My Kind of Country

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

Tag Archives: George Jones

Album Review: Jason Boland and the Stragglers – ‘Hard Times Are Relative’

Jason Boland and the Stragglers are usually reliable purveyors of country music infused with a little Red Dirt attitude.

The opening ‘I Don’t Deserve You’ is a pretty good midpaced love song. Sunny Sweeney’s harmony vocal adds charm.

The lovely title track is a sweet story song about a pair of orphaned siblings looking out for one another in the 1930s. This is the best song on the album.

Also great is the solid honky tonker ‘Right Where I Began’, with a protagonist taking refuge in country music and a one night stand for temporary relief from his heartbreak:

Ol’ George sings a leaving song where the cowboy rides away
Hey, Ronnie’s got me figured out
She’s back on my mind to stay
And old Jones said “He stopped lovin’ her”
I hope that ain’t today
So I’ll sit back down on the stool and let the jukebox play

I got Jack Daniels by the handle
My best Bud’s in the can
Some Wild-ass Turkey sittin’ next to me
Talkin’ ’bout the plan
But I’ll find a wife for the night and I’ll be her lovin’ man
Then tomorrow morning I’ll take her home and I’ll be right where I began

My next favorite is nostalgic waltz ‘Do You Remember When’, which reflects on “progress”:

Folks might still waltz around dusty dancefloors
But three quarter time’s never played anymore
And shameless promotions may get the place full
So drunk girls can ride a mechanical bull

Everyone talks about good old dancehalls
Then make for the tourist traps and shopping malls
Oh, how I wish this was all a bad dream
We’d wake up and Bob Wills would still be the King

Who would’ve thought it could happen so fast –
The reckless abandonment of all our past?
In one generation forget who we are?
So let’s talk politics and religion in bars

‘Predestined’ is a nice philosophical song with a soothing melody and somewhat unclear lyrics, and ‘Going Going Gone’ is also pretty good.

‘Searching For You’ has a jazzy feel with slightly haphazard doo-wop style backing vocals which is quite catchy but not entirely to my taste. ‘Grandfather’s Theme’ is rather more progressive jazz, and sounds a bit weird to be honest. The musicianship is impressive, but it feels self indulgent. ‘Dee Dee OD’d’ is a rocker which is apparently about the punk band the Ramones. ‘Tattoo Of A Bruise’ is not very interesting and is also quite rock influenced. The set closes with a cover of Van Morrisons folk-rock ‘Bulbs’.

Overall, there is about half of an excellent album, and half one I’m not especially interested in.

Grade: B

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Classic Rewind: Vince Gill – ‘If My Heart Had Windows’

Vince pays tribute to George Jones.

Classic Rewind: George Jones and Tammy Wynette – ‘Milwaukee Here I Come’

Album Review: Tim Culpepper – ‘DUI (Drinkin’ Under The Influence)’

I loved Mississippi-born, Alabama-raised Tim Culpepper’s solidly traditional Pourin’ Whiskey On Pain half a dozen years ago, and I was delighted to see he had released a follow-up. This is real country music, sung by a man with a great classic country baritone. The prodiction is solid with fiddle, steel guitar and honky on piano. He wrote most of the songs with his wife Jeanette Marie.

The opener ‘Drove Her Away’ is a regretful look at a relationship killed by the man’s poor choices. ‘Another Way To Try’ is a slow ballad about drinking to soothe the pain of a woman leaving.

‘She Only Loves Me’ is about being the lady’s fallback option when no one else is available.

The best song is the almost-title track, ‘Under The Influence’. This is a wonderful tribute to classic country music:

I love to hear some Haggard
Lord he sounds so good with beer
When that jukebox plays some Jones and Strait
You can always find me here
So put on Whitley’s stuff
I’ll slide my barstool up
And you can pour me a shot that’s strong
Cause I’m under the influence of hardcore country songs

I wanna hear a crying steel guitar
A fiddle and a five piece band
Give me an ice cold brew
Three chords and the truth
About the workin’ and the common man
I’m hooked on tradition
Inebriated by the honky tonks
And I’m under the influence of hardcore country songs

They didn’t sell their soul for fire and smoke just to be superstars
That’s why I love those legends
They stayed true to who they are
So crank up Hank and turn up Vern
Put on Gene and drink along
Cause I’m under the influence of hardcore country songs

There is a cameo appearance by fellow traditionalist Ken Mellons. Fabulous.

