My Kind of Country

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

Tag Archives: George Jones

Classic Rewind: Joe Nichols and Lee Ann Womack – ‘We’re Gonna Hold On’

A cover of a George Jones/Tammy Wynette classic:

Album Review: Charley Pride – ‘Make Mine Country’

Make Mine Country, Charley Pride’s fourth album, was released via RCA Victor in 1968. The album didn’t produce any singles but featured covers of many notable songs that have become classics. It was produced by Chet Atkins along with Jack Clement, Bob Ferguson, and Felton Jarvis.

The album opens with Jack Clement’s “Now I Can Live Again,” a minor hit for Mickey Gilley the previous year. The uptempo track, about a newly-single man finally putting the sorrow behind him, is brimming with sunshine.

“A Word or Two to Mary,” written by Vince Bulla and Peter Cotton, is a ballad between friends in which a man asks his buddy to compose a letter to the woman he’s leaving behind in death. The track, typical of the era, is beyond creepy and has an inappropriate sing-song melody that clashes with the subject matter.

“If You Should Come Back Today” was also recorded by Johnny Paycheck although I couldn’t find the year he released his version. The honky-tonk uptempo number returns the album to the sunny disposition of the opening track, with a lyric (written by Johnny Mathis and Harlan Howard) about a guy who would forgive his ex if she came back into his life.

Clement also solely wrote “Guess Things Happen That Way,” which Johnny Cash took to #1 the year previous. Pride’s version is slicker sounding than Cash’s, which is the sole difference between the recordings.

The album’s fifth song is “Before The Next Teardrop Falls,” which appears here seven years before Freddy Fender had an international hit with it. Pride’s version is terrible by comparison, a by-the-numbers take that lacks the nuance Fender was able to find within the lyric.

Make Mine Country continues with Clement’s arrangement of “Banks of the Ohio.” The track, drenched in mandolin, feels rushed and like the song before it, lacks any care to bring the emotional qualities out in the lyric.

“Wings of a Dove” was already eight years old when Pride released his version. It’s a solid take, although the arrangement is far too cheesy for my tastes.

“A Girl I Used To Know” was six years old by 1968, a top 5 hit for George Jones that would top the charts as “Just Someone I Used to Know” in a duet recording by Porter Wagoner and Dolly Parton the following year. Pride’s version is very good, but hardly an essential take on the song.

“Lie To Me,” which only saw this version by Pride, is another sunny uptempo number. This one is about a guy who wants his woman to confess her love to him, even if she doesn’t truly feel it deep inside.

The regretful “Why Didn’t I Think of That” appears next, with Pride taking on the role of voyeur, watching the way his ex’s new love shows his affection towards her. The track is merely good.

Eight years after Buck Owens took it to #3, Pride unleashes his rendition of “Above and Beyond (The Call of Love).” He handles the song beautifully, allowing it to stand out among the twelve tracks on the album. “Baby Is Gone,” a mid-tempo ballad, closes out the record.

Make Mine Country is a very strong album, with solid takes on some of the hits from the day. Given that it didn’t have any singles, I can only guess it was an obligatory record aimed at fulfilling some clause of his recording contract. I found the album to be bogged down by a few second-rate relationship songs that could’ve been swapped out for a bit more meaty material.

Grade: B

Album Review: Rhonda Vincent & Daryle Singletary – ‘American Grandstand’

“Traditional country music is a whole different genre,” Vincent said. “A lot of people will say that there is not a market for traditional country music, but I know that is not true as it has its own niche. I did that traditional country album with Gene Watson not long ago, and I found out that there is a tremendous audience out there for traditional country music. Daryle and I have been doing shows together, and he is so much fun. When everybody hears this new album, they will know how special it is.” – Rhonda Vincent discussing American Grandstand. h/t That Nashville Sound

It’s hard to believe it’s been six years since Your Money and My Good Looks, which helped redefine Vincent’s pedigree beyond bluegrass. American Grandstand is a companion album of sorts to the project with Watson, a chance to recreate the magic all over again. Her friendship with Daryle Singletary goes back 23 years when they were labelmates on Giant Records. One of their earliest collaborations, a cover of Keith Whitley’s “Would These Arms Be In Your Way,” appeared on his self-titled debut album. They’ve collaborated frequently through the years, most recently on “We Must’ve Been Out of Our Minds,” from Vincent’s Only Me in 2014.

To say American Grandstand has been a long time coming is an understatement. With the timing finally right, they went into the studio to craft an album that mixes old and new, covers of classic duets interwoven amongst tracks newly-composed. A few of the duets may be oft-covered, but in the care of Vincent and Singletary, are as expertly executed as they’ve ever been. They tackle the mournful nature of “After The Fire Is Gone” with ease and extract the effervesce from “Golden Ring” without issue. “Louisiana Woman, Mississippi Man” is a revelation, one of the strongest collaborative recordings I’ve heard in years.

They also surprise, with a stunning rendition of Merle Haggard and Bonnie Owens’ lesser-known “Slowly and Surely.” Also not as famous is George Jones and Tammy Wynette’s “One,” which the pair released in 1996. Vincent and Singletary’s serviceable take is the album’s lead single. Other surprises include Harlan Howard’s “Above and Beyond,” which they deliver flawlessly. A third Jones cover, “A Picture of Me (Without You)” is also very good. “Up This Hill and Down,” which originated with The Osborne Brothers, is excellent.

The remainder of the album consists of the new songs, which include a reprise of “We Must Be Out of Our Minds.” These tracks are all ballads, which varying degrees of tempo. “As We Kiss Our World Goodbye,” about the end of a relationship, feels like the kind of track Singletary would’ve recorded back in the mid-1990s. In any other era, “Can’t Live Life” would be cemented as a standard.

