My Kind of Country

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

Tag Archives: Eddy Arnold

Album Review: Don Williams – ‘Volume Two’

1974’s Volume Two was the aptly-titled follow-up to Don Williams’ solo debut album on the independent JMI label. Though it doesn’t it contain any of his best remembered songs, it does feature his first Top 10 hit. The track listing is stellar; consisting primarily of songs written by Bob McDill, Allen Reynolds, and Williams himself.

Produced by Allen Reynolds, the album consists of sparsely produced, laid-back songs that are a fry cry from the lush production usually used for country records in the early 70s. Williams’ original composition, the gentle ballad “Atta Way to Go” was the album’s first single, whose chart performance mirrored those of the singles from Volume One, peaking at #13. I was not previously familiar with it but I took to it immediately. The midtempo “We Should Be Together”, written by Allen Reynolds was the next single. It carried Don into the Top 10 for the first time, peaking at #5. Consisting of acoustic guitar and dobro, it is catchy yet mellow. I’d never heard this one before, either, which is surprising since it was Williams’ first significant hit. The third single, “Down the Road I Go”, another Williams compostion, is the closest this album gets to something up-tempo. It’s a pleasant tune, with some nice fiddle and steel work, as well as a vocal chorus that aligns it a little more closely with the mainstream of the day, but it fared poorly on the charts, topping out at #62. From this point forward, though, all of Williams’ records for the next decade would crack the Top 10.

The great Bob McDill contributed two other tracks: the album opener “I Wish I Was In Nashville” and “She’s In Love With a Rodeo Man”. The former is about an aspiring musician who has dreams of making it big in Music City; the latter is about a honky tonk angel who attracts plenty of suitors but only has eyes for a particular rodeo rider. There is an excellent steel guitar solo on this track.

The outlier on the album is the ballad “I Don’t Think Much About Her No More”, which features a subtle string section alone with the acoustic guitar and pedal steel. Originally recorded by its author Micky Newbury in 1969, it was covered many times, sometimes under its alternate title “Poison Red Berries” by artists such as Eddy Arnold, George Hamiton IV, Bobby Bare, The Carter Family, Jan Howard, and Tammy Wynette. It’s more polished than the rest of the album but still the perfect vehicle for Williams’ baritone.

Although it doesn’t contain any of Williams’ best remembered hits, Volume Two is an excellent collection that has aged well and is worth a listen. It is available on a two-for-one CD along with Volume One.

Grade: A

Week ending 4/22/17: #1 singles this week in country music history

1957 (Sales): Gone — Ferlin Husky (Capitol)

1957 (Jukebox): Gone — Ferlin Husky (Capitol)

1957 (Disc Jockeys): Gone — Ferlin Husky (Capitol)

1967: Lonely Again — Eddy Arnold (RCA)

1977: It Couldn’t Have Been Any Better — Johnny Duncan (Columbia)

1987: Kids of the Baby Boom — The Bellamy Brothers (MCA/Curb)

1997: Rumor Has It — Clay Walker (Giant)

2007: Wasted — Carrie Underwood (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Road Less Traveled — Lauren Alaina (Mercury/Interscope)

Week ending 4/15/16: #1 singles this week in country music history

1957 (Sales): Gone — Ferlin Husky (Capitol)

1957 (Jukebox): There You Go/Train of Love — Johnny Cash (Sun)

1957 (Disc Jockeys): Gone — Ferlin Husky (Capitol)

1967: Lonely Again — Eddy Arnold (RCA)

1977: Lucille — Kenny Rogers (United Artists)

1987: You’ve Got the Touch — Alabama (RCA)

1997: Rumor Has It — Clay Walker (Giant)

2007: Last Dollar (Fly Away) — Tim McGraw (Curb)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Fast — Luke Bryan (Capitol)

Album Review: Alison Krauss – ‘Windy City’

51paza96cml-_ss500I wasn’t sure what to expect when I first heard that Alison Krauss was about to release a new album.  Although I have always greatly admired her talent, her choices have not always aligned with my tastes. Her penchant for extremely slow tempo songs can grow a bit dull after a while, and more often than not I have not liked her artistic stretches – her 2007 collaboration with Robert Plant, for example.  Adding to my skepticism is the fact that Windy City was to be an album covering ten classic songs; I’ve lost track of the number of artists who have released similar projects over the last decade or so.  The concept no longer holds the inherent appeal it once did.

That being said, I was very pleasantly surprised when I finally sat down to listen to Windy City.  Krauss and producer Buddy Cannon managed to avoid falling into the trap of selecting well-known songs that have been over-recorded by others, instead opting for mostly more obscure deep cuts.    Only two of the songs were familiar to me.   Also surprising was the fact that none of these songs – including the Osborne Brothers and Bill Monroe covers — is performed in a bluegrass style.  There is however, a lot of prominent pedal steel and more uptempo material than we typically hear from Alison.  It’s a very different sound for her and it is very effective.

