My Kind of Country

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

Tag Archives: Exile

Week ending 9/9/17: #1 singles this week in country music history

1957 (Sales): Whole Lot of Shakin’ Going On — Jerry Lee Lewis (Sun)

1957 (Disc Jockeys): Bye Bye Love — The Everly Brothers (Cadence)

1967: Your Tender Loving Care — Buck Owens (Capitol)

1977Don’t It Make My Brown Eyes Blue — Crystal Gayle (United Artists)

1987: She’s Too Good to Be True — Exile (Epic)

1997: She’s Got It All — Kenny Chesney (BNA)

2007: These Are My People — Rodney Atkins (Curb)

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

2017 (Airplay): No Such Thing As a Broken Heart — Old Dominion (RCA)

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In Memoriam: Mark Gray (1952-2016)

Singer/Songwriter Mark Gray has passed, aged 64. The onetime member of Exile wrote ‘The Closer You Get,’ which was recorded by Alabama and hit #1 in 1983. Another notable recording, ‘Sometimes When We Touch’ paired him with last month’s spotlight artist Tammy Wynette. The song peaked at #6 in 1985. It would be her final Top Ten charting single. His biggest solo single, “Please Be Love” peaked at #7 the same year.

 

Week ending 11/5/16: #1 singles this week in country music history

ray-price1956 (Sales): Crazy Arms — Ray Price (Columbia)

1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Disc Jockeys): Crazy Arms — Ray Price (Columbia)

1966: Open Up Your Heart — Buck Owens (Capitol)

1976: Among My Souvenirs — Marty Robbins (Columbia)

1986: It’ll Be Me — Exile (Epic)

1996: Like the Rain — Clint Black (RCA)

2006: Every Mile a Memory — Dierks Bentley (Capitol)

2016: Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

2016 (Airplay):Setting the World on Fire — Kenny Chesney featuring Pink (Blue Chair/Columbia)

Spotlight Artist: Lonestar

lonestarFor many years, the prototypical country group took the form of a gospel quartet or quintet, modeled after such gospel favorites as the Jordanaires, The Old Hickory Singers, The Oak Ridge Quartet or the Blackwood Brothers. These groups were strictly vocal groups, with some sort of instrumental accompaniment, often nothing more than someone playing the piano. It was rare that the group handled its own instrumentals, other than perhaps the original version of the Sons of The Pioneers; and aside from western groups such as the Sons of The Pioneers, the repertoire was almost entirely gospel.

The first group to venture off into mostly secular music was the Statler Brothers in 1965, with the electrifying hit “Flowers On The Wall”. The Statler Brothers were strictly a vocal group, although the great Lew DeWitt played some acoustic guitar. In 1976, the Statlers were followed by the Oak Ridge Boys (formerly the Oak Ridge Quartet). Like the Statler Brothers, the Oak Ridge Boys were a gospel quartet that went secular. Both groups tended to strongly resemble the gospel groups from which they had arisen, and both groups had all four members vocals featured prominently.

It was not until Alabama came to prominence in 1980 that the modern day concept of a country group entered the public conscience. Alabama was comprised of three cousins (Randy Owen, Teddy Gentry and Jeff Cook) plus a very talented outsider in drummer Mark Herndon. Unlike other country groups, Alabama had a designated lead vocalist in Randy Owen, with the other members providing instrumental support and taking an occasional lead vocal, mostly on album cuts.

Alabama proved to be hugely successful with dozens of #1 singles and millions of albums sold. Soon additional similarly structure groups would arise such as Atlanta (1983), Exile (1983), Restless Heart (1985), Shenandoah (1987), Diamond Rio (1991), and Little Texas (1991).

Of course, every trend and/or fad runs its course and Lonestar (1992) would prove to be the last really successful band of the wave that started with Alabama.

Lonestar was unusual in that as they originally were constructed, Lonestar had two singers who perceived of themselves as the lead vocalist of the group. Richie McDonald was the lead vocalist but bass player John Rich also sang some leads (mostly on album tracks) and would be booted out of the group after the second album.

Lonestar would prove to have staying power, releasing eleven studio albums (five reached gold or platinum status) and enjoying a large number of hit singles including nine that reached #1 and another nine that landed in the country top ten. One of their #1 singles, “Amazed” also reached #1 on Billboard’s Hot 100 for two weeks sandwiched between singles by Savage Garden and Destiny’s Child, and it charted in the United Kingdom.

Although the top ten singles ceased in 2006, Lonestar is still around having just issued a new album. Richie McDonald left the group for a while, but has since returned and the band once again consists of Richie McDonald on lead vocals and piano, Michael Britt on lead guitar, backing vocals, Keech Rainwater banging on the drums and Dean Sams on keyboards, acoustic guitar and backing vocal. This is essentially the original group minus John Rich.

Lonestar has a website and is playing a full schedule of road appearances. They still sound good, and if you liked them during their 1990s heydays, you’ll like them now.

So sit back as enjoy our Spotlight review of the one of the leading country groups of the 1990s and the early 2000s.

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)

Album Review: Highway 101 – ‘Bing Bang Boom’

bing bang boomAlthough one tends to think of Paulette Carlson as the female voice of Highway 101, the fact is that Nikki Nelson has been the face of Highway 101 for far longer than Paulette Carlson. In fact Nelson has been with the group for as a long as Paulette Carlson and Chrislyn Lee combined.

Bing Bang Boom marked the debut of Nikki Nelson as the lead singer of Highway 101. While her predecessor had a more distinctive (and at times quite annoying) voice, I think Nikki’s voice is better and that she had more potential to make it as a solo act than did Carlson. Unfortunately the material on this album is not quite as strong as on the first three albums so this album did not have the impact of the first three albums

The first single for Nikki Nelson was Hugh Prestwood’s “Bing Bang Boom” an up-tempo romp that charted at #14, exactly the same spot that Carlson’s last single had attained. I think that under different circumstances that this single would have done better, but I think that the market had already turned away from Highway 101’s sound as the last two Carlson singles both failed to reach the top ten

Gather around me and lend an ear
‘Cause I got somethin’ you ought to hear
I’m tellin’ you that you ought to fear
A certain kind of love
Now it can strike in the day or night
And just as quick as a rattler’s bite
You’ve got a case of love at first sight
And it’s what you’re dyin’ of

It’s just bing bang boom, one two three
You’re feelin’ normal as you can be
And then bing bang boom, lickety split
It doesn’t come on bit by bit
It gets instantly in full swing
And it’s bing bang boom

Unfortunately, “Bing Bang Boom” would prove to be the last to twenty single for Highway 101.