The power of music is also a central element to ‘Thirsty’ (which Tim and his wife wrote with Jacob Bryant), where the protagonist takes refuges from a hot day and missing his loved one in a bar room with a jukebox, with Keith Whitley the final resort. Another great song.

In another song Tim personifies the ‘Sad Ole Country Song’, “a reminder of love gone wrong”.

Tim recounts his life in music with a mixture of fondness and wry regret for his lack of stardom, all inspired by ‘Daddy’s Old Guitar’, while he would

Sing my songs to empty barstools for hardly any pay
But I sing them anyway

The final song (a cowrite with Jeff “Hoot” Gibson) addresses the state of both the USA and country music in ‘Take Back Our Country Again’

Jesus and Jack Daniels are in high demand
Politicians try to sell us on their progressive plans

They force feed us music on our radio
Killin’ tradition down on Music Row
While they’re gaining ground we’re losing control
Bring on the fiddle, a little misery and gin
And let’s take back our country again

There is some particularly lovely fiddle on this track.

My only regrets about this record are that there are only eight tracks and hat it’s been so long in the making.

Grade: A

Classic Rewind: George Jones – ‘She’s Mine’

Classic Rewind: Gene Watson and Rhonda Vincent – ‘This Wanting You’

Cover of a T Graham Brown song once recorded by George Jones.

Album Review: Daryle Singletary – ‘That’s Why I Sing This Way’

By the end of the 90s, Daryle’s hits had dried up at radio as the industry moved away from his pure country sound, and Giant decided to drop him from the label. He moved to independent label Koch Records, and released Now And Again, an album which mixed his Giant hits with a handful of new songs (including two of his own co-writes, the title track and ‘I’ve Thought Of Everything’, a very good mournful ballad which is worth downloading).

2002 saw Daryle pay tribute to his roots with a set of mainly classic country covers. Not everyone likes this kind of project, but if nothing else it proves definitively that Daryle was a great country singer who would have been an enormous star had he been born a few decades earlier.

Two singles were released, both peaking in the 40s. The title track was the album’s sole new song, and was written by the great Max D Barnes. Set to a cheerful mid-tempo, the tongue-in-cheek song recalls a childhood devotion to country music:

My mama used to tell me
“Son, you better get your work done
Your Daddy’s coming home at five
And if you ain’t all through with the chores you gotta do
Boy, I’m gonna tan you alive”

I was glued to the radio, listening to my hero
Singing them sad old songs
Singing them sadder than a one car funeral
Nobody sings like Jones

I’d take that old kitchen broom up to my room
And I’d play it like an old guitar
Or sit out on the porch tryin’ to sing like George
Dreaming of becoming a star

Well, things I never did when I was just a kid
Made me what I am today
You see, Mama used to whoop me with a George Jones album
That’s why I sing this way

‘I’d Love To Lay You Down’, Daryle’s last ever charting single, is a sensual love song to a wife, which is a cover of a Conway Twitty hit.

George Jones, namechecked in the title track, also receives tribute in the form of a cover of, not one of his heartbreak classics, but his trustingly romantic ‘Walk Through This World With Me’, a hit in 1967. The arrangement is gorgeous, with piano, steel and fiddle prominent, and Jones himself sings harmony.

Merle Haggard makes a guest appearance on his ‘Make Up And Faded Blue Jeans’, in the form of a couple of lines near the end. Johnny Paycheck provides a similar cameo on one of the highlights, an intense version of ‘Old Violin’; the fiddle on this is suitably beautiful.

John Wesley Ryles is one of the most ubiquitous of backing singers in Nashville, but he started out as an artist in his own right, with the song ‘Kay’, a top 10 hit in 1968, when he was only 17 years old. Daryle’s version of this fine song about the man left behind to a life driving a cab, when his sweetheart makes it big in country music is excellent, and Ryles adds harmonies.

