My Kind of Country

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

Tag Archives: Elvis Presley

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.)

Week ending 4/2/16: #1 singles this week in country music history

grenwood1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): I Forgot to Remember to Forget/Mystery Train — Elvis Presley (Sun)

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

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: ‘Til the Rivers All Run Dry — Don Williams (ABC/Dot)

1986: Don’t Underestimate My Love for You — Lee Greenwood (MCA)

1996: You Can Feel Bad — Patty Loveless (Epic)

2006: Living In Fast Forward — Kenny Chesney (BNA)

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

2016 (Airplay): Beautiful Drug — Zac Brown Band (Southern Ground/Republic)

Week ending 3/26/16: #1 singles this week in country music history

0a5c3cc5dde8f7cb6fc488259d1a9a9d1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): I Forgot to Remember to Forget/Mystery Train — Elvis Presley (Sun)

1956 (Disc Jockeys): I Don’t Believe You’ve Met My Baby — The Louvin Brothers (Capitol)

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: Faster Horses (The Cowboy and the Poet) — Tom T. Hall (Mercury)

1986: What’s a Memory Like You (Doing in a Love Like This) — John Schneider (MCA)

1996: You Can Feel Bad — Patty Loveless (Epic)

2006: Living In Fast Forward — Kenny Chesney (BNA)

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

2016 (Airplay): Heartbeat — Carrie Underwood (19/Arista)

Album Review: Wynonna – ‘What The World Needs Now’

what the world needs nowReleased in 2003, What the World Needs Now was Wynonna’s debut for Curb/Asylum after cutting ties with Mercury. Wynonna produced most of it with Dann Huff, and there is an overarching theme of vaguely uplifting spiritual encouragement, but with little in the way of country music. She had reportedly been planning on making a straight soul record, but decided, perhaps at the promptings of her record label, to at least pay lip service to still being a country artist.

The bluesy title track with a touch of gospel is competently performed but not country at all (apart from the rustic banjo introduction, which seems to belong to another song, and is soon swallowed up by all the other instrumentation). Country radio treated it with some scepticism, and it peaked at #14, marking Wynonna’s last top 20 hit. The follow-up, ‘Heaven Help Me’, is a classy AC ballad, with a spiritual edge, and beautifully interpreted with a tender vocal. It just crept into the top 40, but is much better than its predecessor, although the orchestral arrangement is a bit too much.

A dramatic cover of the rock ballad ‘I Want To Know What Love Is’, produced by R&B producer Narada Michael Walden and featuring rock guitar hero Jeff Beck, has absolutely no country elements, and perhaps represents the original plan for the album. Unsurprisingly, it won no country airplay, but it was a top 20 hit on both Adult Contemporary and Dance charts. The dance remix is tacked on as a ‘bonus’ track; it is quite unlistenable for me, but makes the other version sound much better in comparison. The only other track surviving from these sessions, ‘Who Am I Supposed To Love’, is a decent soul ballad, but a long way from country.

The final single ‘Rescue Me’, promoted to AC and Christian radio, failed to chart anywhere, and falls somewhere between gospel and Christian Contemporary. It was written by Katie Darnell, a terminally ill 17 year old, and had previously been recorded, but not released, by John Rich.

Most vaunted at the time of the record’s release was Wy’s reunion with mother Naomi on ‘Flies On The Butter (You Can’t Go Back)’. The third single, and Wynonna’s last solo top 40 country hit, it is charmingly nostalgic. The song was written by Chuck Cannon, Allen Shamblin, and Austin Cunningham, and is the album’s most convincingly country moment. Although it is billed as a duet, Naomi really only contributes harmonies on some lines.

‘Sometimes I Feel Like Elvis’, written by Derek George, Neil Thrasher, and Bryan White, is about longing for love rather than all the meaningless material goods remaining after a failed marriage, and the lyric is interesting although the melody and arrangement are pedestrian. It leads into a strong cover of the real Elvis’s ‘Burnin’ Love’ which was previously released on the soundtracks of the animated movie Lilo And Stitch. This is highly enjoyable.

‘I Will Be’ is a powerfully sung big ballad which isn’t a bad song underneath, but is heavily over-produced and pop rather than country. ‘Your Day Will Come’ is more contemporary country, and quite well done but a touch bland. The rocker ‘(No One’s Gonna) Break Me Down’ is rather busy with everything imaginable thrown in, including some nice honky tonk piano but too much in the way of electric guitar on top.

The black gospel-influenced ‘It All Comes Down To Love’ is partly spoken and too loud for my taste, but would appeal to fans of that style of music as it is powerfully performed. ‘It’s Only Love’ is in the same vein.

‘You Are’ had appeared on the soundtrack of one of her sister Ashley’s films a few years earlier. It’s rather bland and forgettable with some odd effects in the arrangement.

I like the album better than Revelations, which didn’t do anything for me, but not as much as he first two solo efforts. Wynonna is a great singer, and sings with conviction throughout, but her musical spectrum is wider than mine. This is not a bad album by any means – in fact it is rather a good one. It just has very little for country fans. Diehard Wynonna fans will love it regardless.

