a collective whole, it’s obvious that some do shine brighter than others, which is understandable in such a context.

It’s been a long time since the legacy of country music has been honored and I admire the Country Music Association for bringing their theme and mission alive in such a public way. To have all these artists in one place, on one track truly is astonishing. We’ve let history fall by the wayside in recent years as boom era veterans (the last artists to grow up on classic country music) have been pushed out in favor of younger artists who meet demographic needs but have little knowledge of or appreciation for what it took to make their careers possible. This pattern is cyclical and leaves behind those who refer to the past as ‘the good ole days’ when country music still had a soul.m_forevercountrycma

Those unworthy younger performers, of which there are too many to mention, are nowhere to be found, which begs a question – are they subtly making the claim that no one, save Brett Eldridge (who adds is voice to the mix), is truly worthy of carrying the torch for the next generation? It also saves the track from coming off as a laughing stock.

“Forever Country” could’ve exercised a bit more imagination than having Dolly being Dolly at the end, there are legends missing I would’ve liked to have seen included and it’s odd to have Jason Aldean (who was shut out of the nominations entirely) figure so prominently. But the intention and heart of the project is carried out in execution, which is why “Forever Country” shines so brightly. It’s the gimmick that succeeds in not being gimmicky at all. It’s far from the greatest recording I’ve ever heard, but it is a welcomed surprise. I’ll take it.

Grade: A

 

 

Album Review: Dolly Parton, Emmylou Harris & Linda Ronstadt – ‘The Complete Trio Collection’

81a3vfrcssl-_sx522_-2Thirty years ago, Dolly Parton, Emmylou Harris and Linda Ronstadt finally cleared their schedules and went into the studio to record the album they had talked about making for years. Released in March 1987, Trio was an immediate critical and commercial success, selling more than four million copies and winning two Grammy Awards. A follow-up album was released in 1999. The ladies reportedly would have liked to have recorded a third volume, but sadly Parkinson’s disease has rendered Ronstadt unable to sing. There was however, enough unreleased material from the first two albums to piece together a third collection. It consists of songs that were not used for the first two projects, as well as alternate takes and mixes of some of the songs that were used. These alternate takes/mixes sometimes differ radically from the previously released versions and at other times the changes are more subtle.

The Complete Trio Collection, released last week via Rhino Records is a three disc set consisting of remastered versions of the first two albums and a third disc of mostly previously unreleased material. Presumably most of our readers are familiar with Trio and Trio II, so I will focus on the third disc.

Despite the title, this is not a complete collection of the recordings Parton, Harris and Ronstadt made together. Noticeably absent is “Palms of Victory”, which was included in Emmylou’s 2007 Songbird collection and I assume that are other commissions. “Palms of Victory” was recorded in 1978 during one of the ladies’ earlier recording sessions from which no album was ever released. Two tracks from those sessions – “Mr. Sandman” and “Even Cowgirls Get The Blues” were released on Emmylou’s solo albums in the early 80s. Parton’s and Ronstadt’s vocals were removed from the single version of “Mr. Sandman”, since they were signed to different labels at the time.

Also labeled as unreleased is “Softly and Tenderly”, one of my favorite hymns. This track too was included in the Songbird collection. It concludes with a majestic vocal performance by Ronstadt and is well worth hearing again.

Dolly’s “Wildflowers” was a single released from the original album that reached #6 in the spring of 1988. It was a semi-biographical number on which she sang lead, with Emmylou and Linda providing the harmony vocals. The alternate take provided here has a completely different arrangement, with each of the ladies taking a turn singing the lead. The overall effect is more in the vein of “Palms of Victory” and the music that Emmylou made with Brian Ahern in the 70s. It’s quite different from the version we’re all familiar with but I liked it quite a lot. “Do I Ever Cross Your Mind” is another Dolly composition that she has revisited many times over her career. An Emmylou-led version appeared on Trio II, but the alternate version has Dolly singing the lead. It is also faster paced with a lot of handclaps. Quite different from the previous version but it works equally well.