If you can believe it, the rest of the album only slightly pails in comparison to the title track, which showcases Vincent as a songwriter (she wrote it solo). The spellbinding ballad is a grand finale of sorts, detailing the tale of duet partners preparing for their final show and the emotions attached to such an ending. I love how Vincent presents the well-worn themes in a new and exciting light.

American Grandstand is everything you would expect from a Vincent and Singletary collaboration, yet it’s even more deeply satisfying than you could even imagine. In a rare move, they actually sang together in the studio, at the instance of Singetary, who knew immediately that recording separately wasn’t going to work. The pair were born to sing together, even if Vincent’s power overtakes Singletary’s understated charm on occasion. He sounds to me like a modern day incarnation of Whitley, with a voice that has deepened over the years. It proves that Whitley’s influence continues to this day, which only makes this record even more special and essential.

I cannot recommend American Grandstand enough.

Grade: A+

Album Review: Johnny Paycheck – ‘Slide Off Of Your Satin Sheets’

Although his first “outlaw” album, 11 Months and 29 Days didn’t exactly set the Billboard charts on fire, Johnny Paycheck and producer Billy Sherrill continued in a similar vein with his next album, the much more successful Slide Off Of Your Satin Sheets, which marked the beginning of a commercial resurgence for Paycheck, albeit a brief one. The album spawned two hit singles, which carried him into the Top 10 for the first time since “Song and Dance Man” peaked at #8 four years earlier.

The first single was the title track, penned by Wayne Carson and Donn Tankersley, which finds the protagonist only too happy to reunite with an ex for clandestine meetings, despite the fact that she had jilted him for a richer suitor. The bouncy number landed at #7. The follow-up was the equally enjoyable “I’m The Only Hell (Mama Ever Raised)”, which revisits the tried-and-true “Mama Tried” theme. The protagonist’s mother tried to “turn him on to Jesus” but he “turned on to the Devil’s ways” and by the end of the song he has been arrested for armed robbery. It peaked at #8. Both of these numbers are among Paycheck’s most memorable songs; it’s a little surprising that they didn’t chart a little higher.

This collection is considered one of Johnny Paycheck’s “outlaw” albums, although only one track , “Woman You Better Love Me” is what I would consider a true outlaw song in the sense that it sounds like something Waylon Jennings would have done. The rest, for the most part have an in-your-face attitude but I’d classify them more as honky-tonk than outlaw. One track — Bobby Braddock’s “I Did The Right Thing” is an outlier on the album in that it is a tender ballad that shows Johnny’s sensitive side as he laments ending an extramarital affair and returning to his wife. It is more conventional than the rest of the album, retaining some of the countrypolitan trappings of the day (strings, vocal choruses) for which Billy Sherrill was well known. The rest of the album, however, is more hardcore country and is certainly more traditional than anything Sherrill was doing with other male stars like Charlie Rich and George Jones during the 70s.

I particularly enjoyed Johnny’s take on “You’re Still On My Mind”, which had charted at #28 for George Jones in 1962 (an updated duet version with Marty Stuart was included on Jones’ 2008 album Burn Your Playhouse Down.) “Hank”, in which Johnny sings about those mansions on the hill that Hank Sr. sang about is also quite good. I’d have made this the album’s opening song instead of the fourth track, since it reads like a prequel to “Slide Off Of Your Satin Sheets” — Johnny’s lost the girl of his dreams to a richer man, but she hasn’t yet come crawling back. Those are my two favorites, along with the two singles. All of the tracks are quite good, though if pressed I’d rank the slightly maudlin “I Did The Right Thing” as my least favorite.

Throughout the 50s and 60s, and for about the first half of the 70s, albums were of significantly less importance than singles in country music. By the latter half of the 70s, however, some artists were beginning to make more of an effort to create quality albums from start to finish, instead of just finding some filler to accompany a hit single or two. Slide Off Of Your Satin Sheets seems to be a reflection of that change in attitude. It’s a surprisingly solid album and my only real beef with it is that it plays for a scant 28 minutes.

Grade: A

Classic Rewind: George Jones – ‘When The Grass Grows Over Me’

Album Review: Johnny Paycheck – ‘Somebody Loves Me’

The only single, the title track, just failed to get into the top 20. It was written by Jerry Foster and Bill Rice. It’s a decent if not terribly memorable sunny love song given a committed performance by Paycheck, but the production and backing vocals from the Nashville Edition are quite dated and it doesn’t really play to Paycheck’s strengths.

A further three Foster & Rice songs make their appearance here. ‘Spread It Around’ is upbeat and enjoyable with perky harmonica. ‘It Takes A Woman’s Love’ is a soulful ballad which is quite good. ‘Without You (There’s No Such Thing As Love)’ is the best of the four, a sad traditional country ballad which lets Paycheck exercise his intensity of heartbreak backed up by some lovely Buddy Spicher fiddle.

Paycheck himself wrote three of the songs. ‘Loving An Angel Every Day’ is pleasant and well sung but lyrically bland. ‘Love Couldn’t Be Any Better’ is quite perky. The best of the three, ‘Kissing Yesterday Goodbye’, is a sad country ballad about trying to forget someone and move on:

Memory I don’t know why you
Keep holdin’ on the way you do…
We should kiss yesterday goodbye
And all the heartaches too
‘Cause we both know there wasn’t one time that she tried
We waste our time kissin’ pictures
And holdin’ pillows every night
We should be kissing yesterday goodbye

‘I Take It On Home’ is a Kenny O’Dell penned song which was a current hit single for Charlie Rich. Paycheck’s cover is sultry and effective. ‘Woman Loves Me Right’ (also recorded by George Jones), and Paycheck puts in a solid performance.