Grade: B

Week ending 3/19/16: #1 singles this week in country music history

220px-Louvin_Brothers1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): I Forgot to Remember to Forget/Mystery Train — Elvis Presley (Sun)

1956 (Disc Jockeys): I Don’t Believe You’ve Met My Baby — The Louvin Brothers (Capitol)

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: The Roots of My Raising — Merle Haggard (Capitol)

1986: I Could Get Used To You — Exile (Epic)

1996: The Beaches of Cheyenne — Garth Brooks (Capitol)

2006: Living In Fast Forward — Kenny Chesney (BNA)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): We Went — Randy Houser (Stoney Creek)

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

Country singer Josh Turner is shown in Nashville, Tenn., Oct. 9, 2007. At a time when much of Nashville seems to be retreading classic rock and pop, Turner has found success with sticking to traditional country music. While he's not the only country singer with a traditional sound, he's one of the few selling millions of records. (AP Photo/Mark Humphrey)

Country singer Josh Turner is shown in Nashville, Tenn., Oct. 9, 2007. At a time when much of Nashville seems to be retreading classic rock and pop, Turner has found success with sticking to traditional country music. While he’s not the only country singer with a traditional sound, he’s one of the few selling millions of records. (AP Photo/Mark Humphrey)

1956 (Sales): Why Baby Why — Red Sovine & Webb Pierce (Decca)

1956 (Jukebox): I Forgot to Remember to Forget — Elvis Presley (Sun)

1956 (Disc Jockeys): Why Baby Why — Red Sovine & Webb Pierce (Decca)

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: Good Hearted Woman — Waylon Jennings & Willie Nelson (RCA)

1986: Think About Love — Dolly Parton (RCA)

1996: I’ll Try — Alan Jackson (Arista)

2006: Your Man — Josh Turner (MCA)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Break On Me — Keith Urban (Capitol)

Album Review: Wynonna – ‘Tell Me Why’

tell me whyWynonna’s second solo album was released in May 1993,produced as before by Tony Brown. It did not sell as well as its predecessor, but was still certified platinum, and produced five top 10 hits.

The first single, the title track, was a mid-tempo Karla Bonoff song with a glossy contemporary country-rock feel, and reached #3 on Billboard. This performance was matched by its successor, the more delicate and sophisticated ‘Only Love. Written by Roger Murrah and Marcus Hummon, it doesn’t sound particularly country now, but it featured a strong vocal performance.

My favorite track by far, ‘Is It Over Yet’, is a solemn piano-led ballad with a sensitive string arrangement which allows Wynonna’s emotion-filled voice to shine on a song about the pain of a breakup. It peaked at #7.

The most successful single, ‘Rock Bottom’, only just missed the top of the charts. It was written by the songwriters behind Southern Rockers the Atlanta Rhythm Section, and has a bluesy rock groove which suits Wynonna’s confident growl, although it’s not really my favorite style. The final single, Mary Chapin Carpenter’s ‘Girls With Guitars’, is a strong country rock number celebrating female musicians by telling the story of one young woman’s progress from high school to adult success, defeating the expectations of sexist listeners along the way. Naomi Judd and Lyle Lovett contribute backing vocals on the song.

Jesse Winchester’s ‘Let’s Make A Baby King’ is a Christmas song which New Grass Revival had recorded a few years earlier in more bluegrassy style, and which Wynonna gave a black gospel makeover. While Wynonna’s version was not formally released as a single, it gained some airplay at Christmas. ‘Just Like New’ is another memorable Winchester song, a bluesy story about a car once owned by Elvis. Naomi Judd’s ‘That Was Yesterday’ is performed as a slowed down blues number.

‘Father Sun’ was written by Sheryl Crow, about to make her own breakthrough as a rock singer-songwriter, and has a rather elusive lyric. The production funnels Wynonna’s vocal through an echoey effect which wastes her greatest asset, her powerful voice, and more gospel style backing vocals swamp her at the end.

She does show her more subtle interpretative side with a cover of ‘I Just Drove By’, written and originally recorded by Kimmie Rhodes. This charming song is about sweet memories of childhood innocence, and Wynonna sings it beautifully.

While it is a long way from traditional, and a purist might challenge its country credentials on any level, Wynonna was able to take her place in the diverse sounds of 1990s country music. It’s an accomplished record in its own right, genre considerations aside, but that does make it tough to assign a grade to on a country blog.

Grade: B

Week ending 3/5/16: #1 singles this week in country music history

3bc2f57b-fddc-d074-4ed0-c17d293ef3781956 (Sales): I Forgot to Remember to Forget/Mystery Train — Elvis Presley (Sun)

1956 (Jukebox): I Forgot to Remember to Forget — Elvis Presley (Sun)

1956 (Disc Jockeys): Why Baby Why — Red Sovine & Webb Pierce (Decca)

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: Good Hearted Woman — Waylon Jennings & Willie Nelson (RCA)

1986: You Can Dream of Me — Steve Wariner (MCA)

1996: Wild Angels — Martina McBride (RCA)

2006: When I Get Where I’m Going — Brad Paisley with Dolly Parton (Arista)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Dibs — Kelsea Ballerini (Black River)

Album Review: Gene Watson – ‘Real. Country. Music.’

real country musicWhile his commercial success never equalled his prowess, Gene Watson is one of the great country singers. Furthermore, of all the veterans still performing, his voice has held out the best, and almost unbelievably, he still sounds glorious at over 70. Gene’s producer for the last few projects, Dirk Johnson, does his usual sterling job – few album titles are as accurate about the contents as this one. The songs are all older ones, making this album something of a companion piece to its immediate predecessor, My Heroes Have Always Been Cowboys, and are almost all emotional ballads about lost love, which play to Gene’s strengths as a vocalist.