The opening track and lead single is “Losing You”, a richly melodic ballad that is perfectly suited to Alison’s voice.  There is a subtle and tasteful string arrangement along with the pedal steel.  Originally a pop hit for Brenda Lee in 1963, at times it sounds like another more famous song that was also released that year:  Skeeter Davis’ “End of the World”.   Another Brenda Lee cover “All Alone Am I” appears later in the album.

“It’s Goodbye and So Long to You” is an uptempo number that was a hit for both The Osborne Brothers and Mac Wiseman.   The harmonies hint at its bluegrass origins, but it is performed here a straight country with just a hint of Dixieland jazz.   My favorite tune is the title track, which is also taken from The Osborne Brothers’ catalog.  I don’t know what year this song was originally released, but Alison’s version sounds like something out of the Nashville Sound era, although the strings are more restrained than what we typically heard from that period.   “Dream of Me”,  originally a hit for Vern Gosdin in 1981,  is my second favorite.

“I Never Cared For You” was written and originally recorded by Willie Nelson in 1964.  His only single for Monument Records, it was popular in Texas but not well known elsewhere.  Alison’s version has a slight Spanish flavor to it.   She also pays tribute to the great Roger Miller, overlooking some more obvious choices in favor of the ballad “River in the Rain”, which Miller wrote for the 1985 Broadway musical Big River.

The two best known songs on the album:  “Gentle on My Mind” and “You Don’t Know Me” are tailor-made for Alison.  One can imagine her singing both of these songs without even having heard her versions.    The former was made famous by Glen Campbell in 1967 (although it was not a huge chart hit for him).  The latter, written by Cindy Walker, has been recorded many times, most famously by Eddy Arnold in 1956.

The deluxe version of the album contains four extra tunes, all “live” versions of songs from the standard release.  By “live” they mean live in the studio, not live in concert.  They are all well done but not sufficiently different to really be interesting.  That is the album’s only misstep, and it’s a minor one.   There is also a Target exclusive version of the album with two more cuts:  “Til I Gain Control Again” and “Angel Flying Too Close To the Ground”.   Windy City,is an outstanding album and it deserves the support of all of us who have complained about the direction of country music in recent years.  It won’t generate any big radio hits but I do hope it sells well. I would like to hear more music in this vein from Alison in the future.

Grade: A+

Best reissues of 2016

As always most of the best reissues come from labels outside the USA. In those cities that still have adequate recorded music stores (sadly a rare commodity these days) , it can be a real thrill finding a label you’ve not encountered before reissuing something you’ve spent decades seeking. It can be worthwhile to seek out the foreign affiliates of American labels for recordings that Capitol hasn’t reissued might be available on the UK or European EMI labels.

The fine folks at Jasmine Records (UK) can always be counted on for fine reissues:

SHUTTERS AND BOARD: THE CHALLENGER SINGLES 1957-1962 – Jerry Wallace
Jerry Wallace wasn’t really a country artist during this period, but he was a definite fellow traveler and a very popular artist and very fine singer. This thirty-two track collection includes all his early hits (except 1964’s “In The Misty Moonlight”) , such as million (and near million) sellers such as “How The Time Flies”, “Primrose Lane”, “There She Goes” and “Shutters And Boards”. From about 1965 forward his focus become more country and he would have two #1 county singles in the 1970s

THE NASHVILLE SOUND OF SUCCESS (1958-1962) – Various Artists
I will just list the tracks for this fine two disc set. This is a good primer on a very important era in country music

Disc 1 1958-1959
1 THE STORY OF MY LIFE – Marty Robbins
2 GREAT BALLS OF FIRE – Jerry Lee Lewis
3 BALLAD OF A TEENAGE QUEEN – Johnny Cash
4 OH LONESOME ME – Don Gibson
5 JUST MARRIED – Marty Robbins
6 ALL I HAVE TO DO IS DREAM – The Everly Brothers
7 GUESS THINGS HAPPEN THAT WAY – Johnny Cash
8 ALONE WITH YOU – Faron Young
9 BLUE BLUE DAY – Don Gibson
10 BIRD DOG – The Everly Brothers
11 CITY LIGHTS – Ray Price
12 BILLY BAYOU – Jim Reeves
13 DON’T TAKE YOUR GUNS TO TOWN – Johnny Cash
14 WHEN IT’S SPRINGTIME IN ALASKA (It’s Forty Below) – Johnny Horton
15 WHITE LIGHTNING – George Jones
16 THE BATTLE OF NEW ORLEANS – Johnny Horton
17 WATERLOO – Stonewall Jackson
18 THE THREE BELLS – The Browns
19 COUNTRY GIRL – Faron Young
20 THE SAME OLD ME – Ray Price
21 EL PASO – Marty Robbins