There are a couple of covers of songs by pop singer/songwriter Neil Diamond. The delicate piano ballad ‘Song Sung Blue’ (a #1 pop hit for Diamond in 1972) is performed very well in AC style, but is not typical of Paycheck’s work. The lesser known Life Can Be Beautiful’ is quite a pleasant but lyrically bland piece of cheery cod-philosophy which Paycheck does his best to invest with a little of his personality.

Billy Sherrill’s production is a little too Nashville Sound to really suit Paycheck.

It is now available on a 2-4-1 CD with Someone To Give My Love To. It isn’t one of Paycheck’s better albums, and I would probably skip it unless you are a completist, but it isn’t bad on its own merits.

Grade: C+

Album Review: Johnny Paycheck – ‘Someone to Give My Love To’

While the Little Darlin’ Recordings served to get Johnny’s name known, at some point the label lost steam and was folded by Aubrey Mayhew. In fact the last of the Mayhew-Paycheck collaborations was released on the Certron label. Once again Paycheck found himself on the outside looking in.

There´s an old saying that ‘The honky-tonk life kills off the honky-tonk singers’, In Johnny Paycheck’s case, that almost proved to be true as the twin demons of alcohol and drug abuse momentarily brought his career to a halt. Fortunately for Johnny, a talent as formidable as he was, rarely stayed forgotten in Nashville during the early 1970s. While he was drying out, the country music genre was undergoing some changes. Bands such as Creedence Clearwater Revival, Matthews Southern Comfort, The Byrds, Poco and Pure Prairie League were adding country sounds to their forms of rock music. Meanwhile, former rockers like Jerry Lee Lewis and Conway Twitty were experiencing success on country radio. Hoping to capitalize on the new energy affecting country music, CBS record executive and fan Nick Hunter tracked Paycheck down (there are stories of him sleeping under freeway bridges and on park benches). Hunter brought Paycheck to the attention of producer Billy Sherrill, who signed him to Epic Records and recorded him as a straight-ahead country balladeer. Success came immediately as the first single “She’s All I Got” reached #2 Billboard/#1 Cashbox/#1 Record World, and the album of the same name reached #4 upon its release in December 1971.

Someone To Give My Love To was Johnny’s second release for Epic, released in May 1972. The title track, released as the first single from the album replicated the success of his first Epic single reaching #1 on Record World (#2 Cashbox /#4 Billboard). This song was written by the successful songwriting team of Bill Rice and Jerry Foster. Paycheck would record many more of their songs.

I could search from now till the end of time
And never find another you
I’m so glad because I know you’re mine
Someone to give my love to

Now I believe my love that you’re one of a kind
For there’s no one else like you
You’re the light of my life so let it shine
Someone to give my love to

[Chorus]
I found happiness is loving you
And I’ll do my best to make your dreams come true
I will follow you to the end of the earth
For my place will be with you
I have taken you for better or worse
Someone to give my love to

Tracy Byrd would cover this song 30 years later.

Next up is “Smile Somebody Loves You”, a generic ballad that makes a decent album track. “Something” by English songwriter George Harrison is a song that has been covered hundreds of times. Welsh torch singer Shirley Bassey had a huge hit with the song while I was living in England, reaching #4 on the UK pop charts while being a top ten record in numerous other countries. Johnny does a nice job with the song, but with the exception of a little steel guitar, the arrangement is nearly a clone of Bassey’s recording.

Johnny wrote “Your Love Is The Key To It All”. A nice ballad that has a generic instrumental backing that sounds like it was intended as a Tammy Wynette track.

The sun always shines in my world down even when the rain should fall
The light of happiness is always shining and your love is the key to it all
One day you just walked into these arms of mine
Lift me up and with your love made me stand tall
Now I know what happiness in life is all about and your love is the key to it all

Your love is the key that fits every lock to every single door in failure’s wall
Now I’m strong enough to do anything I have to and your love is the key to it all
One day you just walked…
Your love is the key to it all

Jerry Jeff Walker never had any real hit records, but he sure wrote a winner in “Mr. Bojangles”. Walker has said he was inspired to write the song after an encounter with a street performer in a New Orleans jail, after he was jailed for public intoxication. Contrary to popular belief the song was not inspired by famed black dancer Bill “Bojangles” Robinson, but by a homeless white man who called himself “Mr. Bojangles” to conceal his true identity from the police.

Walker’s own 1968 recording of the song died at #77, but the Nitty Gritty Dirt Band pushed the record to #9 on the US pop charts (and #2 on the Canadian pop charts) and performers such as Sammy Davis, Jr. and William Shatner have performed the song. Paycheck’s version is performed in a straight-forward manner – it makes a nice album track.

“Love Is A Good Thing” is another song from the Foster-Rice songbook. According to Billboard the song only reached #12 (#13 Record World/#11 Cashbox). Given how frequently I heard the song on country radio, I suspect that the song was more popular in some areas than others. It is a great song

Girl, you give your precious love to me and we’ve got a good thing goin’
There’s no end in sight that I can see cause our love just keeps on growin’
Bring on happiness let us sing love is a good thing
We can take what life may offer us and when trouble comes around
There’s no way it’s gonna break us up nothing gets a good love down
Bring on sunshine let us sing love is a good thing
Yeah love is a good thing let us sing love is a good thing

“A Heart Don’t Need Eyes” and “She’ll All I Love For” are a pair of Paycheck’s compositions, both decent album tracks. The former is a standard weeper that would have made a decent, but not great single for Paycheck (or George Jones for that matter.) The latter is a upbeat love song to his wife .