Rhonda Vincent joins Daryle on a superb version of one of my favorite classic country duets, ‘After The Fire Is Gone’. The final guest, Dwight Yoakam, plays the part of Don Rich on the Buck Owens classic ‘Love’s Gonna Live Here Again’. Daryle also covers Buck’s Hank-Cochran-penned hit ‘A-11’ in authentic style. I think Darrin Vincent may be among the backing vocalists here.

A measured version of ‘Long Black Veil’, a mournful ‘I Never Go Around Mirrors’ and ‘Dim Lights, Thick Smoke (and Loud, Loud Music)’ are all also highlights.

Grade: A

This album set the tone for the remainder of Daryle’s career, focussing on great traditional style country music. We have reviewed all his subsequent albums.

Album Review: Daryle Singletary – ‘Daryle Singletary’

Daryle’s debut album in 1995 was produced by his mentor Randy Travis with James Stroud and David Malloy.

Lead single ‘I’m Living Up To Her Low Expectations’ was not a great start, barely creeping into the top 40, but deserved better. Written by Bob McDill and Tommy Rocco, it’s a cheerful honky tonker about enjoying partying after his wife leaves.

It was followed by what was to prove to be Daryle’s biggest chart success, ‘I Let Her Lie’, a ballad about a cuckolded husband desperate to believe his wife, written by Tim Johnson. Daryle’s vocal is excellent, although the keyboards now sound a bit dated.

It was back to a more light hearted party vibe for ‘Too Much Fun’ which reached #4. Written by former Mercury artist Jeff Knight with Curtis Wright. The final single was one too many, peaking at #50. ‘Workin’ It Out’ (written by Tim Johnson and Brett James) is a beautifully sung ballad with a soothing melody, pleading for a relationship to last.

Another Tim Johnson song, the up-tempo ‘Ordinary Heroes’ compares depressing international headlines with people living day to day. Randy Travis provided one song he wrote with Ron Avis and Jerry Foster. ‘There’s A Cold Spell Moving In’ is an excellent measured ballad anticipating trouble in a relationship. My Heart’s Too Broke (To Pay Attention)’ is a lively western swing number written by Phil Barnhart, Kim Williams and Lonnie Wilson, and previously cut by Mark Chesnutt. Another nice song is the mid-tempo ‘A Love That Never Died’, written by Skip Ewing and Donny Kees.

The two best tracks appear at the end of the album, and both are covers, but of songs which had not been significant hits for others. Rhonda Vincent, then a Giant labelmate, lends her harmonies to the tenderly romantic ‘Would These Arms Be In Your Way’ (a minor single for Keith Whitley, but written by Vern Gosdin with Hank Cochran and Red Lane). This is really lovely. Even better is ‘What Am I Doing There’, which had been recorded a few years earlier by George Jones. It is a gorgeous ballad about being torn between a new love and feelings for an ex. Exquisite fiddle and steel add the final touches to what could potentially have been a career song.

At 24 Daryle had not yet quite matured vocally, and although the album was received well by critics, sales were relatively modest, perhaps because the singles did not truly represent Daryle’s gifts. However, it was a promising start, and I think it is worth catching up wth.

Grade: A-

Album Review: Moe Bandy – ‘Lucky Me’

Moe’s most recent album was released in 2016, and shares a title with his new autobiography. Produced by Jimmy Capps, the record is as solid traditional country as you would expect from Moe, although his voice is showing signs of age. In fact, many of the musicians played on Moe’s classic hits, like Hargus “Pig” Robbins.

‘I’ve Done Everything Hank Williams Did But Die’ is not the similarly titled song recorded but not released by Keith Whitley, but it is an excellent Bill Anderson song which evokes the spirit of Hank and his music both in the lyrics with their borrowings of Hank song titles, and the authentic arrangement with its Drifting Cowboys style steel.