The next track comes from the pen of Michael Henderson, “Wherever You Are”, a bluesy ballad of a love gone astray. Nikki really nails the vocals – the song might have made a good single. Then again, the third track, “The Blame” (from Cactus Moser, Paul Nelson, and Gene Nelson) was the second single selected, it was an excellent ballad and it died at #31. This is actually my favorite Highway 101 song, one on which Nikki proves to be the absolute master of the slow ballad

Guess I could say you never held me close,
Those certain nights I needed you the most.
But you could say that I gave up before the love was gone,
and whose to say who was right or wrong.
You’ve got your side and I’ve got mine –
the truth lies in between,
No matter how the story’s told the end is still the same.
It’s a game that’s played by fools,
and it only has one rule.
It’s not whether you win or lose,
It’s how you lay the blame.

The next track is from the pens of Cactus Moser, Gary Chapman and Michael James, anther up-tempo romp titled “Storm of Live”. I think this would have made a good single.

This is followed up by a cover of a Tammy Wynette classic, “Til I Get It Right”. Nikki gives the song a nice reading, but she doesn’t have the essential tear in the voice that unique to Tammy Wynette.

Michael Henderson wrote the next two numbers “Restless Kind” and “Honky Tonk Baby”, both decent album tracks but nothing more. “Honky Tonk Baby” has a bit of a retro or rockabilly feel to it and was actually issued as the fourth single, dying at #54.

“River of Tears” , written by Cactus Moser and Eric Silver, would have been a hit if released during the late 1960s or early 1970s. In my mind, I can hear Rhonda Vincent doing this song as a bluegrass ballad.

“Baby, I’m Missing You” was the third single off the album, reaching #22. The song was written by Steve Seskin and Nancy Montgomery. It is a nice song that would have gone top ten a few years earlier.

The album closes with “Desperate” (co-written by Cactus Moser), and Joy White’s “Big City Bound”, both good album tracks. “Big City Bound” has an arrangement that reminds me strongly of John Anderson’s 1981 hit “I’m Just An Old Chunk of Coal”.

I would rate this album as a B+. I don’t really think the band lost anything with the change of female vocalist. If anything, Nikki Nelson’s presence probably enabled the band to tackle a greater variety of material in live performance. I think the real issue here is shelf life. Highway 101 had a four year shelf life as hitmakers, and had already experienced significant falloff even before Carlson left the band, with each album charting a little lower than the previous album (#7, #8, #22 and then #29 for the Greatest Hits album. This pattern is eerily similar to the pattern for acts such as SKO/SKB, Desert Rose, Exile and Restless Heart.

Highway 101 still tours occasionally – look for them if they hit your town.

Week ending 11/21/15: #1 singles this week in country music history

Chris+Stapleton+Celebs+O+Music+Awards+Nashville+YXyP6PSnHqll1955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

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

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

1965: May the Bird of Paradise Fly Up Your Nose — Little Jimmy Dickens (Columbia)

1975: Are You Sure Hank Done It This Way/Bob Wills is Still the King — Waylon Jennings (RCA)

1985: Hang On to Your Heart — Exile (Epic)

1995: Check Yes or No — George Strait (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Tennessee Whiskey — Chris Stapleton (Mercury)

2015 (Airplay): Break Up With Him — Old Dominion (ReeSmack/RCA)

Album Review: Alabama – ‘Mountain Music’

mountain musicThe band’s third album for RCA, 1982’s Mountain Music, was produced by the band with Nashville veteran Harold Shedd. It continued the recipe as before, with similarly successful results.

All three singles were chart toppers, starting with the title track. Opening with the strains of a solo harmonica (played by Michael Douchette), and then a short verbal imitation of an elderly countryman by the band’s roadie Bob Martin, Randy Owen’s song, inspired by his memories of growing up in the shadow of Lookout Mountain, Alabama, paints an idyllic picture of a rural Southern childhood. It is an unexpectedly charming mixture of country-rock and bluegrass influences, with bright effervescent fiddle alongside the electric guitar. There are great harmonies, with Teddy Gentry and Jeff Cook getting a few solo lines to boot.

The second single was competently performed but not at all country sounding (and not to my taste). ‘Take Me Down’ was a cover of a failed pop single by the band Exile (who soon afterwards decamped to country music) also got some pop airplay for Alabama, reaching the top 20 on that chart.

Finally, ‘Close Enough To Perfect’ is a very nice romantic ballad, with a sweet string arrangement.

There are a couple of excellent songs among the remaining tracks. The dramatic ‘Words At Twenty Paces’, which applies Western movie metaphors to a troubled romance, was written by troubadour High Moffatt:

Just like a Western movie
A challenge has been made
A shot was fired in anger
And pride stepped off the train
Won’t we ever stop this
Killin’ me and you,
Till our hearts are up on Boot Hill
And there’s nothing we can do.

Words at twenty paces,
Anger at high noon
This house ain’t big enough for both of us
it’s comin’ soon
We’ll finish off our happiness
And run hope out of town
With words at twenty paces, Lord,
It’s love we’re gunnin’ down.

How did we ever lose
The dreams we used to share?
The gentle touch, the words of love,
The way we used to care
Sometimes your words
Cut like a bullet in my side
Oh, which is more important
Wounded hearts or wounded pride?

I got my ammunition
I know you got yours too
We know each other’s weakness
Lord, the damage we can do
Why can’t we just step aside
And put our guns away
Let love come like a cavalry
Ride in and save the day

Had it been recorded a few years later, it would have been prime fodder for a video treatment. The arrangement is contemporary country, and works well.

‘Changes Comin’ On’ was written by Dean Dillon, Buddy Cannon and Jimmy Darrell, and chronicles the changes in music and American society since the 1960s. It is an excellent song, and Alabama’s version is great – for the first three and a half minutes. Unfortunately, the track then goes “on and on and on” (as they sing themselves) for the same length of time again, without actually going anywhere. Pointless and self indulgent.

Jeff Cook’s vocals are mediocre compared with those of his cousin Randy Owen, but he got his chance to sing lead on two songs here, both heavier of the rock than country. His own ‘Lovin’ You Is Killin’ Me’ is no better than average, while a cover of Creedence Clearwater Revival’s Green River’ is dull. Neither song is helped by the monotonous vocal.

Teddy Gentry takes the lead on his own ‘Never Be One’, a sentimental ode to a toddler daughter, which is sweet to the border of saccharine. The child makes a small cameo appearance. In a complete change of tone, the faux sexy ‘You Turn Me On’ (written by Gentry and Owen) features an overdone Conway Twitty impersonation (although Randy sings the verses pleasantly enough).

The record closes with the enjoyably rowdy ‘Gonna Have A Party, written by Kieran Kane (future member of The O’Kanes’), 60s rocker Bruce Channel, and Cliff Cochran.

Mountain Music was the group’s first album to hit the platinum mark, and has now sold five times that. It’s a bit of a mixed bag in terms of material, but has some pretty good tracks.

