Country music from a fan's point of view since 2008
Following the success of Lee’s debut album Inside Out, less than a year later MCA, in March 1983, released Lee’s second album Somebody’s Gonna Love You. The album would be Lee’s first top ten country album, reaching #3 on Billboard’s Country Albums chart and reaching #73 on Billboard’s Hot 200.
Three singles were released from the album, but the bigger news was the single that wasn’t released. Lee Greenwood was the country first singer to record the sappy “Wind Beneath My Wings” and MCA’s plan was to have the song released as the second single from the album. Unfortunately, Gary Morris (or someone associated with Morris) heard Lee’s recording and raced to get the song released while Lee’s first single “I.O.U.” was still riding the charts. While Morris had a top ten country hit with the song, and other luminaries such as Roger Whitaker, Lou Rawls, and Bette Midler had successful recordings of the song, Lee’s version remains my favorite, being less whiney than the other versions.
“I.O.U”, written by Kerry Chater and Austin Roberts, was the first single released from the album and was an across the board success, reaching #6 country, #4 A/C, #4 Canadian Country and #53 pop. The song may be one of the greatest and most meaningful love songs everYou believe, that I’ve changed your life forever.
And you’re never gonna find another somebody like me.
And you wish you had more than just a lifetime,
To give back all I’ve given you, and that’s what you believe.
But I owe you, the sunlight in the morning,
And the nights of honest lovin’,
That time can’t take away.
And I owe you, more than life now, more than ever.
I know it’s the sweetest debt,
I’ll ever have to pay.
The next two singles released gave Lee his first two #1 country singles. Rafe Van Hoy & Don Cook’s “Somebody’s Gonna Love You” is a man telling a female acquaintance of what could be:
Lonely lady living down the hall
Don’t you have any friends at all
I never hear a knocking at your door
Could it be you just don’t try anymore?
You’ve been hurt so seriously
You act so cold but it’s so easy to see
You’re a waste of real good love
But you can’t hide or run fast enough
Somebody’s gonna love you, no matter what you do
Somebody’s gonna find all the pieces of a broken heart
Hidden inside of you
Somebody’s gonna touch you, it’s just a matter of time
Jan Crutchfield’s “Going Going Gone” is a quintessential losing the girl song. Crutchfield seemingly had this subgenre gown pat as he also wrote “Statue of A Fool.”
Lonely lady living down the hall
Don’t you have any friends at all
I never hear a knocking at your door
Could it be you just don’t try anymore?
You’ve been hurt so seriously
You act so cold but it’s so easy to see
You’re a waste of real good love
But you can’t hide or run fast enough
Somebody’s gonna love you, no matter what you do
Somebody’s gonna find all the pieces of a broken heart
Hidden inside of you
Somebody’s gonna touch you, it’s just a matter of time
The remaining songs on the album are slow to mid-tempo ballads, basically well-performed filler. The instrumentation is standard 1980s country with choruses and electric piano but far more country sounding than many albums of the period, and at no point does the backing detract from Greenwood’s vocals. Greenwood is in good voice throughout
B+
Julie Reeves moved to Nashville in 1994, where she got jobs doing studio work and singing demos. She then found herself the guest vocalist on Bill Engvall’s “Should’ve Shut Up” and a recording artist for Virgin Records, where she released her lone studio record, It’s About Time in 1999.
The album, produced by Scott Hendricks, was a commercial flop, petering out at #70. It opens with it’s second single, “Trouble Is A Woman,” which peaked at #39. The song is an excellent and instantly memorable honky-tonk rocker with a killer hook, ‘trouble is a woman with a man on her mind.’
I remember well when Melinda Doolittle chose the song for her country week performance on American Idol in 2007. Martina McBride was serving as the onguest mentor and freely admitted she had never heard of the song before. It was a surprising omission, especially coming from someone quite active in the industry at end of the century. Doolittle, I’m happy to report, did “Trouble Is A Woman” justice.
The album rolls on with “Do You Think About Me,” an infectious fiddle-drenched rocker in which Reeves plays a woman wondering if her ex has held onto any memories from their relationship. The track is very good, although the gospel-y backing vocals on the chorus are out of character, distracting and completely unnecessary.
“Party Down” (whatever that phrase even means) somewhat continues the woman’s liberation theme that had been brewing in mainstream country for the better half of a decade. She’s done with her ex, even helping throw him to the curb, and describing all the activities she’ll partake in without him — celebrate, paint the town, stay up late, etc. The track is silly and immature, but yet I don’t take issue with the lyrical content since it comes off so inoffensive.