Disc 2 1960-1962
1 HE’LL HAVE TO GO – Jim Reeves
2 PLEASE HELP ME, I’M FALLING – Hank Locklin
3 ALABAM – Cowboy Copas
4 WINGS OF A DOVE – Ferlin Husky
5 NORTH TO ALASKA – Johnny Horton
6 DON’T WORRY – Marty Robbins
7 HELLO WALLS – Faron Young
8 HEARTBREAK U.S.A – Kitty Wells
9 I FALL TO PIECES – Patsy Cline
10 TENDER YEARS – George Jones
11 WALK ON BY – Leroy Van Dyke
12 BIG BAD JOHN – Jimmy Dean
13 MISERY LOVES COMPANY – Porter Wagoner
14 THAT’S MY PA – Sheb Wooley
15 SHE’S GOT YOU – Patsy Cline
16 CHARLIE’S SHOES – Billy Walker
17 SHE THINKS I STILL CARE – George Jones
18 WOLVERTON MOUNTAIN – Claude King
19 DEVIL WOMAN – Marty Robbins
20 MAMA SANG A SONG – Bill Anderson
21 I’VE BEEN EVERYWHERE – Hank Snow
22 DON’T LET ME CROSS OVER – Carl Butler and Pearl
23 RUBY ANN – Marty Robbins
24 THE BALLAD OF JED CLAMPETT – Lester Flatt, Earl Scruggs and the Foggy Mountain Boys

Another UK label, Hux Records, continues to issue delightful product:

HERE’S FARON YOUNG/ OCCASIONAL WIFE – Faron Young
After mucking about with more pop-oriented material for a number of years, these two fine Mercury albums (from 1968 and 1970) find Faron making his way back to a more traditional country sound. It must have worked for the singles from these albums (“’She Went A Little Bit Farther”, “I Just Came To Get My Baby”, “Occasional Wife” and “If I Ever Fall In Love (With A Honky Tonk Girl)” all returned Faron to the top ten, a place he had largely missed in the few years prior.

THE BEST OF TOMMY OVERSTREET – Tommy Overstreet (released late 2015)
Tommy Overstreet had a fine run of country singles in the early 1970s, most of which are included in this albums twenty-six tracks, along with about eight album tracks. While Tommy never had a #1 Billboard Country song, four of his song (“Gwen-Congratulations”, “I Don’t Know You Any More”, “Ann, Don’t Go Running” and “Heaven Is My Woman’s Love”) made it to #1 on Cashbox and/or Record World. Tommy’s early seventies records sounded very different from most of what was playing on the radio at the time.

Hux only releases a few new items per year, but in recent years they have reissued albums by Johnny Rodriguez, Connie Smith, Reba McEntire, Ray Price and others.

http://huxrecords.com/news.htm

Humphead Records releases quit a few ‘needle drop’ collections which our friend Ken Johnson has kvetched. The bad news is that for some artists this is necessary since so many masters were destroyed in a warehouse fire some years ago. The good news is that Humphead has gotten much better at doing this and all of my recent acquisitions from them have been quite good, if not always perfect.

TRUCK DRIVIN’ SON OF A GUN – Dave Dudley
This two disc fifty-track collection is a Dave Dudley fan’s dream. Not only does this album give you all of the truck driving hits (caveat: “Six Days On The Road” and “Cowboy Boots” are the excellent Mercury remakes) but also key album tracks and hit singles that were not about truck driving. Only about half of these tracks have been available previously

BARROOMS & BEDROOMS : THE CAPITOL & MCA YEARS – Gene Watson
This two disc, fifty-track set covers Gene’s years with Capitol (1975-1980) and MCA 1980-1985. Most of the tracks have been available digitally over the years, but the MCA tracks have been missing in recent years. The collection is approximately 70% Capitol and 30% MCA. These are needle drop but the soiund ranges from very good to excellent. There are a few tracks from the MCA years that have not previously been available in a digital format, but most of the material will be familiar to Gene Watson fans. Of course, if you buy this collection and are not already a Gene Watson fan, you will become one very quickly. I would have preferred more tracks from the MCA years since most of the Capitol tracks have been readily available, but the price is right and the music is timeless.

The folks at Bear Family issued quite a few sets this year; however, very little of it was country and none of it essential. There is an upcoming set to be issued in 2017 that will cover the complete Starday and Mercury recordings of a very young George Jones. I’m sure it will be a terrific set so be on the lookout for it. We will discuss it next year.

Although not essential FERLIN HUSKY WITH GUESTS SIMON CRUM AND TERRY PRESTON is a nice single disc entry in Bear Family’s Gonna Shake This Shack Tonight series. Simon Crum, of course, was Ferlin’s comedic alter-ego, and Terry Preston was a stage name Ferlin used early in his career. The set contains thirty-two tracks of country bop, proto-rockabilly and comedy that should prove enjoyable to everyone, along with Bear’s usual impeccable digital re-mastering and an informative seventy-two page booklet.