Grade: B+

Spotlight Artist: Alabama

alabamaA long time ago, back in 1969, there were three cousins in Fort Payne, Alabama, who decided to form a band. The band kept practicing and perfecting their craft, eventually becoming a proficient bar band, traveling the southeastern US and landing an extended gig at the Bowery in Myrtle Beach, SC. For part of this period they used the name Wildcounty but eventually the band became known simply as ‘Alabama’. They not only wrote some of their own material, but came up with a unique sound that eventually attracted the interest of the Dallas-based MDJ label. The release in 1979 on MDJ of “My Home’s In Alabama” reached #17 and got the folks at RCA Records interested in them, so much so that they signed to RCA in March 1980, beginning an extended period of huge success.

At the time they arrived on the national scene in 1980, I was not a big fan of the band, but as time went by, I developed a strong respect for the band and a deeper appreciation of their music and their status as trailblazers in vocal group country music.

This is not to say that there had not been vocal groups in country music before. Far from it, as groups such as the Sons of The Pioneers, The Willis Brothers, The Four Guys, The Oak Ridge Boys and, most notably, the Statler Brothers had been having considerable success for years before Alabama arrived.

The Willis Brothers and Sons of the Pioneers came out of the western (or western movies) tradition and really are separate and distinct from mainstream country music. The Four Guys, The Oak Ridge Boys and The Statler Brothers came out of the gospel music traditions, and even when performing mainstream country music they frequently still sounded like gospel groups. In the case of the Oak Ridge Boys and The Statler Brothers, when commercial country success abandoned them, they turned back to recording more gospel music.

Alabama was unique. They did not arise out of the western or gospel traditions but were a bar band that played in front of noisy barroom audiences, wrote their own material, covered the likes of Merle Haggard, and developed a synthesis of soft rock and country music that brought a new audience to country music. That new audience was a younger audience that had grown up on rock music but perhaps felt that rock had become too weird or perhaps simply had grown up with both rock music and country music and appreciated the synthesis that Alabama had developed.

Unlike most rock music of the time, Alabama’s music was both melodious and harmonious. Unlike most country music of the 1960s and 1970s, Alabama’s music was good dance music in a way that the music of Jimmy Dickens, Roy Drusky and Jim Reeves never could be. Plus Alabama had three really good vocalists, even if RCA insisted that Randy Owen be the lead vocalist on most tracks.

In addition to bringing a younger audience to country music, they were a huge influence on the genre as over the next decade, more and more vocal bands entered the scene, cautiously at first with Atlanta coming on the scene in early 1983, followed by more significant bands such as Exile, Restless Heart, Shenandoah, Diamond Rio, Sawyer Brown and many others.

Alabama would have an uninterrupted run of success from 1980 thru 1999, after which time the top ten hits ceased. Along the way they would enjoy thirty-three #1 singles with six other singles reaching #2, six more reaching #3 and two more getting stranded at #4. Many of their singles reached #1 in Canada including a few late 1990s singles that did not reach #1 in the US (eh?).

Alabama was lead singer Randy Owen (b. 1949) and his cousins, Teddy Gentry (b. 1952) and Jeff Cook (b. 1949). For many years it was thought by most fans that drummer Mark Herndon was a member of the group, but years after the group retired, it was revealed that he was but a paid employee of the group.

Some of my older comrades may disagree, but when I listened to Alabama’s music, I always felt that I was listening to country music, if a somewhat different form of the genre. There are many album tracks which have a far more traditional sound than some of the singles. There are fiddles and steel guitars on many tracks and while the three members of Alabama were good songwriters, they did not hesitate to record good outside material.

Join us as we look back at the career of Alabama.

Week ending 7/11/15: #1 singles this week in country music history

tanya-tucker1955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): A Satisfied Mind — Porter Wagoner (RCA)

1965: Before You Go — Buck Owens (Capitol)

1975: Lizzie and the Rainman — Tanya Tucker (MCA)

1985: She’s a Miracle — Exile (Epic)

1995: Sold (The Grundy County Auction Incident) — John Michael Montgomery (Atlantic)

2005: Fast Cars and Freedom — Rascal Flatts (Lyric Street)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Sangria — Blake Shelton (Warner Bros.)

Favorite Country Songs Of The 80s: Part 7

It seems to me that I never did finish off this series, the last installment being posted on February 11, 2014 (and the installment before that appeared April 9,2013). Here are some more songs from the 1980s that I liked. This is an expanded and revised version of the February 11, 2014 article which was a rush job :

Shame On The Moon” – Bob Seger
Bob’s 1982 recording of a Rodney Crowell song charted on the country charts in early 1983, reaching #15 in the process. The song was a bigger hit on the pop charts, reaching #2 for four weeks.

Finally” – T. G. Sheppard
He worked for Elvis, sang background for Travis Wammack, and eventually emerged with a solo career worth noting, racking up 42 chart singles from 1974-1991. This 1982 single was one of fourteen #1 record racked up by Sheppard, eleven of them reaching #1 during the 1980s.

Doesn’t Anybody Get High On Love Anymore” – The Shoppe
The Shoppe was a Dallas based band that hung around for years after their 1968 formation. In the early 1980s they had eight chart records, but this was the only one to crack the top forty, reaching #33. They had a record deal with MTM Records in 1985, but that label vanished, taking the Shoppe with them.

Crying My Heart Out Over You” – Ricky Skaggs
Ricky Skaggs was one of the dominant artists of the first half of the 1980s with his bluegrass/country hybrid. Starting with 1981’s “You May See Me Walking” and ending with 1986’s “Love’s Gonna Get You Some Day“, Skaggs ran off sixteen consecutive top ten singles with ten of them reaching number one, This 1982 classic was the first chart topper. Eventually Ricky returned to straight bluegrass, but I like the hybrid recordings better. In my original article I spotlighted “Honey (Open That Door)“, a straight forward country Mel Tillis song recorded by Webb Pierce.

Don’t Stay If You Don’t Love Me” – Patsy Sledd
Stardom never really happened for Patsy, who was a good singer marooned early in her career on a bad label. She was part of the George Jones-Tammy Wynette show in the early 1970s. This song reached #79 in 1987.

“Nice To Be With You” – Slewfoot
This band replaced Alabama as the feature band at the Bowery Club in Myrtle Beach. This was their only chart single, a cover of Gallery’s #4 pop hit from 1972 that reached #85 in 1986.

King Lear” – Cal Smith
The last chart hit for the former Texas Troubadour. This song reached #75 in 1986.

“A Far Cry From You” – Connie Smith
After a six year recording hiatus, the greatest female country recording artist of all time returned with this one-shot single on the Epic label. It’s a great song but received no promotional push at all from the label landing at #71 in 1985. Unfortunately, this single has never appeared on an album.