I’ve done everything Hank Williams did but die
I’ve stumbled down that lost highway
And I’ve seen the light
I’ve done everything Hank Williams did but die

I’ve loved a woman with a cold cold heart
Who left me for another and his mansion on the hill
I passed her on the street and my heart fell at her feet
And I cried the night they rang those wedding bells
I’ve heard that lonesome whistle blow
And I’ve seen my share of pictures from life’s other side

‘Hell Stays Open All Night Long’ is a cover of a song cut by George Jones in the 90s. Moe is not up to the same standard as a vocalist, so his version definitely falls short in comparison, but it is a great song nonetheless, and Moe sings it with emotion. The Oak Ridge Boys provide (fairly subdued) backing vocals on this track, as they do on the closing ‘A Place To Hang My Hat’. This is a fine religious song about anticipating death, which Porter Wagoner included on his final album. A really lovely fiddle and steel arrangement adds the final touch.

Riders in the Sky help out on a couple of cowboy themed tunes. The tribute ‘Long Live The Cowboy’ is a nice song although Moe’s voice sounds a bit weathered – perhaps not inappropriately for the subject. ‘That Horse That You Can’t Ride’ was previously recorded on Moe’s 1984 album Motel Matches, and is about responding to romantic heartbreak, using the cowboy as a metaphor.

Ricky Skaggs guests on the pretty mandolin-ornamented ‘The Rarest Flowers’, a remake of a song Bandy recorded on 1989’s Many Mansions, about a mountain girl who fades in the city.

‘It’s Written All Over Your Face’ is a rare Moe Bandy co-write, a sad song with a pretty melody. ‘Old Frame Of mind’ is a shuffle about failing to shake off an old memory.

The title track is a sunny Western Swing love song. ‘That’s What I Get For Loving You’ is a another love song, a not particularly memorable mid-tempo number. ‘It Was Me’ is a mellow romantic ballad.

While Moe’s age is showing, this is a strong collection of songs, which is worth checking out. Some versions of the album (i.e. the CD sold on Amazon) have three added bonus tracks, but these were not on the version I downloaded.

Grade: A-

Album Review: Moe Bandy – ‘She’s Not Really Cheatin’ (She’s Just Getting Even)’

1982 saw the release of She’s Not Really Cheatin’ (She’s Just Getting Even). Moe’s biggest hit in three years, the mid-paced title track is a pointed narrative about a wife who gets her revenge on a cheating husband by copying him. Written by Ron Shaffer, it peaked at #4. The album’s second single, ‘Only If There Is Another You’, which reached #12, is an earnestly sweet declaration of eternal fidelity.

The same writer (D Miller) contributed another pair of songs. ‘Our Love Could Burn Atlanta Down Again’ is a nice mid-tempo love song. ‘The All American Dream’, a co-write with the young Kent Blazy, is a sunny patriotic tune:

I drink Kentucky whiskey
I love California wine
My old car’s from Detroit
And suits my taste just fine
My boots were made in Texas
This song’s from Tennessee
I’m proud of my country
And what it’s done for me

You’re lookin’ at a believer in the all American dream
From a small farm in Texas to singin’ on TV
There ain’t a thing we can’t do
Nothing we can’t be
As long as we’re believers in the all American dream

Every single thing I own says made in USA
I don’t buy those products with names that I can’t say
We may be having hard times
But brother we’re still free
I’m glad I’m living in the land of opportunity

‘He’s Taking My Place At Your Place’ is a wistful lament for lost love, now that the ex he thought he could go back to isn’t interested any more. ‘Your Memory Is Showing All Over Me’ is a steel laced ballad about the shadow of the past preventing the protagonist from moving on.

The more contemporary ‘An Angel Like You’ is a mid tempo attempt to pick up a girl, slightly marred by intrusive backing vocals from the Jordanaires. The perky ‘Can I Pick You Up’ is a bit more effective.

My favorite track is the wonderful tribute to Moe’s traditional country roots, ‘Hank And Lefty Raised My Country Soul’, written by Dallas Frazier and Doodle Owens. This was a cover of a minor hit for Stoney Edwards in the early 70s. (Incidentally the song was later rewritten to pay tribute to George Jones and Merle Haggard; a pre-fame Alan Jackson recorded it.)