One does not normally expect to hear a Gene Watson album opening with swelling strings, but his voice soon takes over, and the remainder of the album comprises familiar country arrangements featuring fiddles and steel guitars. ‘Enough For You’ is an excellent Kris Kristofferson tune which first appeared on the latter’s Jesus Was A Capricorn album in 1972. Gene says he first heard it in 1980 in the form of Billie Jo Spears’s cover (from her 1975 album Billie Jo), and has wanted to record it ever since. The suicidal cuckold’s lament is perfectly suited to Watson’s perfectly judged vocal, and is the first single.

‘She Never Got Me Over You’ is the last song Keith Whitley wrote before his untimely death (with the help of Dean Dillon and Hank Cochran). A powerful song about love and obsession, it was recorded a few years ago by Mark Chesnutt, but Gene makes it sound as if it was written just for him. If you want to check out Keith’s original demo, it’s on youtube.

There are two covers of Larry Gatlin songs, both of which were recorded by Elvis in the 70s. The gospel ballad ‘Help Me’ is delicately understated (and may serve as a taster for a new religious album Gene plans to release later this year). ‘Bitter They Are, Harder To Fall’ is a classic heartbreak ballad which Gene actually recorded many years ago on his early album Because You Believed In Me.

Gene revisits a number of other songs he has previously recorded on this album. ‘Old Loves Never Die’ was never a single, but as the title track of one of his most successful albums is perhaps the most familiar to fans. The melancholic ‘Ashes To Ashes’ was on his excellent but often overlooked 1987 alDbum Honky Tonk Crazy (his final Epic release). He covered the superb ‘Couldn’t Love Have Picked A Better Place To Die’ (previously cut by George Jones) on his now hard to find 1997 album A Way To Survive; this new steel-led recording is beautiful. He cut Bill Anderson’s ‘When A Man Can’t Get A Woman Off His Mind’ on his Sings set in 2003; another jealous man’s pain-filled take on love lost but still deeply felt, this is magnificently sung.

A little less familiar is ‘A Girl I Used To Know’ – not the classic song of that name, but a David Ball song from the latter’s underrated 2004 album Freewheeler. A subtly sad, slow song about poignant memories of lost love with the steel guitar to the fore, it fits nicely with the other material. ‘A Bridge That Just Won’t Burn’ is a wonderful song written by Jim McBride and Roger Murrah which was one of Conway Twitty’s last few singles. Nat Stuckey’s emotional All My Tomorrows’ is another fine song and recording.

The one song not fitting the pattern of slow sad songs is a honky tonker previously recorded by Waylon Jennings and Jerry Lee Lewis, ‘I’ll Find It Where I Can’. One venture away from country territory is a cover of the Nat King Cole hit ‘Ramblin’ Rose’. Although there have been country covers of the song before, none was a big hit. Gene’s version is nice, and he certainly mnages to make it sound like a country song, but insofar as this album has a weak spot, this is it.

This is a superb album of excellent songs by one of the genre’s all time great singers, who is, thankfully, still in possession of his golden voice.

Grade: A+

Week ending 2/27/16: #1 singles this week in country music history

1956-september-1-3b1956 (Sales): I Forgot to Remember to Forget — Elvis Presley (Sun)

1956 (Jukebox): <Why Baby Why — Red Sovine & Webb Pierce (Decca)

1956 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: Good Hearted Woman — Waylon Jennings & Willie Nelson (RCA)

1986: There’s No Stopping Your Heart — Marie Osmond (Capitol/Curb)

1996: Bigger Than The Beatles — Joe Diffie (Epic)

2006: Jesus, Take The Wheel — Carrie Underwood (Arista)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Backroad Song — Granger Smith (Wheelhouse)

Spotlight Artist: Glen Campbell

glen campbellAs he slowly fades away due to Alzheimer’s, I think it appropriate that we take a look at the long and illustrious career of Glen Campbell.

Assessing Glen’s career is very difficult because he was so very talented. As a singer and musician he probably was as talented as anyone who ever graced the American musical stage. Over the course of his career Glen placed eighty songs on Billboard’s Country, Hot Hundred and Adult Contemporary charts with many of the songs appearing on multiple charts. Many of his singles charted in England, Australia and Ireland, with scattered hits in non-English speaking countries.

Glen could sing anything and sing it well, be it rock and roll, country, pop standards, rhythm and blues or folk. Jimmy Webb heard an early Glen Campbell single on the radio and decided that he wanted Glen Campbell to sing his songs.

As a musician you can hardly name a stringed instrument that Glen Campbell couldn’t play. He was a wizard on the twelve string guitar, six string guitar (electric and acoustic), bass, banjo, fiddle, If you can name it, Glen Campbell probably could play it.

Although Glen was not especially known as a songwriter, he did pen a few songs. He might have written more songs, but with the top songwriters of the day pitching their best material to him, there wasn’t a compelling need for him to do so.

Glen Travis Campbell was born in 1936 in the town of Billstown, Arkansas; however, he was usually billed as being from the nearby town of Delight, Arkansas. He started playing guitar as a teen and moved to Albuquerque in 1954 to play in his uncle’s band and later to form his own band. In 1960 he moved to Los Angeles to become a session musician, playing on recordings by artists as diverse as Nat King Cole, Frank Sinatra, Elvis Presley, Jan & Dean and Ricky Nelson. He also became part of a group known as the Champs and obtained a recording contract with Crest Records.

In 1962 Glen signed with Capitol Records. Capitol had great faith in the Glen allowing to record five non-charting albums and a bunch of relatively unsuccessful singles before finally achieving his first solo top twenty country single with “Burning Bridges” in 1966. Along the way he became a touring member of the Beach Boys, filling in for Brian Wilson on road dates.