“The Rain Never Falls In Denver” is a mid-tempo upbeat Foster & Rice love song. It could have made a decent single for someone but as afar as I know, it was never released by anyone as a single.

Oh, the rain never falls in Denver
‘Cause you make the sun shine all the time
Oh, the rain never falls in Denver
Since you came along and brought your love to this heart of mine

One time in Chicago, Illinois
A pretty woman turned my head around
That city woman said she love this poor country boy
Any cloudy in Chicago and the rain came pouring down

But the rain never falls in Denver
‘Cause you make the sun shine all the time
Oh, the rain never falls in Denver
Since you came along and brought your love to this heart of mine

“High On The Thought of You” is a interesting song about a love that is gone. Johnny does an effective job of singing the song

I don’t need the help of the red wine in the glass to ease my mind
I found out the way to forget the way you left me here behind
I drink up a mem’ry and it takes me back to places that I’ve been
I just think about you and I’m high on the thought of you again

The album closes with “It’s Only A Matter of Wine”, the title a takeoff on the title of an old Brook Benton classic. The song itself, written by Frank Dycus and Larry Kingston, has nothing to do with Benton’s song.

They’re stackin’ the chairs on the table again they block down the Budwiser sign
`Soon they’ll be callin’ a taxi for me it’s only a matter of wine
Yes it’s only a matter of wine till I’m something that words can’t divine
Yes she’ll soon be out of my mind and it’s only a matter of wine

Outside a big truck is washing the street leaving our dream world behind
While inside I’m washing your mem’ry away cause it’s only a matter of wine
Yes it’s only a matter of wine…
Yes it’s only a matter of wine

Johnny Paycheck was a very distinctive vocalist whose voice could occasionally (but only rarely) be mistaken for George Jones – but for no one else. His ability to put across emotion could be matched by few and exceeded by none. The albums released by Epic are generally very good, but that distinctive instrumental sound and style of the Little Darlin’ years had been lost, replaced by the “country cocktails” sound of Billy Sherrill. Unfortunately, album covers from this era did not routinely list musician credits and I haven’t been able to find them elsewhere.

On a few of the tracks, it sound as if tracks were produced first; then a vocalist selected to sing the song. With an artist as distinctive as Paycheck, the vocals cut through the clutter and produce recordings worth hearing.

Grade: B+

Album Review: ‘The Little Darlin’ Sound of Johnny Paycheck: In The Beginning’

Released in May 2004, In The Beginning was the first in Koch Records’ series of reissues of Johhny Paycheck’s Little Darlin’ recordings. Founded by Paycheck and his producer Aubrey Mayhew, Little Darlin’ Records was Paycheck’s label from the mid-1960s until the end of the decade when it ceased operations. Paycheck’s Little Darlin’ years were only moderately successful, yielding one Top 10 hit (1966’s “The Lovin’ Machine”) and two more Top 20 hits (1966’s “Motel Charlie” and 1967’s “Jukebox Charlie”). None of those tracks are included on this disc, nor is Paycheck’s best-remembered record from that era, “A-11”, which topped out at #26 in 1965. I suspect that the 15 recordings on this disc may have been the first he recorded but not necessarily the first to be released.

Although nothing here rises to the level of a classic, all of the songs are well-crafted and enjoyable, which is in no small part due to the contributions of the legendary Lloyd Green whose steel guitar is prominent on most of the tracks. Most of these songs are hardcore honky-tonk, without any of the Nashville Sound trappings (vocal choruses, strings) that were typical of the mid to late 1960s. The influence of George Jones and 1950s Ray Price (whose band Paycheck was am member of at the beginning of his career) is readily apparent throughout the disc.

The album’s opening cut is the George Jones-esque “Don’t Start Countin’ on Me”, followed by “The Girl They Talk About”. “High Heels and No Soul” at first seems to be another take on the oft-visited shoes metaphor (i.e., Billy Walker’s “Charlie’s Shoes” and Patsy Cline’s “Shoes”) but it takes a different course and talks more about the subject’s demeanor rather than her footwear. It’s one of the album’s best tracks, as is “Don’t You Get Lonesome” which features a double-tracked vocal effect. “With Your Wedding Ring in One Hand (and a Bottle in the Other)” is another favorite. Not as enjoyable is “Passion and Pride”, which isn’t a bad song but I just can’t get past the similarity of its melody to Porter Wagoner’s “A Satisfied Mind”.

“Columbus Stockade Blues” is a bit of a change of pace, with a rockabilly feel that is more reminiscent of Conway Twitty than George Jones, but the album’s real outlier is Paycheck’s cover of “Galway Bay”. Popularized by Bing Crosby in 1947, the song is almost always performed with an orchestral arrangement. Although Paycheck’s version will have some screaming cultural appropriation, he does a decent job singing the song. However, this is one time the pedal steel seems a little out of place. It’s the only real misstep on the album, material-wise. A bigger problem is the audio quality, which is somewhat lacking throughout. Koch put little or nothing into remastering these tracks, but although they could have benefitted from some digital clean-up, they do not sound so poor to render the album unlistenable.

As someone who is more familiar with Johnny Paycheck’s later years, all of these recordings were new to me. In an age when new worthwhile country music is hard to come by, it’s always a treat to come across something one hasn’t heard before, even if it is decades old. While only hardcore fans will likely buy the album (used CD copies or digital download) more casual listeners may want to stream it.

Grade: B+

Album Review: Don Williams – ‘Currents’

Before we get underway with our Johnny Paycheck spotlight, we have some unfinished business concerning last month’s spotlight artist Don Williams.  Through an oversight, this review was not published on Monday, May 29th as originally intended, so we are bringing it to you now — a little late but worth the wait.