I also like the pacy ‘Jesus In A Nashville Jail’, in which a failed country singer finds God after “the bottle got the best and the blues got the rest of me”.

This is a very good album, but not one of Moe’s very best. It was released on a 2-4-1 CD with the excellent It’s A Cheating Situation, and the combination is well worth tracking down.

Grade: B+

Album Review: Moe Bandy – ‘Cowboys Ain’t Supposed To Cry’

Released in late 1977, Cowboys Ain’t Supposed To Cry was Moe’s fifth Columbia album and third to be released in 1977. While six of Moe’s seven albums had cracked the top twenty, this one stalled at #22, a harbinger of things to come. From this point forward, most of Moe’s albums would miss the top twenty and many would not crack the top forty. Despite the declining album sales, Moe would continue to crack the top twenty with his singles, and starting in 1978 would put together a decent run of top ten singles.

The album opens up with the title track, Doodle Owens’ “Cowboys Ain’t Supposed To Cry”. The song was a #13 hit that is sort of a sequel to “Bandy The Radio Clown”

Oh I am just a cowboy on my way back to Houston
I used to play the rodeos but I can’t play ‘em like I used to
I’ve given it up, I’m layin’ it down
I’ve had enough of bein’ a rodeo clown
So if you see a tear runnin down my face
Don’t ask me why, cause cowboys ain’t suppose to cry

Doodle Owens co-wrote “She Finally Rocked You Out of Her Mind” with Whitey Shafer. This song is a mid-tempo ballad about a lad’s mom who gave up on his father and apparently lost her mind. The song is not a typical song for Moe, but it is a thoughtful song that makes for a good album track:

Papa, it’s so good to see you seeing you off of the wine
Papa, you barely miss mama she won’t try to hold you this time
One day her tears did stop falling she gave up on walking the floor
She just sat down in her rocker and never got up anymore.

Papa, some people just came and took mama
She was rocked in on that old rocking chair
It seemed like mama just couldn’t stop rocking
And her green Irish eyes held the stare

“Up Till Now I’ve Wanted Everything But You” is a good mid-tempo honky-tonk recrimination barroom ballad. It is a little unusual that the song was written by a woman, Phyllis Powell, but Phyllis shows that she truly understands …

Up till now I’ve wanted everything but you
Well it’s happened I finally got what I’ve been asking for
I know you’re leaving I can tell by the way you slammed the door
It’s over and I’m asking me what can I do

Up till now I’ve wanted everything but you
Up till now I’ve wanted everything but what I had
Should have made the best of loving you and just been glad
But it’s just like me who want my share and someone else’s too
Up till now I’ve wanted everything but you

The next two songs are covers of a pair of great country classics in Jerry Reed’s “Misery Loves Company” (made famous by Porter Wagoner) and the Hank Williams classic “Why Don’t You Love Me Like You Used To Do”. Needless to say, Moe handles both of these with aplomb.

Side two of the original vinyl release was “She Loved The Cheatin’ Out of Me”. This was the second single released from the album, reaching #11 in the US; however, our Canadian cousins rocketed this song to #2. For whatever reason, I seemed to miss this song when it was receiving radio airplay. Written by Whitey Shafer & Doodle Owens, this jog-a-long ballad clearly deserved the success it received:

Once I had a warm and willing woman
And it never crossed my heart to cross the street
But lately baby’s left me cold and hungry
For the kind of love that made me want to cheat

Her woman’s intuition must have told her
That I was in to wishing I could leave
Cause the woman just came out in my lady
She just loved the cheatin’ out of me

When a man gets blinded by his passion
His conscience wants to look the other way
Tonight she gave me more than I’d been missing
Cause she loved me till my conscience felt ashamed

“No Deal” was written by Larry Gatlin. As far as I can recall, Larry never recorded the song himself – actually it sounds like a song intended for George Jones. The song is a great slow ballad that should have been a hit for someone. The production on this album sounds like it was meant for the Jones, but Moe does a fine job with the song.

Jim Owens wrote the up-temp “All I Can Handle At Home”, a nice fidelity song with a strong western swing feel:

Came in here to do some drinkin’, not what you’re thinkin’
A little relaxin’s all I got on my mind
But I tell by the way you’re lookin’ at me you are lonely
Honey, you picked up a wrong man this time.