I don’t know that the music available from Cracker Barrel can always be described as reissues since some of it has never been commercially available before.

During the last twelve months we reviewed WAYLON JENNINGS – THE LOST NASHVILLE SESSIONS

Our friend Ken Johnson helps keep the folks at Varese Vintage on the straight and narrow for their country releases

THAT WAS YESTERDAY – Donna Fargo
This sixteen track collection gathers up Donna’s singles with Warner Brothers as well as two interesting album tracks. Donna was with Warner Brothers from 1976 to 1980 and this set is a welcome addition to the catalogue.

FOR THE GOOD TIMES – Glen Campbell
This sixteen track collections covers the 1980s when Glen was still charting but no longer having huge hits. These tracks mostly were on Atlantic but there are a few religion tracks and a song from a movie soundtrack from other sources. For me the highlights are the two previously unreleased tracks “Please Come To Boston” (a hit for Dave Loggins) and the title track (a hit for Ray Price).

SILK PURSE – Linda Ronstadt
This is a straight reissue of Linda’s second Capitol album, a fairly country album that features her first major hit “Long Long Time” plus her takes on “Lovesick Blues”, “Mental Revenge” and “Life’s Railway To Heaven”

On the domestic front Sony Legacy issued a few worthy sets:

THE ULTIMATE COLLECTION – Roy Orbison
This twenty-six track set covers Roy’s work on several labels including a couple of Traveling Wilbury tracks. All of these songs have been (and remain) available elsewhere, but this is a nice starter set.

THE HIGHWAYMEN LIVE: AMERICAN OUTLAWS
This is a three disc set of live recordings featuring the Waylon Jennings, Johnny Cash, Willie Nelson and Kris Kristofferson. To be honest, I prefer the studio recordings, but this is a worthwhile set

Meanwhile Real Gone Music has become a real player in the classic country market:

LYNN ANDERSON: THE DEFINITIVE COLLECTION
This two disc set provides a nice overview of one of the leading ladies of country music during the mid-1960s through the mid- 1970s, covering her work for the Chart and Columbia labels. Although not quite as comprehensive on the Chart years as the out-of-print single disc on Renaissance, this is likely to be the best coverage of those years that you are likely to see anytime soon on disc. Forty tracks (15 Chart, 25 Columbia) with excellent sound, all the hits and some interesting near-hits.

PORTER WAGONER: THE DEFINITIVE COLLECTION
There is a lot of Porter Wagoner material available, although much of it is either remakes or gospel songs from the Gusto family of labels. For a comprehensive look at Porter’s career it has been necessary to purchase one of the pricey (albeit excellent) Bear Family collections.

This two disc set has forty tracks, twenty seven of Porter’s biggest hits and thirteen key album cuts and shows the evolution and growth of Porter as an artist. While there is some overlap with the Jasmine set released last year (The First Ten Years: 1952-1962) about 60% of this set covers from 1963 onward, making it a fine complement to the Jasmine collection. This is straight Porter – no duets.

DIAMOND RIO: THE DEFINITIVE HITS COLLECTION
I’m not a real big Diamond Rio fan, but I have quite a few of their albums. If someone is interested in sampling Diamond Rio’s run of hits during the 1990s, this would be my recommendation. Fabulous digital re-mastering with all the major Arista hits such as “Meet in the Middle,” “How Your Love Makes Me Feel,” “One More Day,” “Beautiful Mess,” and “I Believe,” plus favorites as “Love a Little Stronger,” “Walkin’ Away,” “You’re Gone,” and one of my favorites “Bubba Hyde”.

EACH ROAD I TAKE: THE 1970 LEE HAZELWOOD & CHET ATKINS SESSIONS – Eddy Arnold
This is one of the more interesting collections put out by Real Gone Music.

The first half of the disc is the album Love and Guitars, the last album produced for Eddy by Chet Atkins. Missing is the usual Nashville Sound production, replaced by an acoustic setting featuring Nashville super pickers guitarists including Jerry Reed, Harold Bradley, Ray Edenton, and Chet himself, playing on an array of contemporary county and pop material.

The second half features the album Standing Alone, produced (in Hollywood) by Lee Hazelwood and featuring Eddy’s take on modern Adult Contemporary writers such as John Stewart, Steve Young, Ben Peters, and Mac Davis.

The album closes with four singles heretofore not collected on a domestic CD. On this album Eddy is cast neither as the Tennessee Plowboy nor the Nashville Sound titan. If you’ve not heard this material before, you might not believe your ears !