“Making Plans” was one of the last hits that Dolly had enjoyed with Porter Wagoner. A three-part harmony version appeared on the first Trio collection. The newly released version features Dolly singing solo. It’s a beautiful performance and for a song about being alone, a single voice is quite effective. “My Dear Companion” is given a similar treatment — omitting Dolly’s and Linda’s harmony vocals. Although Emmylou does a lovely job singing it, I do miss hearing Dolly and Linda echoing her words on the chorus. “Lover’s Return” from Trio II appears here as a Linda solo. Other tracks such as “I’ve Had Enough” and “Farther Along” are remixed so subtly that many fans might not notice the differences at first.

The disc also includes a number of previously unreleased songs that are not alternate takes or remixes – i.e., “new” material. Some of them we’ve heard before in different versions: Dolly’s “My Blue Tears” done in three-part harmony here, Emmylou’s “Waltz Across Texas”, and “Grey Funnel Line” which was previously recorded by Emmylou with Irish singers Mary Black and Dolores Keane. Others are less familiar. Dolly does a beautiful job on Tony Arata’s “Handful of Dust”, although I still prefer Patty Loveless’ more uptempo version. “You Don’t Knock” is a wonderful uptempo Gospel number, and “Are You Tired of Me” is a Carter Family classic from 1927. Dolly’s original composition “Pleasant as May” was written and recorded during the 1986 sessions but sounds like something that could have come from the Carter Family era.

Rhino Records enjoys a well deserved reputation for the way it handles reissues of classic material, and for that reason I decided to purchase the physical CD set instead of downloading from iTunes as I usually buy music nowadays. I must say that I’m a bit disappointed in the packaging. I hate digipaks and was hoping for a more deluxe package similar to Songbird, but given the economic realities in the music industry today, the decision to go with cheaper packaging is understandable. That is really my sole complaint about the collection. It may be overkill for casual fans but for diehards like me, this collection is a real treat.

Grade: A+

Album Review: Lonestar – ‘Lonely Grill’

41mmbvjspklFor their third outing, Lonestar joined forces with a new production team consisting of Dann Huff, Sam Ramage and Bob Wright. The result was a slicker and more pop-oriented sound and the best-selling album of the band’s career with more than three million units sold in the United States alone.

The lead single was the beat-driven, lyrically light party song “Saturday Night”, with a chorus consisting of song’s title being spelled out repetitively. Such a terrible song would be a monster hit today, but in the pre-bro country era, radio wasn’t impressed and it died at #47. I had never heard it before and did not even know it had been a single.

“Saturday Night” may have underperformed, but the album’s subsequent singles all rose to #1. The best-remembered of these is “Amazed”, the band’s signature tune which was also a huge crossover hit, reaching #1 on the Hot 100 — marking the first time a country act occupied that slot since Kenny Rogers and Dolly Parton scored a #1 pop hit with “Islands in the Stream” in 1983. “Smile”, “What About Now” and “Tell Her” were the remaining singles. All of them rank among Lonestar’s best loved hits, and deservedly so. These songs solidified Lonestar’s position as one of the era’s most successful — perhaps THE most successful — country bands. The upbeat “What About Now” is a nice change of pace from the ballads. “Smile” and “Tell Her” are a little more AC-leaning than I would like, but both are decent songs.

The album cuts are a little more of a mixed bag. I enjoyed the reggae-flavored Don Henry-Benmont Tench number “Don’t Let’s Talk About Lisa” and “I’ve Gotta Find You”, written by Richie McDonald with Ron Harbin and Marty Dodson. None of the other tracks are particularly memorable, with the exception of the closing number which is an acoustic remake of Lonestar’s earlier hit “Everything’s Changed”, which proves that a gifted vocalist and a good song can shine without the aid of glossy production.

Lonely Grill is a must-have for diehard Lonestar fans, but more casual listeners will probably be just as happy with their Greatest Hits package.

Grade: B

Classic Rewind: Porter Wagoner and Dolly Parton – ‘The Pain Of Loving You’

Album Review: Porter Wagoner & Dolly Parton – ‘Porter & Dolly’

220px-PorterdollyalbumFive years after the release of Say Forever You’ll Be Mine, one final collaboration album surfaced from the pair. Porter and Dolly wasn’t a new studio album, although it was comprised of unreleased tracks from their heyday as a duo. The album came about after Wagoner won a court settlement stemming from his split from Parton, eleven years earlier.