‘Cause I got all I can handle at home
I got me a lovin’ machine won’t leave me alone
It wouldn’t be any help to you even if I wanted to
I got all I can handle at home.

Steve Collum wrote “Till I Stop Needing You”, a standard country ballad that I can envision being a hit if released as a single by George Jones, Gene Watson or Moe Bandy.

The album closes out with another Hank Williams classic in “I Could Never Be Ashamed of You”, an excellent song and excellent performance. Truthfully, I cannot imagine Moe making a mess of a Hank Williams song. He’s recorded a bunch of them and his ability to inhabit the songs always shines through. This wasn’t one of Hank’s bigger hits but it is a very fine love song:

Everybody says you let me down
I should be ashamed to take you ’round
Makes no difference what you used to do
Darlin’, I could never be ashamed of you

Maybe you were reckless yesterday
But together, we can find a brighter way
In my heart, I know that you’ll come through
Darlin’, I could never be ashamed of you

All the happiness I’ve ever known
Came the day you said you’d be my own
And it matters not what we go through
Darlin’, I could never be ashamed of you

Maybe you’ve been cheated in the past
And perhaps those memories will always last
Even though you proved to be untrue
Darlin’, I could never be ashamed of you

Unfortunately my copy of this album was on an audiocassette which I have dubbed onto a CD-R, so the information on it was minimal. From PragueFrank’s Country website, I gathered the following information:

Moe Bandy – vocals / Dave Kirby, Ray Edenton, Reggie Young, Tommy Allsup , Bunky Keels, Leo Jackson, guitars / Weldon Myrick – steel guitar / Bob Moore – bass / Kenny Malone –drums / Johnny Gimble –fiddle / Hargus “Pig” Robbins – piano / Charlie McCoy – harmonica / Ray Baker – producer

It’s a very good album, country through and through with some really good songs and production.

GRade: A-

Classic Rewind: Trace Adkins covers ‘Same Old Me’

Paying tribute to George Jones;:

Album Review: Moe Bandy – ‘Bandy The Rodeo Clown’

Moe Bandy’s third (and final) album on GRC was Bandy The Rodeo Clown. Released in 1975, the album was the least successful of Moe’s three GRC albums, reaching only #27 on Billboard’s Country Albums chart, but the title track (and only single from the album) proved to be Moe’s biggest hit to-date, reaching #7 in the USA and #4 in Canada. The album was a hard-core country fan’s fantasy with such stalwart musicians as Charlie McCoy, Bobby Thompson, Bob Moore, Hargus “Pig” Robbins, Leo Jackson, Jimmy Capps, Johnny Gimble, Kenny Malone, Weldon Myrick and Dave Kirby present to ‘keep it country’.

I’m sure that many thought that Moe penned the title track, which was the first track on the album; however, the song actually came for the golden pens of Lefty Frizzell and Whitey Shfer. The story of a rodeo rider toppled by lost love, and winding up a rodeo clown, Moe is entirely believable as he sings the song.

Who was once a bull hooking son of a gun
Now who keeps a pint hid out behind chute number one
Who was riding high till a pretty girl rode him to the ground
Any kid knows where to find me
I’m Bandy The Rodeo Clown

Next up is “Somewhere There’s A Woman”, penned by Rex Gosdin and Les Reed. This song is a standard jog-long ballad that Moe handles well. This is followed by “Give Me Liberty (Or Give Me All Your Love)”, a ballad about a guy who is losing his girlfriend to her old lover.

“Nobody’s Waiting For Me” is a sad slow ballad about a down and outer, what used to be known as a weeper. This song was written by Whitey Shafer – it’s a good song and in the hands of George Jones, it might have been hit single material – but otherwise it is just an album track.

Side one closes with “I Stop And Get Up (To Go Out Of My Mind)”, a mid-tempo ballad with some nice harmonica by Charlie McCoy and fiddle by Johnny Gimble.