“The Shuffle Song” – Margo Smith
Exactly as described – a shuffle song that reached #13 for Margo in early 1980. Margo had a brief run of top ten hits in the middle and late 1970s but the string was about over. In my prior article I featured “He Gives Me Diamonds, You Give Me Chills” but The Shuffle song is actually my favorite 80s hit from Margo. She lives in The Villages in Florida and still performs occasionally.

Cheatin’s A Two Way Street” – Sammi Smith
Her last top twenty song from 1981. Sammi only had three top ten hits but made many fine records. This was one of them.

Hasn’t It Been good Together” – Hank Snow and Kelly Foxton
The last chart record for the ‘Singing Ranger’. The record only got to #78 for the 65 year old Snow in 1980 but I couldn’t let pass the opportunity to acknowledge the great career of the most successful Canadian country artist. By any legitimate means of chart tracking, his 1950 hit “I’m Moving On” is still the number one country hit of all time. Hank had perfect diction and was a great guitar player.

Tear-Stained Letter” – Jo-El Sonnier
A late bloomer, this was the forty-two year old Jo-El’s second of two top ten records and my favorite. It reached #8 in 1988. There were brief periods in the past when Cajun music could break through for a hit or two. Eddy Raven was the most successful Cajun artist but most of his material was straight-ahead country.

Sometimes You Just Can’t Win” – J.D. Souther and Linda Ronstadt
George Jones charted this record twice, but it’s such a good song it was worth covering. This version went to #27 in 1982. J.D had a big pop hit in 1980 with “You’re Only Lonely” which reached #7.

Honey I Dare You” – Southern Pacific
Southern Pacific was a bunch of guys who previously played with other bands such as Creedence Clearwater Revival, the Doobie Brothers and Pablo Cruise, making some real good country music in the process. This was one of their four top ten hits of the 1980s. “A Girl Like Emmylou” from 1986 only reached #17 but the song tells you where this band’s heart was located.

Lonely But Only For You” – Sissy Spacek
Loretta Lynn wanted to Spacek to portray her in the movie Coal Miner’s Daughter, and it turns out that Sissy can really can sing. This song reached #15 in 1983.

Standing Tall” – Billie Jo Spears
Billie Jo Spears, from Beaumont, Texas, was incredibly popular in England and Ireland, where “Blanket On The Ground” and “What I’ve Got In Mind” were top five pop hits in the mid 1970s and she had many more lesser successes. Many of her later albums were not released in the US but she had a substantial US career with thirty-four charted records, including two #1 hits. “Standing Tall” reached #15 in 1980.

Chain Gang” – Bobby Lee Springfield
More successful as a songwriter than as a performer, Springfield had two chart sings in 1987 with “Hank Drank” (#75) and “Chain Gang” (#66) which was NOT the Sam Cooke hit. Bobby Lee was both too country and too rockabilly for what was charting at the time. I really liked All Fired Up, the one album Epic released on him.

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Week ending 3/21/15: #1 singles this week in country music history

16174412_1287061723731955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): In The Jailhouse Now — Webb Pierce (Decca)

1965: I’ve Got A Tiger By The Tail — Buck Owens (Capitol)

1975: Before The Next Teardrop Falls — Freddy Fender (ABC/Dot)

1985: Crazy For Your Love — Exile (Epic)

1995: This Woman And This Man — Clay Walker (Giant)

2005: Nothin’ To Lose — Josh Gracin (Lyric Street)

2015: Take Your Time — Sam Hunt (MCA)

2015 (Airplay): Just Gettin’ Started — Jason Aldean (Broken Bow)

Week ending 11/22/14: #1 singles this week in country music history

tomthall1_h1954 (Sales): More and More — Webb Pierce (Decca)

1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Disc Jockeys): More and More — Webb Pierce (Decca)

1964: I Don’t Care (Just As Long As You Love Me) — Buck Owens (Capitol)

1974: Country Is — Tom T. Hall (Mercury)

1984: Give Me One More Chance — Exile (Epic)

1994: Shut Up And Kiss Me — Mary-Chapin Carpenter (Columbia)

2004: In A Real Love — Phil Vassar (Arista)

2014: Something In The Water — Carrie Underwood (Arista Nashville)

2014 (Airplay): Neon Light — Blake Shelton (Warner Bros.)

Album Review: Larry Cordle & Lonesome Standard Time – ‘All Star Duets’

all star duetsOne of my favorite songwriters, Larry Cordle’s latest album has been a long time in the making. he has teamed up with a selection of stars to recreate some of his big hits as a songwriter in a tasteful bluegrass setting, backed by Larry’s bluegrass band Lonesome Standard Time and a few added guests. Recording sessions have taken place at intervals over the past decade, and the album was first announced for release a couple of years ago. But the wait was worth it, because this is a truly lovely record filled with great songs.

Alison Krauss recorded Cordle’s ‘Two Highways’ as a teenager; revisiting the song as a mature adult she brings a fuller vocal, and the result is shimmeringly lovely. It’s actually the oldest composition here, having been written in 1977 when the young Larry Cordle was stuck in a job he hated and dreaming of music. Ricky Skaggs was Cordle’s earliest big supporter, and his recording of ‘Highway 40 Blues’ (also written in the late 70s) was his breakthrough as a songwriter. Skaggs revisits the song (one of many great Cordle songs he has recorded over the years) here, playing his mandolin as well as sharing the vocals. Skaggs’ 1983 #1 hit version made Cordle a name to be reckoned with, and as he puts it in the liner notes, “changed his life”.

I was a bit dismissive of Garth Brooks’ recording of ‘Against The Grain’ when I reviewed ‘Ropin’ The Wind’ recently, but the breezier bluegrass version he guests on here is much more enjoyable, although it’s still one of my less favourite tracks here. Much better is the beautiful high lonesome ‘Lonesome Dove’, which like ‘Against The Grain’ was written with Carl Jackson. Trisha Yearwood, who recorded it on her debut album, and is at her glorious best singing it here.

Dierks Bentley is an engaging guest on a version of the wry ‘You Can’t Take It With You When You Go’, which was a single for the great Gene Watson towards the end of his major label career. It is one of Cordle’s many collaborations with his friend Larry Shell. They wrote several songs here, including the most recently written song, the modern classic ‘Murder On Music Row’, which seems more topical every year. The guest vocalists are minor 90s star Daryle Singletary and the very underrated Kevin Denney, both of whom were regarded as “too country” for country music. Daryle is one of the best traditional country singers out there, and I’ve long regretted that Denney hasn’t recorded again since his one and only album in 2002. They do a great, heartfelt job, on this version. It is, incidentally, unfortunate that Denney’s name is mis-spelled on the cover. The liner notes (also available digitally) are otherwise excellent and informative, with a little discussion of how each song was written and picked up for recording.