At the time of this release, in June 1980, the pair weren’t speaking, so the two singles went without proper promotion. Unusual as it may have been, it didn’t make a difference. Lead single “Making Plans,” a simple piano drenched ballad written by Johnny Russell and Voni Morrison, shot to #2. “If You Go, I’ll Follow You,” written by the pair, hit #12.

The remainder of the ten-song album gave Parton four solo compositions. “Hide Me Away” and “Beneath The Sweet Magnolia Tree” feature production values opposite to their themes – the former, a love song, is creepy while the latter is much to jovial (although I enjoy the sunny banjo). “If You Say I Can” is a bit slicker and right on the money.

Parton’s final number, “Little David’s Harp” is another of her dead children songs, this time about a couple’s blind-from-birth son who played a magical golden harp. He would mysteriously die on Christmas Day, before reaching adolescence:

And then there was a storm on Christmas morning

And the snow brought such a chill little David, 7 now lays quiet

And still his hands reach out to touch his harp gently rested

The angels came for him that night and on the 7th year he rested

***

Little David’s playing now in God’s angel band

He’s gone home to Heaven now the way that it was planned

But on his birthday every year which falls on Christmas day

All through the house we hear the harp that little David played

Without much understanding of this era, I have to admit I don’t fully understand Parton’s affinity for writing these types of songs. She handles them delicately, and technically Wagoner does sing the dire verses, but I don’t quite get the appeal. The story of “Little David’s Harp” is good but it’s still as creepy as “Jeannie’s Afraid of the Dark” and “The Party,” among others.

Wagoner only wrote two other songs. “There’s Singing On The Mountain” is a fabulous ditty about mountain heritage and close knit family. “Touching Memories,” with Nashville Sound era piano, is more of a standard and features a co-writing credit for Tom Pick.

The legendary Jerry Chesnut wrote “Daddy Did His Best,” a wonderful tribute to a hardworking father featuring a beautiful vocal from Parton. The final cut, “Someone Just Like You,” is an unremarkable ballad composed by Joe Hudgins.

Porter and Dolly marks the final recordings released by the duo, in Wagoner’s lifetime. In revisiting his astonishing final solo effort Wagonmaster, I can’t believe Marty Stuart didn’t succeed in getting one final duet between the pair on the album. She was at his bedside when he passed, so a final collaboration wouldn’t have been out of the realm of possibility.

But this album, which credits Wagoner as producer, is the last of their legacy. The album is notable for featuring 1980s overdubs on the recordings and Parton did reprise “Making Plans” seven years later on Trio.

Like the rest of the pair’s discography, this album can be found scattered about on Bear Family’s Just Between You and Me. Those particular recordings are the original versions and thus are scrubbed of the aforementioned overdubs. The album itself isn’t terribly remarkable although given its origins (even the album cover is a composite of two images spliced together) it feels in sync and not mailed in. For a compilation of recordings, that’s a noteworthy feat in and of itself.

Grade: B

Classic Rewind: Porter Wagoner and Dolly Parton – ‘Always, Always’

Album Review: Dolly Parton – ‘Pure & Simple’

61UuqSUlcHL._SS500Dolly Parton’s career has run the gamut from moments of artistic near-perfection and long periods of crass commercialism. One of the undisputed high points of her career began in 1999 when she released the first of her acclaimed trilogy of bluegrass albums. Since then she has had moments in which she lapsed back into crossover territory, though never to the extent of her late 1970s and early 1980s output. The title of her latest effort Pure & Simple suggests a collection more in the vein of those bluegrass/acoustic albums, but she is actually attempting a delicate balancing act between tradition and more modern fare — while always remaining fully aware that she is targeting a more mature audience. And for the most part, it works.

Pure & Simple finds Dolly back on her old label RCA in partnership with her own Dolly Records. The album’s ten songs, some old and some new, were all written and produced by Dolly with Tom Rutledge and her brother-in-law Richard Dennison acting as co-producers. Though not an entirely acoustic album, the production is kept tasteful and simple — in keeping with the album’s title. Her voice still sounds lovely, but it should be noted that the none of the songs are particularly vocally challenging. She seems aware of the toll that age imposes on everyone’s vocal ability and has wisely chosen songs and arrangements that don’t push her voice past its limits.