“What I Need,” is the album’s third and highest charting single, reaching #38. It’s the album’s first ballad, which Reeves handles sensationally. She’s waiting for her man to know without any doubt she’s the one for him, with a vibrato that recalls Faith Hill circa 1995-1997.
“All or Nothing” sounds great, recalling Brooks & Dunn’s work with Don Cook, but the song itself is forgettable lightweight filler. “You Were A Mountain,” a steel-soaked ballad, isn’t any better and is also best forgotten.
Reeves’ debut single, the title track, comes next. “It’s About Time” is very weak lyrically, with little substance to hold it together. The song peaked at #51, a bit higher than I feel it deserved to in all honesty.
“If I’d Never Loved You” finds the album getting back on track with a ballad about a woman whose memories of her time with her ex are getting in the way of her new relationship. She just wishes she wasn’t comparing him to the one who came before him.
She’s seeing the forest through the trees on “Whatever,” an uptempo fiddle drenched rocker. The lyric could’ve been much stronger, but the well-worn premise is executed pretty well.
“He Keeps Me In One Piece” is the Dave Loggins song originally recorded by Gary Morris. It’s easily the most well-written song on the album thus far and Reeves handles it well. “What You Get Is What You See” isn’t terrible, but it isn’t great either.
The album’s final track, “If Heartaches Had Wings” is probably best known from Rhonda Vincent’s recording from One Step Ahead in 2003. Reeves’ version is great and an example of how she handles songs with a bit more meat and thought to the lyric.
It’s About Time is clearly a commercial country album. Reeves feels almost like a puppet, being handed songs designed to turn her into a major recording star. The songs here are dressed and mixed beautifully, but there is a good share of clunkers throughout. It’s evident there wasn’t much care in finding truly great enduring songs, just ones that could potentially get her on the radio.
Although this is her only album to date, Reeves remains active within the industry. She married and had a daughter with Cledus T. Judd in 2004. They later divorced and she married bluegrass musician Chris Davis, with whom she has a son born in 2011.
Most interestingly, Reeves began a career in radio in 2013. She began with a stint hosting Julie Reeves Live, the morning show on 93.7 The DAWG in the Huntington, West Virginia / Ashland, Kentucky market. She currently handles the station’s overnights with her latest show, Up Late With Julie Reeves, which runs Monday-Saturday from Midnight-5am local time.
Grade: B
1957 (Sales):Singing the Blues — Marty Robbins (Columbia)
1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)
1957 (Disc Jockeys): Young Love — Sonny James (Capitol)
1967: Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind) — Loretta Lynn (Decca)
1977: Near You — George Jones & Tammy Wynette (Epic)
1987: Leave Me Lonely — Gary Morris (Warner Bros.)
1997: It’s a Little Too Late — Mark Chesnutt (Decca)
2007: Watching You — Rodney Atkins (Curb)
2017: Better Man — Little Big Town (Capitol)
2017 (Airplay): Guy With A Girl — Blake Shelton (Warner Bros.)
1956 (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.)
1956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)
1956 (Jukebox): Sixteen Tons — Tennessee Ernie Ford (Capitol)
1956 (Disc Jockeys): Why Baby Why — Red Sovine & Webb Pierce (Decca)
1966: Waitin’ in Your Welfare Line/In The Palm of Your Hands — Buck Owens & The Buckaroos (Capitol)
1976: The White Knight — Cledus Maggard & The Citzen’s Band (Mercury)
1986: Makin’ Up For Lost Time — Gary Morris with Crystal Gayle (Warner Bros.)
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): Home Alone Tonight — Luke Bryan feat. Karen Fairchild (Capitol)
1955 (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: Rocky — Dickey Lee (RCA)
1985: I’ll Never Stop Loving You — Gary Morris (Warner Bros.)
1995: Check Yes or No — George Strait (MCA)
2005: Better Life — Keith Urban (Capitol)
2015: Tennessee Whiskey — Chris Stapleton (Mercury)
2015 (Airplay): I’m Comin’ Over — Chris Young (RCA)
1955 (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: It’s Time To Pay The Fiddler – Cal Smith (MCA)
1985: Baby Bye-Bye — Gary Morris (Warner Bros.)
1995: Old Enough To Know Better — Wade Hayes (Columbia)
2005: Bless The Broken Road — Rascal Flatts (Lyric Street)
2015: Take Your Time — Sam Hunt (MCA)
2015 (Airplay): Make Me Wanna — Thomas Rhett (Valory)
The 1980s got off to a poor start with the early 1980s producing some of the lamest country music ever recorded, as the Urban Cowboy movie wrecked 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.