Diamond Rio contribute duet and harmony vocals on Cordle and Shell’s ‘Mama Don’t Forget To Pray For Me’, which was one of my favorite of the band’s hit songs, and is another real highlight here. The gently melancholy tune is perfect for the emotional yet stoic lyric about the strains of life on the road, and the arrangement is beautiful. Less well known, but a very beautiful song written by the pair which deserves to be known better is the wistful ‘The Fields of Home’, which Ricky Skaggs recorded on Kentucky Thunder in 1989, and which feels like a sequel to ‘Mama Don’t Forget To Pray For Me’. Kenny Chesney appears as the duet partner here, and does a superb job exuding understated regret; I really wish he would return to this style of music.

Bluegrass giant Del McCoury guests on the playful ‘The Bigger The Fool’ (The Harder The Fall)’, which Chesney recorded on his first album (when he was a neotraditional youngster and had not yet gained fame and fortune or discovered the beach). The charming tune is one of two co-writes with Jim Rushing, the other being ‘Lonesome Standard Time’, which gave its name to Cordle’s band. Kathy Mattea, who had a hit with it, duets with Cordle here.

He teamed up with two great female songwriters, Leslie Satcher and the veteran Melba Montgomery, to write ‘Cure For The Common Heartache’. Terri Clark recorded it in the late 90s, and sounds great duetting with Cordle – it’s much better than anything on her current solo release. Cordle wrote ‘Rough Around The Edges’ for Travis Tritt with J P Pennington and Les Taylor from country-rockers Exile; it sounds much better in this energised bluegrass version, featuring Tritt.

This is a superb album, collecting an excellent set of songs and performing them with taste and heart.

Grade: A

Week ending 7/19/14: #1 singles this week in country music history

rogermiller1_2501954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)

1964: Dang Me — Roger Miller (Smash)

1974: He Thinks I Still Care — Anne Murray (Capitol)

1984: I Don’t Want to Be a Memory — Exile (Epic)

1994: Foolish Pride — Travis Tritt (Warner Bros.)

2004: Live Like You Were Dying — Tim McGraw (Curb)

2014: Beachin‘ — Jake Owen (RCA)

2014 (Airplay): Beachin‘ — Jake Owen (RCA)

Week ending 3/8/14: #1 singles this week in country music history

Exile1954 (Sales): Slowly — Webb Pierce (Decca)

1954 (Jukebox) (tie): Slowly — Webb Pierce (Decca)
There Stands The Glass — Webb Pierce (Decca)

1954 (Disc Jockeys): Slowly — Webb Pierce (Decca)

1964: Saginaw, Michigan — Lefty Frizzell (Columbia)

1974: Another Lonely Song — Tammy Wynette (Epic)

1984: Woke Up In Love — Exile (Epic)

1994: I Just Wanted You To Know — Mark Chesnutt (MCA)

2004: American Soldier — Toby Keith (DreamWorks)

2014: Chillin’ It — Cole Swindell (Warner Bros.)

2014 (Airplay): When She Says Baby — Jason Aldean (Broken Bow)

Album Review: Trace Adkins – ‘Love Will’

lovewillI never know what to expect from Trace Adkins these days. I’m hard pressed to think of another example of such a talented vocalist whose musical output is so wildly inconsistent. Love Will, his latest effort, while not quite a return to his traditional roots, at least avoids obnoxious songs in the vein of “Chrome”, “Hillbilly Bone” and the infamous “Honky Tonk Badonkadonk”.

He teams up with a variety of producers this time around: Frank Rogers, Mark Wright, Tony Brown, Mickey Jack Cones and Kenny Beard, most of whom he has worked with in the past, and for the most part the results are quite good. The opening track “When I Stop Loving You”, is a catchy number that would be a good choice for a late summer single. It was written by Even Stevens and Marty Brown, who had a brief recording stint with MCA in the early 90s.

Things move in a decidedly more pop direction beginning with the second track “So What If I Do”, which may very well be the first Trace Adkins recording to ever feature a saxophone. “Come See Me”, written by Kenny Beard and Exile members J.P. Pennington and Sonny LaMaire. This song sets the stage for a cover of an Exile song, on which some of the band members appear as guest artists (more on this a little later). I actually didn’t mind the pop leaning songs up to this point, but by the time we get to the overproduced “Altar of Your Love”, the only Adkins co-write on the album, it begins to wear a little thin. And then there’s the cover of “Kiss You All Over”, which was a #1 pop hit for Exile in 1978, which sounds very much like a product of the era in which it originated. Its inclusion on the album seems pointless: Exile spends as much (or perhaps more) time singing as Adkins, and if he had to cover an Exile song, there are much better ones to choose from than this.

Fortunately, things improve dramatically after this. “If The Sun Comes Up” is an excellent number that sounds like vintage Adkins. “Say No To A Woman” is a more respectful look at the fairer sex than some other songs in Trace’s catalog. The current single “Watch The World End”, a duet with pop-singer Colbie Caillat is enjoyable, although the string section is somewhat intrusive. Likewise, I could have done without the strings and choir on the Chris Stapleton and Tim James-penned title track, which closes out the album.

Love Will is more pop-leaning than most of Trace’s other albums, which may be an attempt to remain relevant at country radio. It is however, a more mature sound for him, and the absence of tasteless and sexist redneck anthems is a most welcome change.

Grade: B

Album Review – Ricky Skaggs – ‘Don’t Cheat In Our Hometown’

Following the monster success of Highways and Heartaches (platinum sales, 3 #1s and a #2), Ricky Skaggs issued Don’t Cheat In Our Hometown on Epic Records in 1983. It was his second consecutive number one album and featured 3 number one hits and sold a respectable 500,000 copies.

The mid-tempo title track, made famous by the Stanley Brothers, was written by Ray Pennington and Roy E Marcum and became Skaggs’ seventh number one overall. The twangy ballad is stellar warning from a man to the woman sleeping around behind his back:

How can I stand up to my friends and look ’em in the eye

Admit the question that I know would be nothing but lies

You spend all your past time, making me a clown

But if you’re gonna cheat on me, don’t cheat in our hometown

Much like Sawyer Brown’s “All These Years,” “Don’t Cheat In Our Hometown” offers a unique perspective on the classic cheating scenario, one in which the man is made into the fool. The role reversal is excellent and Skaggs brings that sense of victimization to his venerable vocal.

A spirited and comical cover of Mel Tillis’ “Honey (Won’t You Open That Door)” was released in the winter of 1984. Driven by a jaunty drum and organic guitar riffs, “Honey” is one of my favorites of Skaggs’ recordings thanks in part to the songs’ ability not to take itself too seriously while dealing with substantive subject matter.