The title track is as good as anything Dolly has ever written. She and her husband Carl Dean recently celebrated their 50th anniversary and “Pure and Simple” seems to be her away of acknowledging the milestone. It’s the album’s best song. The other new compositions are mostly more middle-of-the-road. “Forever young” is a recurring theme. It works particularly well on “I’m Sixteen”, in which the chronologically much older Dolly feels like a teenager again in the presence of her partner. The theme doesn’t work quite as well on “Head Over High Heels” which is along with “Never Not Love You” is one of the album’s weaker moments.

Although I found something to enjoy on every song — even a couple of the weaker ones — it must be noted that Dolly isn’t exactly breaking any new ground here. Two of the songs — “Say Forever You’ll Be Mine” and “Tomorrow Is Forever” are remakes of songs she originally recorded with Porter Wagoner, while “Can’t Be That Wrong” is a slightly retooled version of 1984’s “God Won’t Get You”, which borrowed its melody from “A Cowboy’s Ways”, an album cut from 1983’s Burlap and Satin. All of them are beautifully done, forever, so it’s easy to forgive Dolly’s propensity to recycle older material. “God Won’t Get You” was from Dolly’s 1984 film Rhinestone, and and told the tale of a cheater’s lament and regret. The newer version finds her taking a more unrepentant stance — replacing the lyrics “if you think that God won’t get you, well, you’re wrong” with “Can’t find it in my heart to ask forgiveness; anything that feels this right can’t be that wrong.” Though it fundamentally alters the meaning of the song, it works as well as its original incarnation. The former Porter duets are also both particularly well done.

In addition to the remakes, the album’s newer songs sometimes sound like some of the oldies but goodies in Dolly’s vast catalog. “I’m Sixteen” has the same vibe as “Do I Ever Cross Your Mind”, “Forever Love” with its’ cello-led string quartet sounds like “What Is It My Love from 1989’s White Limozeen, and some of other new tracks are reminiscent of some of the tracks from 2008’s Backwoods Barbie. Dolly may be retreading a well-worn path with many of these songs, but it is one filled with fond memories and one that I’m always happy to revisit.

Grade: A-

Album Review: Porter Wagoner and Dolly Parton – ‘Say Forever You’ll Be Mine’

say forever you'll be mineThe duo’s 12th album, and the last before Dolly and Porter parted ways, was released in 1975.

The title track, the sole single, reached #5 on the Billboard country chart. It is one of the pair’s finest recordings vocally, a beautiful love song (one of four written by Dolly) with a faintly melancholy air to the vocals. A choir backing is perhaps a little too saccharine, but the duo’s harmonies are among their very best collaborations.

Even better is another Dolly-penned tune, ‘Something To Reach For’. This is a classic cheating song about desperation and loneliness, and being with the wrong person as a poor substitute. A great song, with an outstanding vocal from Dolly, although Porter’s solo verse isn’t quite as good. ‘I Have No Right To Care’ is an emotional statement of forbidden love, and another excellent song.

The delicate ‘The Beginning’ traces a relationship from the overwhelming delight of first falling in love, through the challenges of time and poverty, leading to “anger and regret”. The joy of parenthood then brings them back together and revives their love.

Porter wrote ‘Again’, which is quite good, about an on-off relationship. The brisk mid-tempo ‘How Can I (Help You To Forgive Me)’ is a Wagoner co-write with Tom Pick, and quite pleasant if very short (under two minutes).

Porter and Dolly co-wrote the philosophical ‘Life Rides The Train’ set to rail rhythms and a harmonica-train whistle. Dolly’s brother Randy contributed the pleasant ‘If You Were Mine’.

Frank Dycus and Al Gore co-wrote the two remaining songs. ‘Our Love’ is an earnest love song with a stately fiddle intro. ‘Love To See Us Through’ has more substance; this is a cheerful song about a couple struggling through hard times.

This is a strong album, but it is notable that the best songs are the ones Dolly wrote, and her vocals clearly outshine Porter’s. One can see why she was feeling restless as the “junior” partner in the duo, and wanted to take the spotlight solo.