Here are some more songs that I liked and remember. See if you recall any of these records:
“Everybody Needs Love On A Saturday Night”– The Maines Brothers Band
This 1985 song was the biggest hit (#24) for a bunch of talented musicians, some of whom went on to bigger and better things. Lloyd Maines is a leading steel guitar whiz and record producer – his daughter is Natalie Maines of the Dixie Chicks. Three other brothers of Lloyd’s were in this band, as well.
“I Wish That I Could Fall In Love Today” – Barbara Mandrell
This 1988 slightly re-titled cover of Warren Smith’s big hit from 1960 was to be Barbara’s last top ten recording. It is one of my favorite Barbara Mandrell recordings.
“Save Me” – Louise Mandrell
Louise never quite emerged from her big sister’s shadow but this #6 single from 1983 shows that a lack of talent wasn’t the problem.
“My First Country Song” – Dean Martin with Conway Twitty
Not really – Dean had recorded many country songs to great effect, although never with country accompaniment. The album from which this 1983 song was taken, was actually the last album the 66-year-old Dean would record after a hugely successful career as a pop singer, movie star , television star and stage performer. In his time very few performers were bigger stars than Dean Martin. Conway Twitty wrote this song and performed it with Dean. It wasn’t a huge hit (#35) but it was an interesting ending to one of the greatest careers in American entertainment history.
“You Are My Music, You Are My Song”– Wayne Massey with Charly McClain
Wayne Massey was a soap opera heartthrob and his wife Charly was stunningly attractive. This 1986 hit was one of two top tens the duo would have, although Charly had a very successful career as a solo act.
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.
LeAnn Rimes has elected to premier her upcoming covers album Lady And Gentlemen by releasing a ramped-up version of John Anderson’s 1983 smash hit ‘Swingin’’ as the lead single. Self-evidently, covering another artist’s signature song means you have to bear comparison with the original. Unfortunately for LeAnn, she also has to compete with a much better cover getting attention at the moment in the form of Chris Young’s fresh acoustic take on the same song on his excellent new EP Voices (reviewed here recently by Razor X). Admittedly Chris’s version is not being promoted as a single, but it’s certainly the version I would prefer to hear on the radio.
LeAnn has of course been in a similar position before. As a teenager she was at the center of a public rivalry, when her recording of ‘How Do I Live’, intended for the soundtrack of the 1997 action movie Con Air, was rejected by the producers in favor of a version by Trisha Yearwood. As well as its appearance in the film, Trisha’s version was a big country hit single, reaching #2 on Billboard, and won a Grammy. LeAnn arguably got the last laugh that time, as her rival cut was a massive international pop hit and sold three million copies.
In fact, rival versions of the same song competing for sales and airplay, are something of a tradition. In the singles-dominated 1950s and 60s it was commonplace for artists to cover current hits, either as direct competition or as easy choices of popular songs to fill out an album. In an era when country fans had less disposable income, it made sense for an artist to record the most popular songs out there, so that if someone liked a particular song they might choose to buy the version by their favorite singer. Successful artists who sold well were almost unbelievably prolific, typically releasing several 12-track albums a year – George Jones, for instance, recorded over 150 songs when he was signed to United Artists, over the period 1962-1964. There was thus great demand for good material, even by singer-songwriters who simply couldn’t write enough on their own.
Merrle Haggard, for instance, wrote much of his material, but also included covers of contemporary hits. His 1968 album Mama Tried supplemented his own classic title song with covers of recent hits ‘The Green, Green Grass Of Home’, ‘Folsom Prison Blues’, Dolly Parton’s ‘In the Good Old Days (When Times Were Bad)’ , and the now-forgotten ‘Little Old Wine Drinker Me’. In turn, ‘Mama Tried’ and the previous year’s hit ‘Sing Me Back Home’ were covered by the Everly Brothers on their own 1968 release Roots.
It was also often common for singers in other genres to cover country hits, and vice versa. An early example is Hank Williams’ Cajun-styled ‘Jambalaya (On the Bayou)’. Hank’s original was a 14-week #1 in 1952; a cover by singer Jo Stafford saw top 10 success on the pop charts the same year. Stafford had quite an eye for country hits which could be brought to a new audience – she also covered Hank Snow’s 1952 country hit ‘A Fool Such As I’ in 1953, and had duetted with Frankie Laine on Hank Williams’ ‘Hey Good Lookin’. Laine also covered ‘Your Cheatin’ Heart’, but the biggest pop version was by Joni James, who recorded it the day Hank died. Patti Page’s 1950 country-pop crossover smash ‘Tennessee Waltz’ was another to see off several rival versions.