The year 1992 was an interesting year in country music as the ‘New Traditionalist’ movement reached its zenith following the first flowering in 1986 (Randy Travis, Travis Tritt,  Dwight Yoakam) and the vaunted class of 1989 led by Alan Jackson, Clint Black and Garth Brooks. By 1992 so-called hat acts proliferated and even when the music was not strictly traditionalist, fiddle and steel guitar were prominently featured in the music.

In 1987 Hank Williams Jr.  and a cadre of younger artists presaged the 1992 music scene with the video “Young Country”, but with one exception: while the listeners may have been listening to both the new acts and the older acts in concert (and through their cassette and CD collections), radio had completely discarded Haggard and Jones and almost discarded the 48 year old Hank Williams Jr.

Currents, which was released in April 1992, was the third (and final) Don Williams album to be released on the RCA label.  Don had enjoyed three top ten hits off the previous album True Love, but those would prove to be the last top forty chart hits of Don’s career.  Make no mistake about it, Currents, like every album Don released before it (or even after it, for that matter) is a very good album. The problem with the album was the ‘Young Country’ movement was in full swing and the fifty-three year old Williams looked like ‘Old Country’ even if his music was not exactly of the Ernest Tubb/Hank Sr. old school vintage. In fact with his rapidly graying beard, Don looked even a bit older than his age. Radio simply quit playing him.

The album opens up with a Hugh Prestwood song, “Only Water (Shining In The Air)”, mid-tempo ballad with a little different sound than previous efforts:

Not that long ago, I was on the run
People telling me I should be someone
And the things I’d learnt were forgotten in my haste
Till I reached the end of the rainbow I had chased
It was only water shining in thin air
I put out my hand and there was nothing there
After all the promise, after all the prayer
It was only water shining in the air
Now I’ve got a wife and she sees me through
And I’ve got a friend I can talk straight to
And I’ve got some dreams just a bit more down to earth
And I don’t forget what a rainbow’s really worth

“Too Much Love” has a sing-a-long quality to it and, again, a little more of a contemporary sound to it. Written by Roger Cook and Roger Greenaway, the song has rather bouncy lyrics of not much substance. The song was released as the second single; it deserved a better fate than dying at #72.

Too much coffee, too much tea, too much sugar isn’t good for me.
Too much money and too much fame, too much liqueur drives a man insane.
But too much love, too much love, there’s no such thing as too much love.
Too much fighting and misery, there’s too much trouble in this world for me.
There’s too much of this and too much of that and too much of anything will make you fat.
But too much love, too much love, there’s no such thing as too much love.

I really liked “That Song About The Water”, in fact it is my favorite song on the album. I think it would have made a good single but I doubt radio would have played it either. Penned by Charles John Quarto and Steve Gillette, the song is a slow ballad that sounds like a typical late 60s – early 70s production with steel guitar and (to a lesser degree) harmonica very prominent in the arrangement. I can hear this as a track on a Charley Pride album from that period.

I have seen the paddle wheelers
Rolling south on a summers day
I’ve seen the lovers at the guardrails
With stars in their lemonade
And I’ve heard the hobos gather
Heard their banjos brace the blade
Heard them sing about the river
Called it the lazy mans parade
Sing me that song about the river
Green going away
You know I always did feel like a drifter
At this time of day

Alex Harvey wrote “Catfish Bates” the third single from the album and the first Don Williams single not to chart after fifty-three consecutive solo chart singles. This mid-tempo ballad also features mid-70s country production. If released as a single 15-18 years earlier, I think it would have been a substantial hit. Of course, I may be prejudiced since fried catfish is my favorite form of seafood:

They call me Catfish Bates
‘Cause I can catch a catfish anytime I want to
Even when the moon man tells me they won’t bite
They call me Catfish Bates
‘Cause I know where that big ole flathead’s a hidin’.
I’m a gonna take him home with me tonight
I am the king of the Loosahatchie
My home is on the river
And them catfish they all know me by my sigh

I keep my nose on the westwind
My eye on the water
And my mind on my business all the time

Don turns to Dobie Gray for the next two songs. Gray was essentially an R&B singer who had two huge pop hits, “The In Crowd” (1965) and “Drift Away” (1972). Country fans may remember “Drift Away from Narvel Felts top ten record in 1973.

“So Far, So Good” is a slow ballad about a breakup that the narrator thinks is about to happen, but which hasn’t happened yet. “In The Family” features a Caribbean rhythm verging on reggae. It’s different but it works

 

Well I was raised up by the golden rule
In an old house with a patched up roof
We had a hard home but it pulled us close
We were family
Oh that summer, when the crops all died
Was the first time I saw Daddy cry
An’ I heard Momma say what goes on here stays
In the family

[Chorus]

Well our clothes weren’t new, that old car was used
We held our own
Whoa you just can’t buy, that sense of pride
We grew up on, In the family

I was stunned that “Standing Knee Deep In A River (Dying of Thirst)”, written by the crack team of Bob McDill and Dickey Lee, was not released as a Don Williams single. Instead Kathy Mattea took it to the top twenty in 1993. I like Kathy Mattea but Don’s version is better.

Friends I could count on I could count on one hand with a left over finger or two.
I took them for granted, let them all slip away, now where they are I wish I knew.
They roll by just like water & I guess we never learn,
Go through life parched and empty standing knee deep in a river, dying of thirst.

Pat Alger contributed “Lone Star State of Mind” a song which barely cracked the top forty for Nanci Griffith in 1987. Charles John  Quarto and Steve Gillette contributed “The Old Trail”, a jog-along ballad that isn’t as cowboy as the title suggests. Both songs are good album tracks.