Grade: A

Classic Rewind: Dolly Parton – ‘Golden Streets Of Glory’

Classic Rewind: Porter Wagoner and Dolly Parton – ‘Jeannie’s Afraid Of The Dark’

Classic Rewind: Porter Wagoner and Dolly Parton – ‘If Teardrops Were Pennies’

Album Review: Porter Wagoner & Dolly Parton – ‘ Porter ‘n’ Dolly’

1708613Porter and Dolly’s eleventh collection of duets is predominately comprised of songs they wrote themselves — unlike many of their earlier efforts which relied to one extent or another on cover versions of other artists’ hits. One or the other or both are listed as the composers, with only one track “Sixteen Years” — a Wagoner co-write with Tom Pick — relying on any outside songwriters. As usual, Bob Ferguson is the credited producer.

The album is capped by two Wagoner-Parton compositions. The opening track and sole single “Please Don’t Stop Loving Me” was their only duet to reach the #1 spot in Billboard. The very pretty closing track “Sounds of Nature” has a stripped-down folk feel to it.

Porter’s solo composition “The Power of Love” is the album’s weakest track, but he redeems himself nicely on “Sixteen Years” (a collaboration with Tom Pick as noted earlier), which finds a couple about to go their separate ways after a sixteen-year marriage.

The remainder of album’s songs were written by Dolly and all of them are enjoyable. They are, for the most part, positive and upbeat — no heart-wrenching ballads about dying children or beyond-help alcoholics. Even the album’s saddest songs “Without You” and “Two” are rather subdued and devoid of any attempts at emotional manipulation. The pair seems to be largely ab-libbing — and having a great time doing so — on the light-hearted and upbeat “We’d Have To Be Crazy”. Dolly would revisit “The Fire That Keeps You Warm” two years later for her solo project All I Can Be and “Together You and I” would be recorded again for her 2011 album Better Day.

Like all of the prior Wagoner-Parton albums, Porter ‘n’Dolly is strictly a traditional affair that relies heavily on their wonderful harmonies and some excellent steel guitar work. It is not currently commercially available, but all of its tracks can be found on the Bear Family box set Just Between You and Me.

Grade: A

Classic Rewind: Porter Wagoner and Dolly Parton – ‘We Found It’

Album Review: Porter Wagoner and Dolly Parton – ‘Love And Music’

love and musicLove And Music was the tenth duet album by Porter Wagoner & Dolly Parton. Released in July 1973, only one single was released from the album, a cover of a Carl Smith oldie from 1951, “If Teardrops Were Pennies”, a song which Carl took to #8, but Porter and Dolly took to #3. As always, Bob Ferguson is listed as the producer.

The album opens up with “If Teardrops Were Pennies”. I don’t happen to own a vinyl copy of this album, but I’ve seen it and if I recall correctly Carl Butler, who wrote this song, also wrote the liner notes to this album. The song is a mid-tempo romp that Porter & Dolly do very well indeed, although I also like Carl Smith’s version of the song and the recordings that Carl & Pearl Butler made of the song.

If teardrops were pennies and heartaches were gold
I’d have all the treasures my pockets would hold
I’d be oh so wealthy with treasures untold
If teardrops were pennies and heartaches were gold

An acre of diamonds I’d offer to you
A solid gold mansion, an airplane or two
This whole world would be yours to have and to hold
If teardrops were pennies and heartaches were gold

Next up is the first of four Porter Wagoner tunes on the album “Sounds of Night” a gentle ballad with a nice fiddle intro by Mack Magaha. The song describes the lonely sounds of night (whippoorwills, church bells) and how they translate to human emotions

I don’t know much about Howard Tuck, other than what I found in his obituary (http://www.mywebtimes.com/obituaries/howard-red-tuck/article_e67fea9d-9ee8-5b24-8d2c-e7e5cf4e0300.html ) but his song “Laugh The Years Away” is a good song that would have made a good single. The song is a humorous look at married life, happy even if not blessed with material wealth.

A corporation owns the factory I work in
Someone else owns the house we call our home
The bank owns the car we drive around
And we’ve got something we can call our own

We’ve got love happiness surrounds us
And we thank the Lord for every single day
And with love we’ll always have each other
And together we can laugh the years away

Next up is the first of four Dolly Parton tunes on this album “You”, a rather bland ballad of domestic bliss.