TAKE THIS JOB AND SHOVE IT: THE DEFINITIVE JOHNNY PAYCHECK
MICKEY GILLEY: THE DEFINITIVE COLLECTION

These albums were reviewed earlier. Needless to say, both are is highly recommended

Real Gone Music does not specialize in country music – they just do a good job of it. If you are a fan of jazz, folk, rock or even classical, Real Gone Music has something right up your alley

There is a UK based label that also calls itself Real Gone Music but in order to avoid confusion I will refer to this label as RGM-MCPS. This label specializes (mostly) in four disc sets that compile some older albums, sometimes with miscellaneous singles. The sound quality has ranged from fair to very good depending upon the source material, and the packaging is very minimal – no booklet, basically the names of the albums and very little more. Usually these can be obtained from Amazon or other on-line vendors. These are bargain priced and can fill holes in your collection

SIX CLASSIC ALBUMS PLUS BONUS SINGLES – Kitty Wells
This collection collects six fifties and early singles albums plus some singles. Much Kitty Wells music is available but if you want to collect a bunch of it cheaply, this is the way to go

The British Charly label doesn’t specialize in country records but they have a fabulous catalogue of rockabilly, including some very fine collections of recordings of the legendary Memphis label Sun. For legal reasons they cannot market much of their product in the USA but their product can be found on various on-line vendors. Their reissue of Townes Van Zandt albums is excellent.

I suppose I should again say a few words about the Gusto family of labels. It appears that Gusto is in the process of redesigning their website but plenty of their product can be found from other on-line vendors
As I mentioned last year, with the exception of the numerous gospel recordings made by Porter Wagoner during the last decade of his life, there is little new or original material on the Gusto Family of labels. Essentially, everything Gusto does is a reissue, but they are forever recombining older recordings into new combinations.
Gusto has accumulated the catalogs of King, Starday, Dixie, Federal, Musicor, Step One, Little Darlin’ and various other small independent labels and made available the music of artists that are otherwise largely unavailable. Generally speaking, older material on Gusto’s labels is more likely to be original recordings. This is especially true of bluegrass recordings with artists such as Frank “Hylo” Brown, The Lonesome Pine Fiddlers, Stringbean and Curley Fox being almost exclusive to Gusto.

After 1970, Gusto’s labels tended to be old age homes for over-the-hill country and R&B artists, and the recordings often were remakes of the artists’ hits of earlier days or a mixture of remakes of hits plus covers of other artists hits. These recordings range from inspired to tired and the value of the CDs can be excellent, from the fabulous boxed sets of Reno & Smiley, Mel Street and The Stanley Brothers, to wastes of plastic and oxides with numerous short eight and ten song collections.

To be fair, some of these eight and ten song collections can be worth having, if they represent the only recordings you can find by a particular artist you favor. Just looking at the letter “A” you can find the following: Roy Acuff, Bill Anderson, Lynn Anderson, Eddy Arnold, Leon Ashley, Ernie Ashworth, Chet Atkins and Gene Autry. If you have a favorite first or second tier country artist of the 1960s or 1970s, there is a good chance that Gusto has an album (or at least some tracks) on that artist.

Week ending 12/17/16: #1 singles this week in country music history

johnny_duncan_promo1956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Somebody Like Me — Eddy Arnold (RCA)

1976: Thinkin’ of a Rendezvous — Johnny Duncan (Columbia)

1986: Hell and High Water — T. Graham Brown (Capitol)

1996: Little Bitty — Alan Jackson (Arista)

2006: My Wish — Rascal Flatts (Lyric Street)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): May We All — Florida Georgia Line featuring Tim McGraw (Republic Nashville)

Week ending 12/10/16: #1 singles this week in country music history

alan_jackson1956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Somebody Like Me — Eddy Arnold (RCA)

1976: Good Woman Blues — Mel Tillis (MCA)

1986: It Ain’t Cool To Be Crazy About You — George Strait (MCA)

1996: Little Bitty — Alan Jackson (Arista)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): May We All — Florida Georgia Line featuring Tim McGraw (Republic Nashville)

Week ending 12/3/16: #1 singles this week in country music history

life_tillisjump121615_16350281_8col1956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Somebody Like Me — Eddy Arnold (RCA)

1976: Good Woman Blues — Mel Tillis (MCA)

1986: Touch Me When We’re Dancing — Alabama (RCA)

1996: Strawberry Wine — Deana Carter (Capitol)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): A Little More Summertime — Jason Aldean (Broken Bow)

Week ending 11/26/16: #1 singles this week in country music history

maxresdefault-41956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Somebody Like Me — Eddy Arnold (RCA)

1976: Somebody Somewhere (Don’t Know What He’s Missin’ Tonight) — Loretta Lynn (MCA)

1986: You’re Still New to Me — Marie Osmond with Paul Davis (Capitol/Curb)

1996: Strawberry Wine — Deana Carter (Capitol)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Middle of a Memory — Cole Swindell (Warner Bros.)