Capitol Records teamed Glen with producer Al DeLory in 1966. The first collaboration, “Burning Bridges” got the ball rolling for Glen. From that point forward over a decade’s worth of hit singles and best-selling albums would follow, along with a television show, movie roles and many concert appearances . Although Glen’s recording career would cool off during the 1980s, he would continue to place singles and albums on the charts through the end of the decade and into the early years of the 1990s. A brief renaissance would occur after 2005.

Our spotlight series will start with Glen’s first platinum album Gentle On My Mind, but the five albums that preceded it are worth investigating as they will show Glen in a variety of setting of musical settings from bluegrass to traditional country to folk to rock to pop country. I would particularly recommend checking out The Astounding Twelve String Guitar of Glen Campbell and The Big Bad Rock Guitar of Glen Campbell to get a dose of Glen’s awesome instrumental prowess.

We are proud to present Glen Campbell as our November Spotlight artist.

Classic Review: Stonewall Jackson – ‘Stars Of The Grand Ole Opry’ (1981)

stars of the grand ole opryDuring the 1960s, 1970s and 1980s major labels trimmed their rosters, shedding veteran artists who were no longer cranking out the hits or generating decent album sales. Sometimes these veteran artists would find another major label deal but mostly these artists wound up on minor / independent labels. Even those artists who managed to find a major label deal found their stay at the new label to be a short one that lead to landing on a minor label (for example, Jimmy Dickens: Columbia > Decca > Gusto / Charlie Walker: Columbia > RCA > Plantation).

While on the minor / independent labels, most of the veteran artists recorded very little new material, usually producing an album or two of dreary remakes of their older hits with perhaps some covers of other big hits from artists (it is astounding how many artists issued albums listing songs such as “San Antonio Rose”, “There Goes My Everything” and “There Stands The Glass” among their greatest hits).
Most of these albums featured low budget production, thin sound, and were recorded with minimal numbers of disinterested musicians accompanying a bored vocalist singing songs sung literally thousands of times before.

First Generation Records was owned by Pete Drake (1932-1988), one of the great steel guitar players, and a musician who was not about to settle for the bored and tired performances described above. Producing the records himself, and often playing steel guitar on the recording sessions, Pete gathered a group of excellent musicians to play on his recording sessions. Rather than merely re-recording an artist’s older hits, Pete’s Stars of the Grand Ole Opry series generally featured five songs new to the artist (and often simply new songs) followed by five of the artist’s older hits but with a difference, that difference being energized singers and musicians. Among the artists featured on the series were Ferlin Husky, Jan Howard, Vic Willis, Stonewall Jackson, Billy Walker, Ernest Tubb, George Hamilton IV, Ray Pillow, Jean Shepard, The Wilburn Brothers and Charlie Louvin. While all were decent to very good albums, the album with Stonewall Jackson is the standout among the series.

Prior to this album, Stonewall Jackson has not spent much time in the recording studios since his last new Columbia album was issued in 1971. There had been an album in 1976 for GRT (I think the tracks were leased from MGM, intended for a never released 1973 album) reprising his Columbia hits in the manner of most remake albums, plus a deplorable new song from Foster & Rice titled “Herman Schwartz”. There was a pair of 1979 albums for Little Darling with little to recommend them. One of the Little Darlin’ albums was remakes and the other was largely undistinguished new material, although two of the songs had clever song titles, “The Pint of No Return” and “The Alcohol of Fame”.

For Stonewall Jackson’s First Generation sessions, in addition to playing steel himself, Pete gathered up an all-star lineup of Nashville session men including Jimmy Capps, Billy Sanford, Pete Wade and Bill Hullett (guitar), Jimmy Crawford and John Hughey (steel), Hargus “Pig” Robbins and Bobby Emmons (piano), Tommy Williams (fiddle), Bob Moore and Randy Best (bass).

The album opens up with the Billy Joe Shaver composition “I’m Just An Old Chunk of Coal”, a very recent hit for John Anderson (I think it is possible that Jackson’s version pre-dates Anderson’s recording, but I’m not certain); Billy Joe’s album also hit the streets in 1981. Whatever the timing, I feel that the Stonewall Jackson recording is the best recording I’ve ever heard of the song, far better than Billy Joe’s version and slightly better than John Anderson’s version. Stonewall sings the song with great enthusiasm as the lyric fits the ‘hardscrabble-pull up your own bootstraps’ upbringing of Stonewall’s youth:

Hey, I’m just an old chunk of coal
But I’m gonna be a diamond some day
I’m gonna grow and glow till I’m so blue, pure, perfect
I’m gonna put a smile on everybody’s face
I’m gonna kneel and pray every day
At last I should become vain along the way
I’m just an old chunk of coal now, Lord
But I’m gonna be a diamond some day

R.J. Jones and M. Kosser wrote “Full Moon, Empty Pockets”, a song that several artists subsequently recorded. The song tells a tale of woe that many of us have encountered – time on our hands but no money.

Full moon empty pockets
Stone broke on a Saturday night
Full moon empty pockets
Won’t a lady treat a cowboy right

Next up is “There Are No Shortcuts (To Get Me Over You)”, a good heartbreak ballad that of the kind that Stonewall Jackson always tackled well. This is followed by a song from Ben Peters and Curly Putman, “Breaking Up Breakdown”, a song that I could see as a successful single had it been issued in 1966 rather than 1981. The song is an up-tempo barroom ballad in which the narrator asks for the band to keep playing that song about breaking up.