A decade later, nothing had changed. John Hartford’s ‘Gentle On My Mind’ won him a folk Grammy in 1968; Glen Campbell’s cover of the same song won the country Grammy the same year. Patti Page charted a pop version that year, and Aretha Franklin gave it an R&B twist the following year, while Rat Packer Dean Martin had an easy listening international hit, and Elvis Presley also covered the tune on an album. The Kris Kristofferson classic ‘Me And Bobby McGee’ was a top 20 country hit for Roger Miller in 1969, who recorded it before the Statler Brothers (who had been offered the song) could get into the studio. The same year a rival version by Canadian Gordon Lightfoot was a pop hit, and it was also an album track for Kenny Rogers. A year later it was a rock smash for Janis Joplin. ‘Ruby, Don’t Take Your Love To Town’ was a top 10 country hit for Johnny Darrell, and covered the same year by Waylon Jennings, Roger Miller and the Statler Brothers, before Kenny Rogers’ #1 a few years later displaced all previous versions.
Even as late as the 1990s, genre reinventions were bringing songs to new audiences. 90s country star Mark Wills saw his 1998 country hit ‘I Do (Cherish You)’ (written by Keith Stegall and Dan Hill) covered the following year by pop group 98 Degrees. He then covered R&B artist Brian McKnight’s 1999 pop hit ‘Back At One’, getting a country hit for himself in 2000. Weirdly, both versions of the latter got to #2 on their respective charts.
In more recent years, competing cuts tended to mean that one artist got the hit, and the other was forced to release another song instead. In some cases that changed the course of country music history.
1983 saw rival versions of the inspirational ‘The Wind Beneath My Wings’. The earliest cut was actually by English MOR singer Roger Whittaker in 1982, but in 1983 two pop-country stars went head to head. Actor-singer Gary Morris enjoyed a top 10 hit but it might easily have been Lee Greenwood, who included the song on his album Somebody’s Gonna Love You released the same year. In 1985 the fast-rising Reba McEntire’s recording of the lively ‘She’s Single Again’ was not released as a single – because Janie Fricke got there first, and enjoyed a #2 hit.
Keith Whitley saw his big breakthrough delayed when he was unable to release the two best tracks on his 1986 album LA To Miami as singles, due to rival versions getting to radio first. He might have had a big hit with Dean Dillon’s ‘Nobody In His Right Mind Would’ve Left Her’, but George Strait‘s cut went to #1 instead, and is one of Strait’s most fondly remembered singles. ‘On The Other Hand’ was to become the signature hit for Randy Travis in 1986 – but it might so easily have served that function for Keith instead. Incidentally, a third recording of the song was also made by veteran Charley Pride on After All This Time, his 1987 album for independent label 16th Avenue. All three versions are good enough to have been hits.
George Strait also potentially stymied the chances of his favorite songwriter when his choice of Dean Dillon’s ‘Easy Come, Easy Go’ as a single in 1993 – a song Dillon had earmarked for his own next shot at the charts. Even our current Spotlight Artist Mark Chesnutt has drawn the short straw a couple of times. As Razor X mentioned in yesterday’s review of Too Cold At Home, that album featured a version of ‘Friends In Low Places’ – only to be forestalled when Garth Brooks had a smash hit with his version of the song. More recently, Joe Nichols recorded ‘Don’t Ruin It For The Rest Of Us’ on his Revelation album in 2004, the same year Mark recorded the song on his first independent release Savin’ the Honky Tonk, although in this case neither artist selected the song as a single.
I’ve only scratched the surface here – what rival versions can you think of? Did the best cut always win the chart battle?
New Mercury artist Easton Corbin, whose single ‘A Little More Country Than That’ is heading up the charts and whose debut album was released earlier this week, has been touted by some as the latest great hope for a revival of more traditionally rooted music on country radio. He has a pleasant voice and I like his general approach, but I think he is going to need stronger material if he is to fulfil the hype; these are heavy expectations on any young artist in his circumstances in any case.
The last person to bear that mantle, Ashton Shepherd, has been pretty quiet lately, after her first (and so far only) two singles both stalled around #20 in 2008. I still hope to hear more, and better, from Ashton, who is reportedly currently working on a new record, although I felt that her debut album showed promise more than a full achievement of her potential. Earlier in the decade similar hopes were placed on singers like Joe Nichols and Josh Turner, neither of whom has quite fulfilled their potential, although both are maintaining a chart presence. Jamey Johnson, another figurehead for non-pop country (although in his case a little more on the ‘Outlaw’ line of descent) had a really big hit with ‘In Color’, and sales of the acclaimed That Lonesome Song were unexpectedly good, but subsequent singles were a little too much for country radio. His new album is one which I am eagerly awaiting, but it remains to be seen whether it will have another mainstream hit to keep his profile high.