The album closes up with “It’s Who You Love” a top twenty hit for writer Kieran Kane back in 1982. This song was released as the first single from the album. It died at # 73, the first indication that Don’s career as a chart singles act was through. I really like Don’s version – he is a more distinctive vocalist than Kieran Kane – but the song did not do great things in 1982, either.

Lying here beside her I’ve come to understand
If you want to be happy you can
It don’t take living like a king, it doesn’t cost you anything
All it takes is a woman and a man
Because its who you love and who loves you
It’s not where you are if she’s there too
It’s not who you know or what you do
It’s who you love and who loves you
This modern world we live in is a sad state of affairs
Everybody wants what isn’t theirs
While the race for money and success in search of happiness
We turn out the light and go upstairs

Kathy Mattea contributes backing vocals on “The Old Trail”, Dobie Gray does likewise on the two songs he wrote. Kieran Kane plays mandolin and Russ Pahl plays steel guitar. Something called the Bhundu Boys plays on “In The Family” providing guitars, handclaps and cowbells.

I doubt that there was a great conspiracy on radio to not play Don Williams records in 1992 (but I could be convinced otherwise). This is a fine album, with subtle and appropriate instrumentation and featuring a bunch of good songs. This album fits comfortably in the B+ to A- range where most of Don’s albums reside.

No further chart singles would occur for Don Williams, although his subsequent albums would occasionally reach the lower reaches of the Country Albums charts.

I guess Jerry Reed Hubbard was correct when he said “When You’re Hot You’re Hot, When You’re Not,You’re Not”.

 

Spotlight Artist: Johnny Paycheck

Our June Spotlight Artist is perhaps the most interesting artist we’ve featured in terms of personality and the ability to reinvent himself.

Born Donald Eugene Lytle, and later known as Donnie Young, Johnny Paycheck, John Austin Paycheck, Johnny PayCheck and perhaps a few other names that have slipped by me, Paycheck (5/31/1938 – 2/19/2003) was possessed of enormous talent as a vocalist and songwriter, but not as much talent at keeping himself in check. As a result, he continually found himself in hot water.

Johnny Paycheck was born in the small rural town of Greenfield, Ohio. Greenfield, located about 70 miles to the northeast of Cincinnati and 60 miles south of Columbus, is a typical Midwest small town, the sort of place Hal Ketchum sang about in his song “Small Town Saturday Night”, It’s the kind of town people either remain in forever or can’t wait to leave. For a restless spirit like Paycheck, leaving was first and foremost in his thoughts.

He hit the road in 1953 with his clothing and his guitar, serving a not too successful hitch in the US Navy and eventually winding up in Nashville where he obtained work as a sideman in the bands of several prominent Nashville stars such as Ray Price, Faron Young, Porter Wagoner and George Jones.  He also appeared as a harmony vocalist on numerous recordings.

Paycheck cut a couple of country and rockabilly sides for Decca and Mercury in the late ´50s under the moniker Donnie Young. Interestingly enough, Paycheck/Young´s first single, “On This Mountain Top” was billed as a duet with another restless soul – Roger Miller (although Miller functions basically as a background singer). The single gave Johnny his first chart success as the single reached #31 on Cashbox´s country chart. While this was a promising start, it would prove to be a false start.

Our story will begin with the classic recordings that Johnny recorded for Aubrey Mayhew’s Little Darlin’ label (1966–1969) and carry us through his recordings with Epic Records. The Little Darlin’recordings will reveal some of the archest hard-core honky-tonk recordings ever made, recordings (mostly featuring Lloyd Green on steel guitar) with a taste for bizarre, sometimes humorous and/or violent songs that tempered their serious nature with upbeat instrumentation.

The Epic years will reveal two more sides of Johnny. The early Epic years (1971–1975), sometimes called the “Mr. Love Maker” years after an early 1970s hit, will find Johnny cast as a romantic balladeer complete with the ubiquitous “country cocktails” trappings of producer Billy Sherrill. The later Epic years (1976–1982) will find Johnny reinvented as an “outlaw” with songs such as “(Stay Away From) The Cocaine Train”, “Colorado Kool-Aid” and “Take This Job and Shove It”.

Throughout this entire period, Johnny Paycheck remained an outstanding and distinctive vocalist, fearless in his choice of material and basically unique in his approach to his music.

In writing about Don Williams last month I wrote: ”So kick back and enjoy our overview of May Spotlight artist Don Williams”. There is nothing laidback about our June spotlight artist, it’s hold onto your hats – here comes Hurricane Johnny.

Johnny’s only child recently set up this useful website.

Classic Rewind: George Jones – ‘The One I Loved Back Then (The Corvette Song)’

Album Review: Dailey & Vincent – ‘Patriots and Poets’

The title and cover artwork of Dailey & Vincent’s new album are somewhat misleading as they create the false impression that this is a collection of patriotic-themed tunes. What it actually is is a collection of well-crafted bluegrass songs, including a healthy dose of spiritual numbers, all written or co-written by Jamie Dailey and Darrin Vincent themselves.

Patriots and Poets is the duo’s first project under a new deal with Dreamlined Entertainment. In addition to showcasing the Jamie Dailey and Darrin Vincent, the spotlight is shared with their backing band, which includes bass vocalist Aaron McCune, which gives them a somewhat fuller sound than their earliest work. They also team up with an impressive line-up of guest artists including bluegrass greats Bela Fleck, Doyle Lawson, and David Rawlings. Comedian and banjo virtuoso Steve Martin also makes an appearance, as does Christian Singer TaRanda Greene.