Album Review: Willie Nelson – ‘For the Good Times: A Tribute to Ray Price’

51vwrr-zq3l-_ss500Having outlived many of his contemporaries, Willie Nelson is well on his way to being the last man standing among his generation of country performers. His latest effort is a tribute to the late Ray Price. It is the latest in a long line of tribute albums from Willie, but an especially poignant one given his own advancing age and his lifelong friendship with Price, which began with Willie’s stint as one of Price’s Cherokee Cowboys band members in the 1960s.

The legendary Fred Foster came out of retirement to produce the collection, and Bergen White was responsible for all of the string and orchestral arrangements. Country music fans of a certain age will no doubt recall seeing White’s name on virtually every country album in the 70s and 80s that featured strings, as most of them did in those days.

Even at his peak, Willie was never in Price’s league as a vocalist and at 83 his vocal abilities are greatly diminished, and it is most likely for this reason that The Time Jumpers were brought in to join Willie on half of the album’s tracks, providing fiddle steel and background vocals, which in some cases are badly needed. Ray Price started his career as a hardcore honky-tonker, and in later years he was a crooner of middle-of-the-road ballads which often featured lush orchestral arrangements — despite having once been a harsh critic of countrypolitan and the Nashville Sound. The Time Jumpers are featured primarily on the more hardcore country numbers such as “Heartaches by the Number”, “I’ll Be There”, “Don’t You Ever Get Tired of Hurting Me”, “Crazy Arms”, Bill Anderson’s “City Lights” and Roger Miller’s “Invitation to the Blues”.

All of the songs are beautifully produced and lovingly performed, never straying far from Price’s original renditions. Willie sounds better on some tracks than others; he is at his best on “Heartaches by the Numbers”, “Night Life” (his own composition) and “City Lights”. His age-imposed limitations are most apparent on some of the more vocally challenging numbers. “Faded Love” isn’t the easiest song to sing and also not one I immediately associate with Ray Price, although his 1980 duet version with Willie enjoyed greater success on the singles chart than any other. Presumably that is why it was included. Similarly, “Make the World Go Away” is a song more closely associated with Eddy Arnold, although Price did enjoy a #2 hit with it in 1963, two full years ahead of Arnold’s chart-topping version. It’s given (appropriately) the full orchestra treatment here with the backing chorus doing so much of the vocal heavy lifting it could almost be billed as a duet.

The album contains two songs with which I was not previously familiar: “It Will Always Be” and “I’m Still Not Over You”. Both were written by Willie and the latter was a top 10 hit for Price in 1967. Both are decent but not as memorable as the others on the album.

For the Good Times is a bittersweet affair. It’s forty minutes of some of the best music to ever come out of Nashville, but it is of course very sad that Ray Price is no longer with us, and to hear Willie in decline. But aside from Willie’s vocal limitations (which can mostly be overlooked considering his age), I can’t find fault with anything on this album.

Grade: A

Week ending 5/14/16: #1 singles this week in country music history

Charley-Pride_1981-21956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: My Eyes Can Only See as Far as You — Charley Pride (RCA)

1986: Grandpa (Tell Me ‘Bout the Good Old Days) — The Judds (RCA/Curb)

1996: You Win My Love — Shania Twain (Mercury)

2006: Who Says You Can’t Go Home — Bon Jovi with Jennifer Nettles (Island)

2016: Somewhere on a Beach — Dierks Bentley (Capitol)

2016 (Airplay): Think of You — Chris Young featuring Cassadee Pope (RCA)

Week ending 5/7/16: #1 singles this week in country music history

mickey-gilley-041956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: Don’t the Girls All Get Prettier at Closing Time — Mickey Gilley (Playboy)

1986: Once in a Blue Moon — Earl Thomas Conley (RCA)

1996: You Win My Love — Shania Twain (Mercury)

2006: Who Says You Can’t Go Home — Bon Jovi with Jennifer Nettles (Island)

2016: Somewhere on a Beach — Dierks Bentley (Capitol)

2016 (Airplay): Confession — Florida Georgia Line (Republic Nashville)

Week ending 4/30/16: #1 singles this week in country music history

tumblr_m1utdqRcbD1qzn0deo1_5001956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: Together Again — Emmylou Harris (Reprise)

1986: Now and Forever (You and Me) — Anne Murray (Capitol)

1996: No News — Lonestar (BNA)

2006: What Hurts the Most — Rascal Flatts (Lyric Street)

2016: Somewhere on a Beach — Dierks Bentley (Capitol)

2016 (Airplay): I Like the Sound of That — Rascal Flatts (Big Machine)

Week ending 4/23/16: #1 singles this week in country music history

rabbitt-eddie-51901909bda391956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Blue Suede Shoes — Carl Perkins (Sun)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: Drinkin’ My Baby (Off My Mind) — Eddie Rabbitt (Elektra)

1986: Cajun Moon — Ricky Skaggs (Epic)

1996: No News — Lonestar (BNA)

2006: What Hurts the Most — Rascal Flatts (Lyric Street)

2016: Humble and Kind — Tim McGraw (Big Machine)

2016 (Airplay): You Should Be Here — Cole Swindell (Warner Bros.)