The last of the newer songs is ”Let The Sun Shine On The People” by Frank Dycus and Larry Kingston. Frank Dycus, of course, wrote some of George Strait’s hits and Larry Kingston provided a number of songs to Johnny Bush and other singers.

At this point the nostalgia trip begins, but with an enthusiastic Stonewall Jackson leading the way on excellent new versions of some of his classic hits, starting off with his biggest hit (#1 Country / #4 Pop) “Waterloo”. For those familiar only with the ABBA hit of the same name, this song is a bit of a romp through history referencing Adam, Napoleon and Tom Dooley:

Now old Adam, was the first in history
With an apple, he was tempted and deceived
Just for spite, the devil made him take a bite
And that’s where old Adam met his Waterloo

Chorus
Waterloo, Waterloo
Where will you meet your Waterloo
Every puppy has his day and everybody has his day
Everybody has to meet his Waterloo

Waterloo was such a big hit that Homer & Jethro took the time to spoof it:

The Lone Ranger and Tonto rode the trail
Catching Outlaws and putting them in jail
But the Ranger shot Tonto for it seems
He found out what ‘kemosabe’ means

Perhaps Stonewall’s most enduring song, “Don’t Be Angry,” is up next. Written by Stonewall’s brother Wade Jackson, not only was it a big hit for Jackson, but Donna Fargo took the song to the top during the 1970s and the song has been covered by many artists and remains in the active repertoires of county bar bands across the USA.

Don’t be angry at me darling if I fail to understand
All your little whims and wishes all the time
Just remember that I’m dumb I guess like any foolish man
And my head stays sorta foggy cause you’re mine

Well, I recall the first time that I flirted with you dear
When I jokingly said come and be my bride
Now that time has turned the pages it’s the sweetest joke on earth
That I have you near forever by my side

Joe Babcock authored the next Stonewall Jackson classic “I Washed My Hands In Muddy Water”, which also was a major hit for pop crooner Pat Boone and has also been a favorite of the R&B crowd and many of the rock & roll crowd as well, including Elvis Presley and Johny Rivers

I was born in Macon Georgia
They kept my daddy over in Macon jail
He told me if you keep your hands clean
You won’t hear them bloodhounds on your trail

Well I fell in with bad companions
Robbed a man, oh up in Tennessee
They caught me way up in Nashville
They locked me up and threw away the key

Chorus
I washed my hands in muddy water
Washed my hands, but they didn’t come clean
Tried to do what my daddy told me
But I must have washed my hands in a muddy stream

Next up is Bill Johnson’s “A Wound Time Can’t Erase”, a sad and tender ballad that was a big hit for Stonewall and later for Gene Watson.

The fifth and final Stonewall Jackson classic is the Melvin Endsley / Stonewall Jackson composition “Why I’m Walkin’”, a song Ricky Skaggs covered during the 1980s. Melvin Endsley was a disabled person who wrote several classic country songs including “Singling the Blues” and “Knee Deep In The Blues”. Some readers may remember an alternate title “Got My Angel On My Mind”, but however you label this ballad, it’s a good one.

I’ve got an angel on my mind, that’s why I’m walkin’
There’s such an aching in this old heart, now I ain’t talkin’
The little hand that held mine tight, just waved goodbye tonite
I’ve got her sweet love on my mind, that’s why I’m walkin’

This album is still readily available on CD, as are most of the other albums in the series. Unfortunately, Pete Drake began experiencing health problems in 1985 and passed away in 1988. I would like to have seen Pete issue new albums on the next generation of veteran artists released by the major labels. It would have been much better music than much of what was actually released by other minor/ independent labels over the next decade. Anyway, almost unique among this class of minor label albums by veteran artists, this album rates a solid A, the first album for Stonewall in many years that I would rate that highly.

Album Review: Waylon Jennings – ‘Honky Tonk Heroes’

honky tonk heroesWaylon’s 1973 album Honky Tonk Heroes was his tribute to the songs of hellraising singer-songwriter Billy Joe Shaver, who was new to Nashville and wrote every song but one. The songs proved ideally suited to Waylon’s increasingly rebellious persona.

The one non-Shaver tune, ‘We Had It All’, perhaps included as a more commercial option for a single, was only a modest hit, sneaking into the top 30. A fairly heavily strung emotional ballad penned by Troy Seals and Donnie Fritts, it is well sung by Waylon, but the arrangement makes it feel out of place on this particular album.

The mid-tempo ‘You Ask Me To’, a Jennings/Shaver co-write, was more successful, peaking at #8. It is a charming declaration of unconditional love, which was also picked up by Elvis Presley.

The rollicking harmonica-led title track pays cheerful tribute to those

“Lovable losers, no account boozers
And honky tonk heroes like me”

The more subdued and regretful steel-laced ballad ‘Old Five And Dimers (Like Me)’ is perhaps the best song on the album. It also served as the title track for Shaver’s own debut album the same year, which included the writer’s take on a number of the songs chosen here.

‘Willy The Wandering Gypsy And Me’ paints the portrait of a pair of wild-living ramblers, following the mantra,

“Movin’ is the closest thing to bein’ free”.

The same theme is visited in ‘Low Down Freedom’, with the narrator ready to run out on his latest girl, despite realising his quest for “freedom” has actually cost him “everything I’ll ever lose”.

Shaver wrote ‘Omaha’ with Hillman Hall (brother of the more famous Tom T.). The roamer in this song has started to feel homesick for Nebraska after a spell in California, part of it in jail, and is going back home. Another jailbird, the protagonist of ‘Ain’t No God In Mexico’ finds himself in trouble south of the border.