Porter’s “Wasting Love” also would have made a good single, an up-tempo song about a couple growing apart. While the lyrics are good, the strength of the song is the melody.

“Come To Me” is a slow, serious ballad, that essentially finds Porter and Dolly trading verses. The song is inspirational without being religious. The song had no potential as a single, but it is a nice song.

Porter co-wrote “Love Is Out Tonight” with Tom Pick. The song is a slow ballad with very vivid imagery.

As blue skies and daylight darken into night
Surrounding us with beauty as the stars make their light
They spell out our names all the stars up above
As they flicker and shine like letters of love

Then a warm breath of air whispers through the trees
As the leaves on their branches have blown to the breeze
Ripples of water seemed to echo the sound
Love’s out tonight there’s love all around

Small drops of dew act as nature’s perfume
Placing its fragrance on all that’s in blue
While I hold you so close your lips touching mine
With nature all around us watching our love entwine

Porter Wagoner penned “In The Presence of You”. The song features a nice piano intro to a slow ballad of a people who cannot find the right words to say to each other, although they love each other deeply.

In the presence of you I wonder
Why I can’t say the things that I want to
All the pretty words that I planned to say when I’m with you
I lose them in the presence of you

Your nearness makes my voice tremble
There’s a weakness that I feel through and through
Searching for words to describe how I love you
Don’t come easy in the presence of you

Dolly penned “I Get Lonesome By Myself”, another of Dolly’s lonesome little girl songs. In this song the narrator stumbles across the daughter he abandoned a few years back. Dolly’s part is spoken in a somewhat creepy effort at a six year old girl’s voice.

The album closes with the forth Dolly Parton composition “There Will Always Be Music”, a nice capstone to the album.

As the farmer works the fields he sings a song
The songbirds in the trees sing along
And the wind makes melodies as it whistles through the trees
Man’s burdens are made lighter with a song

There’ll always be music as long as there’s a story to be told
There’ll always be music cause music is the voice of the song
There’ll always be music

Dolly Parton has a well deserved reputation as a songwriter, but Porter was no slouch either, although neither Porter nor Dolly would rank up there with Cindy Walker, Dallas Frazier, Harlan Howard or Hank Cochran. On this album at least, Porter’s songs are stronger than Dolly’s.

This is a pretty decent album, although not necessarily one of their better albums. As Jonathan Pappalardo noted in his excellent review of The Right Combination/Burning The Midnight Oil, “[w]hile none of these songs have truly amounted to anything, they combine to make a fine collection on their own”.

My feelings exactly – B+

Classic Rewind: Porter Wagoner and Dolly Parton – ‘Together Always’

Album Review: Porter Wagoner and Dolly Parton – ‘We Found It’

R-3955797-1350489082-3655.jpegWe Found It, the ninth duets album by Porter Wagoner hit store shelves in February 1973. The record, produced once again by Bob Ferguson for RCA Nashville, builds on Together Always by only featuring songs written by the duo. The project was one of their lower charting albums, peaking at #20.

Wagoner solely wrote six cuts on We Found It with varying degrees of quality. The title track, second-rate joyful fluff, was the project’s only single. “Love City” is inane, “I Am Always Waiting” is mediocre and “That’s When Love Will Mean The Most” comes closet to maintaining their classic qualities. “How Close They Must Be” is also good in comparison, with Parton turning in a strong vocal.

The final cut he wrote alone is “Satan’s River,” a waltz-y ballad in which Parton runs circles around him vocally. Wagoner gave the song a second life when he recorded it for the excellent Marty Stuart produced Wagonmaster, his final record, which saw release just four months before his death in October 2007. The lyric, unfortunately, isn’t among his finest work.

Parton had her hand in the album’s remaining songs. “Between Us” is a wonderful ballad about the promise of open discourse in rekindled love. “Love Have Mercy On Us” isn’t as strong, despite the drenching of steel guitar.

Parton’s final solely written track is the madding and mysterious “Sweet Rachel Ann.” Lyrically the song is a puzzle – Why did she go away? Where did she go? Why didn’t her parents ever visit her? When she returned, why was she so abused by the great big world? Parton, especially during this period, loved to throw songs on us that make little to no sense. Now, I’m sure there exists an origin story for this song somewhere, likely within Parton herself. But without necessary context, this song lacks purpose.