Week ending 4/16/16: #1 singles this week in country music history

tammy-wynette1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Blue Suede Shoes — Carl Perkins (Sun)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: ‘Til I Can Make It On My Own — Tammy Wynette (Epic)

1986: She and I — Alabama (RCA)

1996: No News — Lonestar (BNA)

2006: What Hurts the Most — Rascal Flatts (Lyric Street)

2016: You Should Be Here — Cole Swindell (Warner Bros.)

2016 (Airplay): You Should Be Here — Cole Swindell (Warner Bros.)

Week ending 4/9/16: #1 singles this week in country music history

morris101956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel — Elvis Presley (RCA)
                       (tie): Blue Suede Shoes — Carl Perkins (Sun)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: You’ll Lose a Good Thing — Freddy Fender (ABC/Dot)

1986: 100% Chance of Rain — Gary Morris (Warner Bros.)

1996: To Be Loved By You — Wynonna (MCA/Curb)

2006: What Hurts the Most — Rascal Flatts (Lyric Street)

2016: You Should Be Here — Cole Swindell (Warner Bros.)

2016 (Airplay): You Should Be Here — Cole Swindell (Warner Bros.)

Album Review: Buddy Miller – ‘The Majestic Silver Strings’

MajesticSilverStrings-AmazonReleased in 2011, The Majestic Silver Strings finds Buddy Miller teaming up with guitarists Bill Frisell, Marc Ribot and Greg Leisz for an album combined mostly of classic country covers. The group is joined by a slew of guest vocalists along the way.

Much as I suspected, the record is a guitar-based album comprised of instrumentals with the guest artists providing the vocals. There are, however, a few such instrumentals sprinkled throughout. The album opens with a haunting take on Eddy Arnold’s “Cattle Call.” The band strips the tune of its western themes, which is a bit odd but otherwise excellent. “Freight Train” is jauntier and just as sonically appealing.

Lee Ann Womack joins the group on two tracks. “Meds” is a dark ballad about a woman in a mental institution that renders Womack, who sings in a breathy tone, almost unrecognizable. “Return To Me” features a long instrumental opening before Womack begins with an aching vocal.

Ribot takes the reins on three tracks. “Barres De La Prison,” a prodding ballad he doesn’t elevate with his dreary, but appropriate, vocal. The group turns “Why Baby Why” into 1950s rockabilly funk, which comes off slightly jarring. For his third contribution, Ribot tackles “Bury Me Not on the Lone Prairie.” This track is also extremely slow and very difficult to get into.

Ann McCrary joins the group on “No Good Lover,” a jazzy number with Western Swing undertones. Chocolate Genius fronts “Dang Me,” which is one of the stronger tracks on the project. Although I do find it weird, they find the sinister side of the song Roger Miller didn’t even hint at with his original recording.

Patty Griffin joins the band on “I Want to Be with You Always,” a brilliant recording that finds her harmonizing with Miller6a00d8341c630a53ef014e5fa47bba970c framed in Pedal Steel. Shawn Colvin takes the lead on “That’s The Way Love Goes.” The Merle Haggard standard is turned into a sparse ballad that beautifully allows her voice to shine through.

“Why I’m Walkin’” is yet another ballad, this time fronted by Emmylou Harris. The track is very slow and isn’t helped by Harris’ far too breathy vocal. The final track, “God’s Wing’ed House” spotlights Miller’s wife Julie. It’s actually a duet between the pair and it’s lovely.

To say the least, I didn’t enjoy this album. I adore the concept and found a couple of the tracks appealing, but it just didn’t do much for me overall. The jazzy overtones that complete the sonic makeup of the record just aren’t to my taste at all. I still think you should seek out your own opinion as it could differ greatly from mine. This isn’t a terrible album in the least and I can see the quality within it. But it just wasn’t for me.

Grade: B-

 

Album Review: Hank Williams Jr and Lois Johnson – ‘Give Me Some Lovin”

1399982Hank Williams, JR followed Removing The Shadow with another duets record with Lois Johnson. Released in 1972, Send Me Some Lovin’ was Hank’s twentieth release for MGM Records.

The ten-track album was dominated by Hank’s versions of cover tunes. The title track was originally sung by the likes of Buddy Holly, Little Richard and Otis Redding. The pair transforms the ballad into a solid honky-tonker complete with ample steel guitar and appealing drum work.

“Only Daddy That’ll Walk The Line” becomes charmingly playful in their hands, with the pair trading verses, as Hank turns cautionary as the song becomes about her father. The arrangement is faithful to the song, but strong nonetheless.

I first came to know “Then You Can Tell Me Goodbye” when Neil McCoy had a version I adored twenty years ago. I soon came to learn the song’s origins date back to Eddy Arnold. Hank and Lois sing beautifully, but the production is horrendous. I hate the early 1970s sheen on the track, which might’ve been hip at the time, but horribly dates the proceedings today.