‘Ride Me Down Easy’ is yet another song about the hardships of a good hearted rambling man’s life:

It’s been a good month of Sundays and a guitar to go
Had a tall drink of yesterday’s wine
Left a lot of good friends some sheeps in the wind
And satisfied women behind.

Ride me down easy Lord, ride me on down
Leave word in the dust where I lay
Say I’m easy, come easy go
And easy to love when I stay

’Black Rose’ is a dramatic story song about temptation and sin:

When the Devil made that woman
Lord, he threw the pattern away
She were built for speed
With the tools You need
To make a new fool every day.

Way down deep and dirty
On the darker side of shame
I caught a cane cuttin’ man and a bottle of gin
With a rose of a different name.

The Devil made me do it the first time
The second time I done it on my own
Lord, put a handle on a simple headed man
Help me leave that black rose alone.

This classic album is the real dawn of Waylon the “Outlaw”. It is also a genuinely great record which deserves to be heard.

Grade: A+

Revelations from Music Vendor/ Record World

Hit_Country_RecordsAs the ‘last man standing’ Billboard‘s country charts have taken on an almost mythical importance, yet for most of the 1940s and 1950s, Billboard did a relatively poor job in recording the history of country singles in that their various country charts only went 10-15 places deep.

Music Vendor (later Record World) started tracking country music in 1954 and immediately started tracking 55 chart places for country records, a depth of country charts Billboard wouldn’t approach until 1964 when Billboard went to 50 places. For purposes of simplicity, I will always refer to Music Vendor/ Record World as ‘Record World‘.

Joel Whitburn’s new volume Hit Country Records 1954-1982: Music Vendor/Record World performs a valuable service in restoring to the known discography of country music a staggering 1700 songs and 200 artists that Billboard failed to chronicle.

I always thought that the Wilburn Brothers had a relatively thin representation on the Billboard charts with 31 chart entries from 1954-1972, with many songs that I knew to have been at least mid-level hits not being tracked by Billboard. Turns out that the Wilburn Brothers were the poorest served of all country artists by Billboard with a staggering 30 songs not tracked by Billboard. Other artists with huge holes in their Billboard chart discographies include Hank Snow (26 songs), Eddy Arnold (23 songs), Kitty Wells (21 songs), Hank Thompson (21 songs), Johnnie & Jack (20 songs) and Ernest Tubb, Marty Robbins, Ferlin Husky and George Jones (each with 19 songs).

Among Bluegrass artists, Flatt & Scruggs pick up an extra 15 chart entries, Mac Wiseman (13), Jimmy Martin (6), Bill Monroe (4), and the Osborne Brothers (4).

There were also apparently differences in how artists were classified. Country audiences always loved Brenda Lee, Elvis Presley, George Hamilton IV and Conway Twitty, a fact Billboard somehow failed to acknowledge. After missing “Jambalaya”, Billboard tracked “One Step At A Time”, and then missed the next eleven consecutive Brenda Lee songs including such monsters as “Dynamite”, “Sweet Nothings”, “Fool #1” and “Break It To Me Gently”.

The track record on Elvis was worse as Billboard failed to track “That’s All Right” and “Blue Moon of Kentucky” and “Blue Suede Shoes”, along with 15 more songs.

Record World tracked six George Hamilton IV singles before Billboard got around to recognizing “Before This Day Ends” as a country single. Ditto for Conway Twitty who Billboard picked up as country with “Guess My Eyes Were Bigger Than My Heart”, after ten singles had already been tracked by Record World.

While most of the songs that Music Vendor/Record World picked up were second tier hits, there were some surprising Billboard misses uncovered such as the George Jones favorites “Tall Tall Trees”, “Eskimo Pie” and “Nothing Can Stop Me (Loving You)”. A very famous song from 1955 was Bobby Lord’s 1955 hit “Hawkeye”; Billboard missed the song entirely on any of its charts, whereas Record World had it charting for twelve weeks, reaching #16.

I mentioned that approximately 200 artists show up in this book that Billboard never tracked on its country charts. These include Carl Dobkins Jr (three songs including “My Heart Is An Open Book” which Record World has as a #2 country hit, and Billboard had reach #3 pop), Pete Drake (three instrumental singles), and Buddy Holly (four singles including “Peggy Sue” and “Maybe Baby”).

I’ve only had this fascinating book for two days and I will probably report further as time permits, but it would be remiss of me not to further examine the song that initially got me interested in charts. Yes – I do mean “Groovy Grubworm” by Harlow Wilcox and The Oakies. Cashbox had the record reach #1 on its country chart (#24 pop) for two weeks whereas Billboard had the record stall out at #42 on the country chart while reaching #30 on the pop charts. This was the biggest chart disparity ever between singles that reached #1 on either the Billboard or Cashbox country chart but not the other chart.

The record was hugely successful, selling a million copies between the US and Canadian markets (it was a top ten hit on several Canadian regional pop charts), so I was curious to see how Record World treated “Groovy Grubworm” on its country charts, recalling that Record World had the song chart higher on its pop chart (#23) than did either Cashbox or Billboard.

Drum roll please :

Record World had the song reach #3 for one week on its country chart during its thirteen week chart run.

Album Review: Dwight Yoakam – ‘Second Hand Heart’

61TTBEi0Q3LI was singularly unimpressed with Dwight Yoakam’s last album 3 Pears, which I reviewed when it was released in September 2012. The B- rating I gave it seems generous in retrospect. The project was so lackluster that I greeted the release of Yoakam’s new album with some trepidation and didn’t even bother to listen to it until well after a week after I downloaded it.