It seems like another dimension now, but there was a time when a track like Bill Monroe’s marvelous “Uncle Pen” could not only gain the attention of country radio but top the charts as well. Another favorite of mine, “Uncle Pen” is brilliant in how it blends an obvious bluegrass sensibility with mainstream country. The fiddle heavy hoedown is spectacular and I love how it blends so easily with the acoustic guitars.

Dolly Parton joins Skaggs with a haunting harmony vocal on Carter and Ralph Stanley’s “Vision Of Mother.” The somewhat disturbing mandolin ballad finds a man seeing a vision of his dead mother preying for him. The song succeeds because of the vivid imagery, although the vocals are a bit too sharp for my tastes.

“I’m Head Over Heels In Love” is a fabulous steel led thumper, in the same vein as Exile’s hits like “Woke Up In Love.” I love the uniquely slick style of the track; it fits Skaggs like a glove. I also enjoy the traditional “A Wound Time Can’t Erase,” another example of modern mid-80s country that a carries a nice dose of twang. Skaggs’ vocal may be a bit too dragged out on some of the notes, leading his voice to sound a bit nasally, but it doesn’t take away from the overall tune.

The other more traditional numbers are also quite strong. “She’s More To Be Pitied” is a fabulous fiddle-led number by Ruby Rakes, while “Keep A Memory” is a wonderful traditional bluegrass tune penned by Carter Stanley. I also love Fred Stryker’s “Don’t Step Over An Old Love,” the best such song among the album tracks. The album closes with “Children Go Where I Send Thee,” an excellent traditional gospel number that’s made all the sweeter thanks to the myriad of harmony vocals.

Overall, Don’t Cheat In Our Hometown is another excellent collection of bluegrass and country tunes and was dedicated to the Stanley Brothers upon its release. While the song selection may not have been as strong as his previous release, it remains timeless thanks to expert musicianship, and remains an essential listen today.

(NOTE: Don’t Cheat In Our Hometown was reissued in 2009 and included a DVD respective. That version can be found easily online.)

Grade: A

Country Heritage: 25 from the ’80s

This article will focus on some artists who either had a very short period of great success or had an extended run of near-success. In other words, I cannot justify an entire article on any of them.

Deborah Allen was born in 1953 in Memphis, and probably has had greater success as a songwriter, having written hits for artists including Tanya Tucker, Sheena Easton and Janie Fricke. As a performer, RCA had the bright idea of dubbing her voice onto old Jim Reeves recordings to create duets. The three duets released as singles – “Don’t Let Me Cross Over,” “Oh, How I Miss You Tonight” and “Take Me In Your Arms And Hold Me” – all went Top 10 in 1979-80. As a solo artist, Allen charted 10 times with three Top 10 singles: “Baby I Lied” (1983–#4), “I’ve Been Wrong Before” (1984–#2) and “I Hurt For You” (1984–#10).

Baillie and The Boys were a late 80s act which charted 10 times between 1987 and 1991 before disappearing from the charts. Seven of their hit records went Top 10, with “(I Wish I Had A) Heart of Stone” (1989–#4) being the biggest. Kathie Baillie was the lead singer, and while initially a trio, the group became a duo in 1988 with few people able to tell the difference.

Debby Boone is one of two answers to a trivia question – name the two families that have had a #1 pop record in each of three consecutive generations. One answer is obvious – the Nelson family – big band leader Ozzie Nelson (“And Then Some”, 1935), Rick Nelson (“Poor Little Fool”, 1958 and “Traveling Man”, 1960) and Rick’s sons Gunnar and Matthew Nelson (recording, under the name Nelson, “Love and Affection”, 1990).
The Nelson family answer works top down and bottom up as the members of the chain are all blood relatives. In the case of Debby Boone’s family, it only works top down. Debby (“You Light Up My Life“, 1977), father Pat Boone (seven #1s from 1955-1961 including “Love Letters In The Sand“) and grandfather Red Foley – no blood relation to Pat Boone but a blood relation of Debby’s (“Chattanooga Shoeshine Boy”, 1950).

Debby Boone may be a direct direct descendant of the American pioneer Daniel Boone. She is distantly related to two stars of American television, Richard Boone (Have Gun, Will Travel, Hec Ramsey) and Randy Boone, (The Virginian and Cimarron Strip).

Enough with the trivia – Debby charted on the country charts thirteen times from 1977-1981 although most of those were pop records that happened to chart country. Starting in 1979 Debby started consciously recording for country markets. “My Heart Has A Mind Of Its Own” reached #11 in early 1979. The next three records did relatively nothing but the first single issued in 1980 “Are You On The Road To Loving Me Again” finally made it to the top. She would chart four more singles before turning to gospel/Christian music.

Larry Boone is best known as a songwriter, having cuts by Kathy Mattea, Don Williams, Tracy Lawrence, Rick Trevino, George Strait, Shenandoah, Marie Osmond and Lonestar. As a singer, he wasn’t terribly distinctive – sort of a George Strait-lite.  Boone charted 14 singles from 1986-93, with only 1988’s “Don’t Give Candy To A Stranger” reaching the Top 10. The other Top 20 singles were “I Just Called To Say Goodbye Again” and a remake of “Wine Me Up” – both of which reached their peak chart positions in 1989.

Dean Dillon charted 20 times from 1979-93, with his biggest hit being “Nobody In His Right Mind (Would’ve Left Her)” which reached #25 in November, 1980. During 1982 and 83, RCA paired Dillon with fading star Gary Stewart, hoping for the kind of magic that was later achieved when Kix Brooks and Ronnie Dunn were paired together. No real hits came of this collaboration, but the recordings were quite interesting and are available on CD.

Fortunately for Dillon, he is a far better songwriter than singer. His hits as a writer include George Jones’ “Tennessee Whiskey,” and more than a dozen George Strait Top 10s. In fact, Strait has recorded over 50 of Dillon’s songs, ensuring that the wolf will never again knock at Dean Dillon’s door.

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Favorite country songs of the 1980s, Part 2

The 1980s were a mixed bag, with the early 1980s producing some of the lamest country music ever recorded, as the Urban Cowboy movie wreaked havoc on the genre. Fortunately, there was still good country music being released. The first flowering of the late 1980s “New Traditionalist” movement arrived in 1981 with the first hits of Ricky Skaggs and George Strait, but they remained outliers until 1986 as far as good new artists were concerned. The latter part of the decade, however, produced some truly excellent country music with the 1986 arrival of Randy Travis and company.

This list is meant neither to be a comprehensive list of great country songs from the 1980s, nor any sort of ranking of records. It’s just a list of some songs that I liked and remember. See if you recall any of these records.