Johnny Paycheck had the original version of “Someone To Give My Love To” before it was covered by the likes of Connie Smith and Tracy Byrd. Hank and Lois had their shot with the song, too, and their version is a lovely and tender ballad that I quite like.

“Why Should We Try Anymore” was originally made famous by Hank Sr. Hank and Lois turn in a stunning reading complete with delightful steel and a delicious ache in their voices. The pair also recorded “You’re Gonna Change (Or I’m Gonna Leave)” to similar results.

The album as a whole is a delightful affair even if it falls victim to the trappings of early 1970s music. The pair, whom I’d never heard sing together before, are wonderful together. Like a lot of music from this time, Send Me Some Lovin’ isn’t of my era so I’m not terribly familiar with the majority of songs. I really liked what I heard, though, even if I couldn’t really connect with it.

Grade: B

Week ending 12/19/15: #1 singles this week in country music history

p12475vpn551955 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: Make the World Go Away — Eddy Arnold (RCA)

1975: Love Put a Song In My Heart — Johnny Rodriguez (Mercury)

1985: Nobody Falls Like a Fool — Earl Thomas Conley (RCA)

1995: Tall, Tall Trees — Alan Jackson (Arista)

2005: Tequila Makes Her Clothes Fall Off — Joe Nichols (Universal South)

2015: Die a Happy Man — Thomas Rhett (Valory)

2015 (Airplay): Nothin’ Like You — Dan + Shay (Warner Bros.)

The best reissues of 2015

As is always the case, most of the best reissues of American Country Music come from Europe. There are several reasons for this:

1 – Until recently, European copyrights on recordings were only good for 50 years. This changed recently to 70 years, but the change was not retroactive. What this means is that all recordings made before 1963 have lost their copyright protection in Europe.

2 – The European customer for country music is more traditionally oriented than American audiences. This holds true for many forms of music including rockabilly, rock & roll, rhythm & blues, pop standards, you name it. European audiences, unlike their American counterparts, have not discarded the past.

3 – American Record labels simply don’t care – I’d elaborate, but there’s no point to it.

It should be noted that some of these albums may have been issued before 2015 but became generally available during 2015 through various markets.

We’ll start off with two box sets from the gold standard of reissue labels, Bear Family:

chuck wagon gang1. THE CHUCK WAGON GANG – THE COMPLETE RECORDINGS (1936-1955)

Released in late 2014, but not generally available until this year, this Bear Family five disc set compiles the gospel recordings of Dad Carter’s family gospel group. Marty Stuart wrote the forward to the accompanying book.

This Carter Family is NOT related to the Carter Family clan associated with A.P., Sara, Mother Maybelle, and June Carter, but was a successful gospel group that was with Columbia Records from 1936 to 1975, selling thirty-nine million records in the process. Consisting of D.P. (Dad) Carter and son Jim (Ernest) and daughters Rose (Lola) and Anna (Effie), this group was formed in 1935 in Lubbock, Texas, and became one of the most popular gospel groups of its time, performing a very traditional form of country gospel music. They were the first group to record Albert Brumley’s “I’ll Fly Away”.

The group continues to this day, although all of the original members have since passed away. This set won’t be to everyone’s taste in gospel music so I’d suggest that you listen to a few tracks before purchasing the set. The humble sincerity and beauty of the singing will likely have you reconsidering your idea of gospel music.

singing fisherman2. JOHNNY HORTON – THE SINGING FISHERMAN: THE COMPLETE RECORDINGS OF JOHNNY HORTON
Also released in late 2014, this nine disc set chronicles the recording career of one of the brightest stars of the Louisiana Hayride, whose life was cut short in 1960 when he was killed in an automobile accident. Some may recall that Johnny Cash was one of his best friends and some may remember that his widow was also the widow of Hank Williams Sr.

To the extent that Johnny Horton is remembered today, it is for the recordings he made with Columbia Records starting in 1956 with “Honky Tonk Man” and “I’m A One Woman Man”, songs thirty years later covered for hits later by Dwight Yoakam and George Jones.
Johnny’s biggest hit was “The Battle of New Orleans” which reached #1 on both the pop (six weeks) and country charts (ten weeks)in 1959. He had two other #1 records in “When It’s Springtime In Alaska” (1959) and “North to Alaska” released ten days after his death.

Those great Columbia Recordings are all here, but Johnny was an active recording artist from 1952 forward, recording with Abbott Records and Mercury Records, as well as some smaller labels. The Abbott Recordings were pretty pedestrian but Johnny cut some real treasures for Mercury, some of which were regional hits. Those long-lost earlier recordings are here as well, sounding as good as they will ever sound. These recordings encompass Johnny singing straight country , western, rockabilly and historical saga songs. The set comes with two hardcover books.

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