Consisting of a generous sixteen tracks, the album opens with the energetic but lyrically light “Gimme All The Love You Got” and then veers off into more substantive territory with the religious number “Beautiful Scars”. “Baton Rouge”, which references “leaving Louisiana in the broad daylight” and walking from Baton Rouge to Birmingham is reminsicent of Shenandoah’s “Next to Me, Next to You” with acoustic instrumentation.

Surprisingly, “Until We’re Gone”, the collaboration with TaRanda Greene is a secular love song, rather than a religious one. I’m not familiar with her work but she is a pleasant but not great vocalist. Based on its title, I expected “Bill and Ole Elijah” to be a religious number, and it does have a revival meeting vibe to it and a soaring high lonesome sound that would make Bill Monroe proud, but it is actually a song about a prison break, with an interesting twist at the the end.

My favorite track is “California”, which is almost like a tongue-in-cheek retelling of the old George Jones and Tammy Wynette classic “Southern California”, in which a wife tells her good ole boy husband that she’s leaving to find her fortune in Hollywood. In this telling, however, her husband goes with her, expecting her to get discouraged and eventually want to return home. When she doesn’t, he eventually returns home without her, but he bailed out a little too soon as he learns a few months later when he discovers his Mrs. on reality television show. Steve Martin plays banjo and recites the song’s spoken verse that reveals the wife’s eventual success.

“America, We Love You” seems like it is the patriotic component referenced in the album’s title but it is actually more of an expression of appreciation for the fans who have come out to support the duo on their nationwide tours.

This is an impressive collection with no throwaway tracks, which is no mean feat considering that there are sixteen of them and it plays for about an hour. It might be a little long for those who are ambivalent about bluegrass but I thoroughly enjoyed it from beginning to end.

Grade: A

Week ending 4/8/17: #1 singles this week in country music history

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

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

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

1967: Walk Through This World With Me — George Jones (Musicor)

1977: Lucille — Kenny Rogers (United Artists)

1987: Ocean Front Property — George Strait (MCA)

1997: (This Ain’t) No Thinkin’ Thing — Trace Adkins (Capitol)

2007: Beer In Mexico — Kenny Chesney (BNA)

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

2017 (Airplay): Dirt On My Boots — Jon Pardi (Capitol)

Classic Rewind: George Jones – ‘The Race Is On’

Album Review: Trace Adkins – ‘Something’s Going On’

It looks as if Trace Adkins’ mainstream career is over, with his recent move from Show Dog Universal to Wheelhouse Records (a Broken Bow imprint). One never knows quite what to expect from Trace, and the music here covers the spectrum.

The first couple of singles for the label flopped, and deservedly so, as they are not very good. The first of these, ‘Jesus And Jones’, was almost a hit, peaking at #41. The song itself is actually solid, with its acceptance of maturity as a hellraiser torn between drinking and church realizes he needs to find a balance, but the production throws in too many bells and whistles aimed at contemporary “country” radio, and ends up muffling the song’s strengths.

‘Lit’, which failed to chart, is plain terrible, with cliché’d lyrics typical of Trace’s worst work, non-existent melody and loud, loud production with intrusive elements. It was cowritten by the album’s producer Mickey Jack Cones, perhaps no coincidence. ‘Country Boy Problems’ is awful in all the same ways lyrically and melodically, with a bit of cynical banjo thrown in. Opener ‘Ain’t Just The Whiskey Talkin’’ isn’t quite as bad, but is still cliché’d and too loud/cluttered.

Thankfully, his latest single (reviewed here by Razor X) is infinitely better. The song, written by Matt Jenkins, Trevor Rosen and Shane McAnally, is set to a gentle, attractive melody. Trace’s deep, warm voice is perfect for the song’s quiet reflection, and is well served by the understated production – the only song on the album for which this holds true. This is Trace Adkins at his best.

There are some other good songs here, despite the bombastic production. ‘Still A Soldier’, written by Phil O’Donnell and Wade Kirby, is a sympathetic portrait of a veteran who still bleeds red, white and blue despite his retirement to suburban civilian life; this is only a little over-produced. ‘Whippoorwills And Freight Trains’, another O’Donnell co-write, is a good mid-paced song about getting past a spell of loneliness. Trace gets to exercise the very lowest parts of his deep bass-baritone voice at the end of the song; but the production is too busy, and the song would be more effective with a more stripped down or traditional country production.

Two themes dominate the album, both adult in different ways. One is that of maturity; the other is a leaning to rather sexy songs. The best of the latter is the title track, which has a seductive melody and vocal, although it isn’t all that country. ‘I’m Gone’, written by Craig Campbell and Max T Barnes , isn’t too bad. ‘If Only You Were Lonely’ is muffled by the production. ‘Gonna Make You Miss Me’ is far too busy with irritating electronic intrusions. Both would be much better with different production choices.

The album closes with ‘Hang’, a pleasant if not ground-breaking tune about quiet downtime in the countryside which Trace’s vocal renders likeable despite busy production.

Next time around, Trace needs to ditch this producer and play to his strengths. This project is disappointing, especially given the long wait.

Grade: C+

Spotlight Artist: Sawyer Brown

Those only intimately familiar with Sawyer Brown’s output in the 1990s, may be surprised to learn the origins of the group are traceable back to the mid-1980s when Mark Miller and the boys competed on and won Star Search.  With the $100,000 prize in their pockets and a recording contract with Capitol/Curb Records, they entered the studio to record a self-titled album released in 1984. The album peaked at #2 and their second single, “Step That Step” was their first #1 hit.