“Walk On By“– Donna Fargo
A nice cover of the 1961 Leroy Van Dyke hit, by the time this record was released Donna had already pulled back on her career due to being stricken with Multiple Sclerosis in 1979. Released in March 1980, the song reached #43. Donna is still alive and you can find out more about her at her website www.donnafargo.com


“Crying Over You” – Rosie Flores

Rosie’s never had much chart success but this self-proclaimed ‘Rockabilly Filly’ is a popular concert draw and a dynamic live performer. This song was her career chart highwater reaching #51 in 1987.

“Just In Case ” 
The Forester Sisters
Katie, Kim, June and Christie had a five year run of top ten hits from 1985 through 1989 with fourteen straight top ten records, including this song, their second of five number one records . Released in 1985, this topped the charts in early 1986.

“Crazy Over You”– Foster & Lloyd
Songwriters Radney Foster and Bill Lloyd joined forces as a duo in 1987. This was their first and biggest chart record reaching #4 in the summer of 1987.

“Always Have, Always Will” – Janie Frickie (or Janie Fricke)

This 1986 #1 was her ninth (and last) #1 record. This bluesy number was an excellent record coming after a long string of successful but insubstantial fluff. A former session singer, Janie’s career hit high gear during the 1980s, a decade which saw her tally 26 chart records with 17 top ten records and eight #1s.

“Beer Joint Fever” – Allen Frizzell

A younger brother of both Lefty and David Frizzell, Allen today writes and sings predominantly Christian music, although he will perform a Lefty Frizzell tribute (omitting Lefty’s rowdier songs). This song charted in 1981 – the follow up was titled “She’s Livin’ It Up (and I’m Drinkin’ ‘Em Down)”, neither of them songs Allen would dream of performing today.

“I’m Gonna Hire A Wino To Decorate Our Home” – David Frizzell
The early 1980s were David Frizzell’s commercial peak, both as a solo artist and as part of a duet with Shelly West. This unforgettable 1982 novelty was David’s sole #1 record, although my personal David Frizzell favorites were the follow up “Lost My Baby Blues” and his 1999 recording of “Murder On Music Row”.

“You’re The Reason God Made Oklahoma” – David Frizzell & Shelly West

A huge record, this song came from the Clint Eastwood film Any Which Way You Can and topped the charts in early 1981

“Houston (Means I’m One Day Closer To You)” – Larry Gatlin & The Gatlin Brothers

After a dominant streak from 1975 in which seven songs reached #1 on one or more of the major charts, Larry and his brothers hit a rough patch in which their singles charted, but few reached the top ten. Finally in late 1983 this song reached #1, and kicked off a brief resurgence fueled by a large infusion of western swing. The two records that followed this record (“Denver” and “The Lady Takes The Cowboy Every Time”) would have made Bob Wills proud.

“You and I” – Crystal Gayle & Eddie Rabbitt

Crytal Gayle had a run of thirty-four top ten records that ran from 1974 to 1987. I’m not that big a Crystal Gayle fan but I really liked her 1982 duet with Eddie Rabbitt which reached #1 country / #7 pop.

“Somebody’s Knocking” – Terri Gibbs

Released in 1980, this song peaked at #8 (#13 pop / #3 AC) in early 1989. Blind since birth, Terri really wasn’t a country singer and soon headed to gospel music . This was her biggest hit, one of four top twenty records.

“Sweet Sensuous Sensations” – Don Gibson
Not a big hit, this was Don’s next-to-last chart record, reaching a peak of #42 in April 1980. Don’s chart career ran from 1956-1981. His influence as a songwriter is still felt today.

“Oklahoma Borderline” – Vince Gill
It took Vince a while for his solo career to take off after leaving Pure Prairie League. This song reached #9 in early 1986 and was his second top ten recording. The really big hits would start in 1990 with “When I Call Your Name”.

“A Headache Tomorrow (Or A Heartache Tonight)” – Mickey Gilley
Mickey Gilley was a second cousin to Jerry Lee Lewis and Jimmy Swaggart as his piano playing amply demonstrates. This song reached #1 in 1981. Mickey’s long string of hits consisted of some original material (such as this song and “Doo-Wah Days”) and some covers of pop hits such as his next record “You Don’t Know Me” (a cover of a Ray Charles hit covering an Eddy Arnold hit) and prior hits “True Love Ways” and “Stand By Me”.

“White Freight Liner Blues” – Jimmie Dale Gilmore

Jimmie Dale Gilmore looks like a renegade hippie from the sixties and sounds like one of my honky-tonk specialist from the fifties. He’s never had much chart success (this song reached # 72 in 1988) but his albums are terrific and his vocals solid country through and through. Probably the most underrated performer of my generation.

“If I Could Only Dance With You” – Jim Glaser

A part of the famous trio Tompall and The Glaser Brothers, Jim’s voice was midway in range between brothers Chuck and Tompall with significant overlap on both ends.  Also, Jim was part of the vocal trio on Marty Robbin’s classic hit “El Paso” and wrote the pop hit “Woman, Woman” (#4 pop hit for Gary Puckett and The Union Gap).  Jim released a number of chart records under his own name form 1968-1977, but his real success began after Tompall & The Glaser Brothers split up (again) in 1982 and Jim signed with Noble Vision Records. After the first three records for Noble Vision went top thirty, this 1984 single reached #10. The follow up “You’re Getting To Me Again” went to #1 but then Noble Vision started having financial problems. Jim would subsequently sign with MCA in 1985 but the momentum had been lost (not to mention that by then Jim was already 47 years old).

“Loving Her Was Easier (Than Anything I’ll Ever Do Again)” – Tompall & The Glaser Brothers

Tompall and The Glaser Brothers were one of the most impressive live singing groups to ever take the stage. Unfortunately, their stage show did not translate into recording success. The group was together from 1959 until about 1974, recording many fine records but only one top ten hit in “Rings” which reached Record World’s #1 slot in 1971. The group briefly reunited in 1980 and had their career record with this Kris Kristofferson song which reached #2 Billboard / #1 Cashbox in 1980.

“Today My World Slipped Away” – Vern Gosdin

Recorded for the small AMI label, this gem reached #10 in early 1983, just as AMI was going down the toilet. It’s hard for me to pick out just one favorite Vern Gosdin song, but this one would be in my top three. From here Vern would go to another small label Compleat where he would have his biggest hit in 1987’s “I Can Tell By The Way You Dance (You’re Gonna Love Me Tonight”).

“Diamonds In The Dust”- Mark Gray

Mark Gray and Vince Gill were the two young male singers most highly touted to make it big in the early 1980s. Both were associated with bands that had some success (Mark was a member of Exile for a few years, Vince a member of Pure Prairie League). Then Nashville took a traditionalist turn leaving Gray, not as versatile a performer as Vince Gill, stranded. Still, Gray almost made it. This song was Gray’s third top ten record, reaching #9 in late 1984. The follow up “Sometimes When We Touch”, a nice duet with Tammy Wynette reached #6. Then came the Randy Travis, Dwight Yoakam, et al floodwaters of 1986.