I’m pleased to report that my fears were totally unfounded, as Second Hand Heart, Dwight’s second album since returning to the Warner Bros. Nashville roster, is infinitely superior to its predecessor. While not as traditional as his 80s and early 90s work, it is more in line with the type of music he was making in the early 2000s, a la Tomorrow’s Sounds Today. Produced by Dwight with Chris Lord-Alge, it is best described as Buck Owens and Johnny Cash meet the Beatles and Phil Spector. The trademark Bakersfield sound is still there — particularly on tracks like “Off Your Mind” and “The Big Time”, but others are more reminiscent of 1960s rock with their emphasis on electric guitars, Wall of Sound-like production, and a little more reverb than I would have liked.

Despite his reputation as a New Traditionalist, Dwight has always pushed the boundaries of country music, so it’s no surprise that there are a variety of musical influences heard on this album. The guitar work on “Dreams of Clay”, a remake of a cut on his 2000 album Tomorrow’s Sounds Today is slightly reminiscent of Elvis Presley’s “Suspicious Minds” (which Yoakam covered in the early 90s), and as one of the few songs on the album without excess reverb, it’s one of my favorites, along with “Off Your Mind” and the title track. The Beatles influence is most apparent on “She” and “Liar”.

There are only two songs on the album that Dwight did not write — a cover of the traditional “Man of Constant Sorrow” and the beautiful closing track “V’s of Birds”. The former is done as a rockabilly number and doesn’t quite work; I prefer a more traditional “high lonesome” interpretation. The latter, with its piano intro is a pure pop number without the rock influences that pervade the rest of the album. It is very well done and might have been a hit for Dwight earlier in his career. Predictably, the title track and lead single has so far been ignored by radio; however, the album itself is doing quite well, selling 21,000 in its first week and debuting at #2 on the Billboard Top Country Albums chart. It’s Yoakam’s highest charting album since 1988’s Buenos Noches From A Lonely Room and deservedly so. While I would have preferred something a little closer to that 1980s classic, Second Hand Heart is a welcome return to form for one of country music’s most talented and enduring artists.

Grade: A-

Album Review: Country Music of Your Life

country-music_good-brightTime-Warner has long been a trusted name for providing excellently re-mastered music in various genres of music. Country music fans may remember the Country USA series that covered each year for the period 1950-1972 with 24 songs, including some interesting songs that weren’t necessarily the biggest hits (usually because they weren’t on major labels).

The R&B market was covered by a similar series and the Easy Listening market hit the jackpot with the Your Hit Parade series that exhaustive covered the years 1940-1960 by year plus a bunch of CDs that grouped music together by theme or topic and extended the series into the 1960s, I don’t know whether or not I have the entire Your Hit Parade series but I do have forty-one CDs of the series covering about 1000 recordings.

Subsequent Time-Life series have featured the same digital mastering and useful notes but have been less exhaustive in scope. The Contemporary Country series would cover a three or four year period with a single disc of 22 songs, so the lesser known and minor label songs largely were gone. The latest Time-Life series is a collaboration with Music of Your Life, a radio format largely devoted to the easy listening/adult contemporary music market. Time-Life has collaborated before with Music of Your Life in assembling CDs of the music usually associated with the format. The actual label for this set is Star Vista/Time Warner.

Titled Country Music of Your Life, this latest set is a group of five two-CD sets in standard CD jewel boxes that hold two CDs. The booklet in the jewel box gives only the songwriting and publisher credits and billboard chart information . Additional information is contained in the 36 page book enclosed in the box. The titles of the CD sets are Talking In Your Sleep, Satin Sheets, I Believe In You, For The Good Times and Sweet Country Ballads. All but the last set are named after a song featured on one of the discs of the set.

By and large the first four sets are just random assortments of songs. All of the songs are big hits performed by the artists that enjoyed the hit, and the songs cover a wide range of dates. The first set has Hank Williams’ posthumous 1953 hit “Your Cheatin’ Heart” and Kenny Rogers’ 1980 hit “Lady” with sixteen of the tracks from the 1970s. The second set follows a similar pattern with Lefty Frizzell replacing Hank Williams as the token early 1950s representative.

The fifth set would please any fan of traditional country music (aside for the two Elvis Presley tracks, one a cover of “Green Green Grass of Home”). This set includes such gems as “Crazy Arms”, “Once A Day”, “Ring of Fire”, “Walk Through This World With Me” and “Please Help Me I’m Falling”. In theory the set consists of four two-CD sets with the fifth set as a “free bonus” (the television advertising was misleading). Accordingly, the enclosed book, although truly excellent, only covers the first four sets. The book is concise and well-written, giving interesting tidbits of information about the song and/or the performance, there are eight full page photographs of some of the stars (I think they reversed the image of the Glen Campbell photograph, which I recognized as the cover photo from Glen’s Wichita Lineman album) . Here’s an example of the book’s tidbits, this one about Sammi Smith’s “Help Me Make It Through The Night”:

“Whatever criticism that had been leveled against Nashville’s conservative approach to how records sounded, there’s no question that the songs themselves were getting edgier. Sammi Smith moved to Music City in 1967 and befriended songwriter Kris Kristofferson. County fans bought into the sexual frankness of ‘Help Me Make It Through The Night’; the single went gold,earning Grammys for both Smith and Kristofferson. Smith’s record also boosted Kristofferson’s reputation as one of the best songwriters of his generation.”