“I’ve Been Married (Just As Long As You Have)” is the only number the pair wrote together. The two verses are fabulous and I love the sing-song-y beat. But when the pair starts conversing back and fourth the recording becomes heavy-handed and forces the lyric’s thematic elements on us unnecessarily. If left a bit more barebones, this would’ve been an album highlight.

We Found It is a perfect example of cracks forming in Wagoner and Parton’s façade. This later recording is indeed a later recording – it’s just not up to the level of their classic work. The majority of these songs are either fluff or beneath them. There’s just nothing essential here to latch onto lyrically. Parton, meanwhile, is a vocal revelation and proves she’s quickly emerging as the main draw. I can see exactly why she went solo – Parton is showing how much she just doesn’t need him anymore. That’s about the only thing positive to come out of this mess of an album.

Grade: C

Classic Rewind: Dolly Parton – ‘Sacred Memories’

Classic Rewind: Porter Wagoner and Dolly Parton – ‘Her And The Car And The Mobile Home’

Album Review: Porter Wagoner and Dolly Parton – ‘Together Always’

together alwaysThe duo’s eighth album, released in 1972, featured only songs written by one or the other of them. Dolly’s talent was by now outshining Porter’s at least vocally, and although she wrote only four of the songs here to Porter’s six, both of the singles were her songs. Dolly’s voice sparkles throughout, and Porter sounds mediocre in comparison on his solo sections.

‘Lost Forever In Your Kiss’ is a romantic song about falling in love which was a top 10 hit. It is very pretty, although Dolly’s vocal works better than Porter’s. The perky mid-tempo piano-led title track is about a more mature but solidly happy relationship, is not as memorable, and was less successful, although it reached #14.

‘Poor Folks’ Town’, which Dolly revised and recorded in a slightly different version a few years later, is a cheerful song with bouncy fiddle accompaniment about being happy despite lacking material things:

We got no money but we’re rich in love
That’s one thing that we got a plenty of
So come on down have a look around
At rich folks living in a poor folks town
We got no carpets on the floor
We got wall to wall love
Who could ask for more?

‘Christina’ is an adoring lullaby to a couple’s new baby; it is so personal and realistic I wonder if Dolly, herself childless, wrote this for a friend’s child?

Two of Porter’s songs are classic cheating songs. The excellent ‘Looking Down’ has an unrepentant pair of cheaters defending themselves against the criticism of others:

They say the love we steal is a disgrace
That we should be ashamed to look the world in the face
But they don’t know how much love we must hide
While the world looks down upon our pride
Seems there’s always someone looking down – down – down
Not knowing the inner feelings of the ones they’re puttin’ down
The love we feel’s as true as a baby’s cryin’ sound
Still there’s always someone looking down
We still honor the vows we made long ago
But when there’s no love at home it hurts us so
And then your heart begins to look around

In ‘You And Me, Her And Him’ the couple plan on talking it all out with their other halves:

You and me, and her and him, must get together
And see if maybe we can find a way
To put an end to hurting one another
Cause he don’t know
And she don’t know
How much we hurt each day
It’s not fair, and you and I both know it
To have to hide and love the way we do
The time is now that we must get together
Her and him
Me and you
She and I had lost it long before I met you
We tried and tried but all the love had gone
And I guess respect is all that’s kept me with him
Cause there hasn’t been no love there in so long

‘Love’s All Over’ is also about a once-illicit affair which is now all too obvious to everyone. ‘Take Away’ is a more conventional love song.

‘Ten Four – Over And Out’ is a novelty inspired by the CB radio craze of the 1970s. In fact Porter Wagoner was ahead of the game, as it didn’t become a country music trend until a few years later, after a national reduction in speed limits made the radios’ messaging system popular. In this song Dolly and Porter are a sparring married couple communicating to comic effect by the radios, which means the song is still entertaining today even if its context has dated.

Finally, ‘Anyplace You Want To Go’ is about the power of daydreams in a workaday life.

This album showcases the duo at their best. The tracks are split between the third and fourth discs of the wonderful Bear Family box set.

Grade: A

Classic Rewind: Porter Wagoner and Dolly Parton – ‘The Right Combination’