“When A Man Loves A Woman” – Jack Grayson

Nice 1981 cover of a #1 pop hit for Percy Sledge in 1966. This song peaked at #18 in early 1982. This was Grayson’s only top twenty recording out of thirteen charted records.

“The Jukebox Never Plays Home Sweet Home” – Jack Greene
This 1983 single barely cracked the top 100 for Jack but it was a pretty good recording that probably would have been a big hit had Jack recorded it a dozen years earlier. This was Jack’s thirty-third chart record. He would have three more before fading off the charts for good. His 1966 single was #1 for seven weeks in 1966-1967 and was the CMA Single of The Year in 1967. Jack also took home the Male Vocalist honors for 1967. Jack is now 82 years old and still performs, but mostly on the stage of the Grand Ole Opry.

“I.O.U.”– Lee Greenwood

This single reached #6 in 1983, his fourth consecutive top ten single, and still my favorite Lee Greenwood song. Lee was the first artist to record “Wind Beneath My Wings” and had it planned as the second single from the I.O.U album. Gary Morris dashed into the studio and got his version recorded and released before “I.O.U.” finished its chart run. Lee’ version was better (and better than the pop version that came out in 1989).

“Lone Star State of Mind” – Nanci Griffith

Nanci is a fine songwriter/poet having written many fine songs. As a singer, she’s not much. This song reached #36 in 1987, her biggest chart hit of the 1980s. She did a nice recording of “Love At The Five & Dime”, but even that song was better in a cover version, as recorded by Kathy Mattea.

“Still The Same” – Bonnie Guitar

Nine years after her last chart entry and twenty years after her last top forty recording , country music’s ‘Renaissance Woman’ snuck onto the charts in 1989 with a nice version of a Bob Dylan song.

“Trains Make Me Lonesome”– Marty Haggard
Marty’s career almost ended before it started when he picked up a hitch hiker who shot him and left him for dead. A long recovery followed with an extended period of recovery. This song reached #57 in 1988 for the soon to be defunct MTM label. Written by Paul Overstreet and Thom Schuyler, this song was recorded by a number of artists including George Strait on his 1992 album Holding My Own. Marty’s version is better and would have been a big hit had it been released in 1958 rather than 1988.

“A Better Love Next Time – Merle Haggard

This was Merle’s 100th chart single reaching #4 in 1989. What else is there to say?

“Song of The South” – Tom T. Hall & Earl Scruggs

Tom T. Hall’s days as a hit maker were largely over by 1982 and Earl Scruggs never was a hit maker – he was of far greater importance than that. These two music masters combined for a wonderful album titled The Storyteller and The Banjo Man in 1982 from which emerged this single. Alabama would have a big hit with this song a few years later but the Alabama version lacks the personality and charm of this rendition.

“She Says” – George Hamilton V

The only chart record for the son of George Hamilton IV, this tune reached #75 in early 1988.

“There’s Still A Lot of Love In San Antone” – Connie Hanson with Darrell McCall

A cover of Darrell’s 1974 hit, this version peaked at # 64 in early 1983.

“After The Last Goodbye ” – Gus Hardin

This 1983 recording was the only solo top ten for the smoky voiced Ms. Hardin. A longtime favorite in Tulsa, Gus broke through with a major label contract (RCA) and charted eight solo singles and two duets. Released in 1984, her duet with Earl Thomas Conley “All Tangled Up In Love” peaked at #8 in early 1985. Her 1985 duet with David Loggins “Just As Long As I Have You” reached #72.

“I’m Moving On ” – Emmylou Harris
Emmylou had 26 top ten recordings between 1975 and 1988. This 1983 live cover of Hank Snow’s 1950 hit (in fact, the biggest chart hit in the history of country music) reached #5. During the 1980s, most of Emmylou’s best recordings were duets – “That Loving You Feelin’ Again” (with Roy Orbison) and “If I Needed You” (with Don Williams) come readily to mind, but there were more.

“Sure Thing” – Freddie Hart

After a hugely successful first half of the 1970s, Freddie hits got progressively smaller. By 1979 Freddie had been dropped by Capitol and signed by Sunbird, the same label that launched Earl Thomas Conley. The label failed to re-launch Freddie’s career but did provide a few good recordings, including this song, which reached #15 in 1980 and would prove to be Freddie’s last top twenty hit.

“Key Largo” – Bertie Higgins

Just when it seemed that the ‘Gulf & Western’ subgenre had been strip mined of hits by Jimmy Buffett, along comes this nostalgic hit which became a #8 pop hit in 1982 (topped out at #50 on the country chart).

“Whiskey, If You Were A Woman” – Highway 101

Highway 101 exploded onto the country music scene in January 1987 running off a string of ten consecutive top tens through early 1990. This one is my personal favorite with Paulette Carlson’s voice seemingly tailor made for the song, which reached #2 in 1987. Typical story – Carlson left the band in late 1990 seeking solo stardom and the band never recovered its momentum (plus Carlson did not succeed as a solo act). I was torn between this song and one of the group’s #1 hits “Somewhere Tonight”.

“Jones On The Jukebox” – Becky Hobbs
The inability of the Hobbs to break through at radio has always bugged me. Other than a duet with Moe Bandy (“Let’s Get Over Them Together” – #10 in 1983), Ms Hobbs was unable to break the top thirty. The closest she got was this song, which peaked at #31 in 1988.

“Texas Ida Red” – David Houston
David’s 60th (and next to last) chart record, this recording peaked at #69 on the small Excelsior label in 1981. This was a pretty good western swing record. Houston would have one more chart record in 1989. His 1966 hit “Almost Persuaded” was (according to Billboard) the biggest chart record of the last fifty years, spending nine weeks at #1.

“All American Redneck” – Randy Howard
#84 in 1983 – what more need I say.

“Til You And Your Lover Are Lovers Again” – Engelbert Humperdinck

Engelbert is one of the truly great vocalists of my generation. His greatest decade was the 1960s when he made international huge pop hits out of country classics such as “Release Me”, “There Goes My Everything” and “Am I That Easy To Forget” as well as covering other country songs on his albums. This song peaked at #39 in 1983.

“Oh Girl” – Con Hunley

This cover of a Chi-Lites hit from 1972 reached #12 in 1982 and featured the Oak Ridge Boys on backing vocals. Con’s voice was too smoky and too distinctive to have achieved much success during the early 1980s but this was a fine recording, even if not very country. Con’s biggest hit came the year before when “What’s New With You” peaked at #11.

“Talk To Me Loneliness” – Cindy Hurt

This song reached #35 in 1982. Her biggest hit was “Don’t Come Knocking” which topped out at #28 earlier in the year. Cindy charted seven records between 1981 and 1983, then disappeared.