Here’s another, this one on Waylon Jennings’ “Amanda”:

“Bob McDill called ‘Amanda’ an apology to his wife, Nan, and it almost became the hit that got away for Waylon Jennings. McDill sent the demo to Waylon’s office, where it got lost. Jennings, who first heard the song when Don Williams’s version came out in 1973, recorded ‘Amanda’ for his 1974 album The Ramblin’ Man. RCA added overdubs nearly five years later; the “new and improved” ‘Amanda’ gave Waylon his seventh No. 1 hit as a solo artist.”

The booklet in the jewel box for the fifth or “bonus” set is flawed in that it only gives information for the first disc in the set.

If you are new to country music and suspect that there is more to the genre than Rascal Flatts, Jason Aldean, Luke Bryan and (ugh) Florida Georgia Line, this set is a good starting point. With the notable exceptions of Ernest Tubb, Carl Smith and Webb Pierce, most of the most significant artists of the period 1952-1988 are represented here, even if there is a bit more Elvis Presley and Olivia Newton-John than I feel is justified. The sound quality is terrific – you won’t hear better recordings of these songs.
Apparently there is a deluxe edition available for purchase which features 270 songs on eighteen discs. In either version the discs average 15 songs per CD (30 songs per set) and cost about $15 per disc or $30 per two disc set. Payment installments are available.

I would give the following grades:

Sound Quality:    A+
Book & Booklets:  A-
Song Selection:  B-
Value:   B-

The song lists as well as ordering information can be found at the Time-Life website.

Album Review: Dean Dillon – ‘I’ve Learned To Live’

i've learned to liveMost fans will know Dean Dillon as a fine songwriter, who cranks out hits for other artists. Unfortunately, this album will do nothing to dispel that notion. By the time this album came along in 1989, Dillon had already largely figured out his fate in life (although he still harbored some delusions of grandeur as a singer) and mostly had quit trying to save his best material for himself. I’ve Learned To Live consists largely of material he had not been able to pitch elsewhere. That is not to say that there aren’t some good songs here, just that the material with real hit potential had already been channeled to George Strait, Vern Gosdin and other top-shelf artists. That said, I really enjoyed this album, which I regard as his best solo effort.

The album opens up with “Just In Time” an up-tempo song co-written with Frank Dycus. There is some nice mandolin playing on the track by Randy Scruggs.

“Changes Comin’ On” is a slow ballad that probably is the best song on the album. Co-written with Jimmy Darrell and Buddy Cannon. Alabama and Gene Watson recorded this song on albums.

Well, I’m still hooked on Haggard
But the Beatles can’t come back like we hoped they would
In Memphis, Tennessee, King is gone
As I put my kids to bed, oh, I wonder what lies ahead for them to see
‘Cause I can feel the change comin’ on

I can feel changes comin’ on
People still are singin’ different songs
They’re searchin’ for the place where they belong
I can feel changes comin’ on

“Who Do You Think You Are”, co-written with Frank Dycus, is a nice ballad that would have made a good single for someone.

“Don’t You Even Think About Leaving” features the great Tanya Tucker duetting with Dean. The song is quick, sassy and well suited for a duet. Johnny Gimble plays fiddle as only he can.

“I’ve Learned To Live”, co-written with Frank Dycus, is a nice ballad that Shelby Lynne also recorded. Dean does a nice job with the song

Like a child lost in the wilderness I knew not where to go
Surrounded by the emptiness of a love that left me cold
I stumbled through the darkness of nights that have no stars
And days that have no sunshine to warm my naked heart

Like a bird in flight brought down by stones from an unknown assailant’s sling
A stranger took you from my arms and I lost everything
In days to come I nearly ran out of ways to stay alive
But through it all I never lost the will to survive

But I’m not over you and I doubt that I’ll ever be
So I’ve learned to live and you won’t be the death of me oh no
Yes I’ve learned to live and I’m doing well but I’m not over you

“It’s Love That Makes You Sexy” was one of two singles issued from the album. It’s not a bad song (actually the Dean Dillon / Frank Dycus pairing didn’t write any bad songs) but Dean just wasn’t a marketable singer. Despite Sonny Garrish’s nice steel guitar work, this one died at #61 in 1989.

The next single “Back In The Swing of Things” fared even worse, dying at #89 (it reached #70 on the Canadian Country charts). Dean’s version of the song really does swing – with Johnny Gimble on fiddle and Sonny Garrish on steel, how can it not swing? Co-writer Vern Gosdin also recorded the song on an album. The song really should have been a hit – I would rate it as the second best song on the album.

Hank Cochran collaborated with Dean on “Summer Was A Bummer”. It’s a nice song but nothing special.

“Her Thinkin’ I’m Doin’ Her Wrong” sounds like a country song from the 1965-1975 period with the steel guitar serving as the lead instrument with Johnny Gimble lending a few flourishes with his fiddle. Glenn Martin co-wrote this song and also wrote a bunch of hits for people like Charley Pride and Merle Haggard, either of whom would have had a hit on this song during their heydays.

Her thinkin’ I’m a doin’ her wrong
Ain’t a doin’ me right

The album closes with “Holdin’ Pattern, a nice ballad that Dean sings well.

Dean’s prior album Slick Nickel reeked of 1980s production values. In contrast, this album has more authentically country production with but slight traces of the sound that characterized the early 1980s. He has an ace fiddle player in Johnny Gimble, a superb steel player in Sonny Garrish, a multi-instrumental wizard in Randy Scruggs, and a solid second fiddler in Paul Anastasio. Unfortunately, if this album couldn’t produce any hits for Dean, it would seem unlikely that he could ever break through as an artist. I’d give this album a B+.

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