In some ways, the state of commercial country music is not unlike that of the mid 1980s. 25 years ago, pop-influenced sounds had largely ousted more traditional country music from the airwaves, with a sprinkling of more traditional artists to leaven the dough. The big stars of the day were mainly pop-influenced artists like the smoky voiced Earl Thomas Conley, Lee Greenwood, Gary Morris, and former pop group Exile. When a new Warner Brothers artist named Randy Travis released a classic almost-cheating song, ‘On the Other Hand’, in 1985, it was deemed far too country for country radio.
It wasn’t all bad news, though, with a handful of older stars still active; George Jones and Merle Haggard were still having #1 hit singles. Their closest equivalents today would be George Strait and this month’s Spotlight Artist Alan Jackson. Other traditionally-rooted artists were still getting played too, alongside the pop-country, although some had compromised their sound to stay competitive, most notable Dolly Parton, whose music was at its most pop at this date. Even someone like John Anderson who had emerged in 1980 as a hard country act had moved to a poppier sound by 1983. A handful of younger artists including Strait (then at the start of his career), Ricky Skaggs, and Reba McEntire were signs of things to come. Because what few would have predicted in, say, 1984, was the emergence of the neotraditional movement and the way it briefly dominated country music.
The rise to stardom of Randy Travis in 1986 was the real catalyst for that movement. He was certainly not the first – Strait and Skaggs had been around since the start of the decade, and Reba, whose early records were more pop-country had defiantly recorded a selection of older songs on her breakthrough My Kind Of Country album in 1984, and they were all highly successful. But they were exceptions.
Once radio had accepted his single ‘1982’, the now-classic ‘On The Other Hand’ was re-released, and went to #1. Randy’s album Storms Of Life was one of the first country albums to go platinum, thanks to a combination of high quality material, a classic country voice, and strong marketing across genres, and that commercial success encouraged Warners and other labels to sign more young but definitely country artists. Other young singers who had previously recorded more pop-country material, like Steve Wariner and Kathy Mattea, began to sound more traditional or rootsy.
The sea change of the late 80s in fact was not restricted to reviving traditional honky tonk style music; Mattea, Mary Chapin Carpenter and Nanci Griffith all brought folk-rooted music to the major labels. Even Dolly – her finger always on the pulse – abandoned her flirtation with pop and returned to very traditional sounding music with her acclaimed Trio collaboration with Emmylou Harris and Linda Ronstadt in 1987 and then asking Ricky Skaggs to produce her White Limozeen album in 1989. Those who had struggled to break through because they were “too country” , like Randy himself, and Keith Whitley, were finally accepted. Even 50-something Vern Gosdin, who had had some hits earlier in the decade, enjoyed a late flowering boom and his greatest period of sustained success in the last few years of the decade.
It is probably unrealistic to expect a similar transformation today. What I think would make a difference would be if one of the younger traditional artists were to start selling well – as well or better than the pop-inspired artists. The music business is just that – a business, and the bottom line has often been more important than artistic merit in Nashville. It is dispiriting to realise that if the genre as a whole is not selling as well as it used to, traditional country is on the whole selling even less. We can’t blame Nashville’s woes solely on the poor quality of many major labels’ output, tempting though that is. If someone is to break through like Randy Travis did, it would almost certainly have to be someone good looking as well as talented. Today youth and beauty are even more important than they were in the 80s, when videos were in their infancy as a marketing tool.
There certainly seem to be few signs of hope for those disenchanted by country radio’s latest lurch popwards. Taylor Swift’s sweep of recent awards shows and domination of the country charts is showing no signs of having run its course yet. The latest country awards nominations (the ACMs) show a predominance of pop-country artists with the melodic but not-very-country Lady Antebellum leading the charge. But the mid 80s were little more promising either. Maybe all we need is that one extraordinary talent to lead the way back.
Returning to Easton Corbin, he is certainly showing signs of appealing to country radio, which is encouraging, as (at last) is Chris Young, who has a great voice and all the right musical instincts but mediocre material. But is either of them a new Randy Travis who can cross over while not compromising? I’m not so sure. Vocally, Easton is being compared most to George Strait, and emulating his career would certainly be no bad thing. Strait’s long career has been remarkably consistent, while Travis’s star burned more brightly for a while before fading in commercial terms. But without that star, the history of country music would have been very different.
Do you think the current direction of country music could be reversed if the right artist came along, or have the changes been too fundamental?
My Kind of Country 