Sawyer Brown would hit the top ten just four more times in their first decade, where big hits included “That Missing You Heart of Mine” and an iconic cover of the George Jones classic “The Race Is On.” Their fortunes changed in 1991 when they dropped the slick sound that had become their trademark with “The Walk,” a stunning ballad about the cycles of life solely written by Miller. The song returned them to #2 for the first time in four years.

The band’s greatest period of consistency followed, with their next eight singles reaching the top 5. “Some Girls Do” and “Thank God For You” were the band’s second and third number one hits, respectively. This uptick in their commercial fortunes is related to the addition of Mac McAnally, who wrote some of the hits and co-produced a number of the albums reasonable for changing perceptions and allowing both fans and critics to take the band seriously.

McAnally’s contributions include “Cafe on the Corner,” a masterwork in blue-collar oppression. “All These Years” tackles infidelity, with a husband confronting his wife while she’s in bed with her lover. He and Miller co-produced four of the band’s albums, beginning with Outskirts of Town in 1993 and ending with 1999’s Drive Me Wild. Sawyer Brown’s final major hit was the title track to the latter project, which hit #6 in 1999. Two years prior they took a cover of Dave Dudley’s “Six Days On The Road” to #13 while their take on “This Night Won’t Last Forever,” a pop hit for Michael Johnson in 1979, hit #6.

While our spotlight of Sawyer Brown will conclude with their Six Days on the Road album, released in 1997, the band has been recording into the new millennium. Their aforementioned Drive Me Wild album was issued with Miller dancing courtesy of a hologram cover image in 1999. Just three more albums have followed in the years since all of which have yielded singles that either charted low or didn’t chart at all. The band’s most recent single, the failed “Walk Out of the Rain” was issued back in 2014.

As far as distinctions go Sawyer Brown was never able to walk away with the CMA Award for Vocal Group of the Year, despite seven consecutive nominations between 1992-1998. This feat has since been tied, by Zac Brown Band, who also has seven consecutive nominations (2010-2016) without a win. Like Sawyer Brown, Zac Brown Band has also won the CMA New Artist Award.

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

1957 (Sales):Young Love/You’re The Reason I’m In Love — Sonny James (Capitol)

1957 (Jukebox): There You Go — Johnny Cash (Sun)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: Walk Through This World With Me — George Jones (Musicor)

1977: Southern Nights — Glen Campbell (Capitol)

1987: Small Town Girl — Steve Wariner (MCA)

1997: How Was I To Know — Reba McEntire (MCA)

2007: Beer In Mexico — Kenny Chesney (BNA)

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

2017 (Airplay): Dirt On My Boots — Jon Pardi (Capitol)

Week ending 2/18/17: #1 singles this week in country music history

mark-620x4001957 (Sales):Young Love — Sonny James (Capitol)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: Where Does The Good Times Go — Buck Owens (Capitol)

1977: Near You — George Jones & Tammy Wynette (Epic)

1987: How Do I Turn You On — Ronnie Milsap (RCA)

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): Star of the Show — Thomas Rhett (Valory)

Week ending 2/11/17: #1 singles this week in country music history

morris10-21957 (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.)

Album Review: The Whites – ‘Give a Little Back’

51rbd9bcgvl-_ss500_pjstripe-robin-largetopleft00The Whites continued to record only sporadically when their stint as a major label act ended. 1996’s Give a Little Back, appeared nearly a decade after their final release for MCA/Curb. Released by the independent Nashville-based Step One Records, it has a more contemporary, less down-homey feel to it than their earlier work. Even at their commercial peak, The Whites were somewhat at odds with the mainstream. It does not seem to have been a serious attempt to reignite their recording career; no singles were released and the album received little promotion, but it is an impressive effort given the small-label constraints they had to work with.

I’m guessing that Give a Little Back was produced for a mere fraction of the cost of a typical major label release of the day, but no corners whatsoever were cut where the session musicians were concerned. Some of Nashville’s finest — Jerry Douglas (dobro), Buddy Emmons (pedal steel), and Ricky Skaggs (mandolin and fiddle) — appear in the musician credits.

The songs themselves are also quite good and are a mixture of both old and new from a cover of The Louvin Brothers’ “Steal Away and Pray” to more contemporary fare by Karen Staley, Jerry Fuller and John Hobbs, all well known composers of the day. Allmusic lists “I’d Jump the Mississippi”, a song written by George Jones, on the tracklist but it does not appear on the iTunes version of the album.

The Whites’ radio singles all featured Sharon as the lead singer, but she shares the spotlight just a little with her father – who is a surprisingly good vocalist on “Whose Heart Are You Breaking Tonight” and “Give Love an Inch” – and her sister Cheryl who sings lead on “Slow Dancin’”, “Til This Ring Turns Green” and “Try a Little Kindness”. The latter is best known as a hit for Glen Campbell, but The Whites had previously recorded it as a bluegrass song in the 70s when they were still relatively unknown. Cheryl is not the vocalist that Sharon is. The two numbers on which Buck sings lead are similar in arrangement to the uptempo material Ricky Skaggs released when he first emerged as a mainstream artist in the early 80s. I thought that Ricky might have produced the album, but Ray Pennington is the credited producer.

Martina McBride fans will recognize “Walk That Line”, a song that was included on Martina’s 1992 debut album. The Whites version, with Sharon singing lead, is faithful to Martina’s original version. I slightly prefer Martina’s version because it’s more familiar to me but The Whites’ version is also very good. My favorite track is the upbeat “I’ve Changed the Lock on My Heart’s Door.”
Give a Little Back shows that The Whites still had a lot to offer after their hitmaking days ended and makes one wish that they had recorded more frequently in the post-major label phase of their career.

Grade: A