Side two opens up with an old warhorse in Don Gibson’s “Oh, Lonesome Me”. I’ve heard better versions, but Moe does an acceptable job with the song. Eddy Raven, who has been enjoying renaissance in bluegrass, penned “I Sure Don’t Need That Memory Tonight”. It’s a decent ballad but nothing more. Better is another Raven tune “Fais Do-Do”, a Cajun-flavored tune that I would liked better had it been taken at a slightly faster tempo. At a faster tempo this song would have made a good single. Yet another Raven song follows in ”Goodbye On Your Mind”, another mid-tempo ballad.

The album closes with “Signs Of A Woman Gone” by Rex Gosdin and Les Reed. The song is slightly up-tempo and while I find the presence of the Jordanaires in the introduction slightly distracting, Bobby Thompson’s fine banjo redeems the song as does Weldon Myrick’s fine steel guitar.

This is a solid country album, well sung by Moe with a solid country band. The problem with the album is two-fold: not enough tempo variation, and generally solid but unexciting songs. I do not mind listening to this album, but only the title track was worthy of single release. The first two GRT albums were better but I would still give this album a solid ‘B’.

After this album, Moe would be signed by Columbia, which purchased Moe’s back GRC catalogue. While Moe would not go on to have enormous success as an album seller, he would crank out a steady stream of successful singles for the next thirteen years.

Album Review: John Conlee – ‘Classics 3’

Star of the late 70s and early 80s and current Opry favorite John Conlee has released two previous versions of ‘Classics’, mixing new versions of his hits with new material. Most of the hits were covered on the first two sets, so the bulk jof material here is new, with only a few of his later hit singles.

‘Working Man’, originally a top 10 hit in 1985, is a mellow sounding song about ordinary blue-collar lives struggling to make ends meet. The biggest hit was ‘Got My Heart Set On You’, a mid-tempo pop-country tune which reached #1 in 1986, and which was co-written by Dobie Gray, best known for his song ‘Drift Away’. It is a pleasant love song, but not really worthy of reviving, and has a dated sounding brassy arrangement. Guy Clark’s ‘The Carpenter’ is a much better song, and was a top 10 hit for John in January 1987.

‘Living Like There’s No Tomorrow’ was John’s final single for Columbia, but failed to dent the charts, as it had done when Keith Whitley recorded it a few years earlier. That was a shame in both cases, as it is a great classic country heartbreak ballad about regretting walking out (written by Jim McBride and Roger Murrah). The brass on this version is a bit overblown but the vocal is great: I admit to still preferring the Whitley version. ‘Could You Love Me (One More Time)’ was also both a cover (a Stanley Brothers classic) and a less successful single for John, but from earlier in his career (top 30 in 1981). John sings it beautifully here with a nicely understated production.

Other songs will be familiar from other versions. Joey + Rory’s ‘Bible And A Belt’ works really well for John Conlee’s emotional vocal. I also enjoyed a committed cover of Haggard’s ‘Jesus Take A Hold’, but was less enthralled by ‘The Rock’, which was on one of George Jones’s last records, and which has a more bluesy arrangement here.

There are two songs written by Hugh Prestwood. ‘Learning How To Love’ is a graceful piano ballad with a tasteful string arrangement about the long shadow of a difficult childhood and its impact on adult relationship. More controversial is ‘Unborn Voice’, an uncompromising song from the point of view of the unborn child whose mother is evidently contemplating abortion. It’s not subtle, and the production is fiddly, but it moved me.

Sometime I hear music drifting through these walls
And sometimes I hear voices echo down these halls
Sometimes I hear what sounds like hope all twisted up with fear
And sometimes I hear laughter all tangled up with tears…

I sometimes have this dream of love
And sometimes I could swear
That I hear God whisper to me
There’s a place for me out there

I wonder who this judge is
Who is making up her mind
I wonder if her justice
Is maybe just too blind

She has no idea how much we’re just the same
Maybe she will have mercy
Maybe not
I hear it’s beautiful out there and I’d like a shot

‘Lonely Don’t Know When To Leave’ is an excellent sad ballad written by Leslie Satcher. The mid-tempo ‘The Shade’ fondly recalls childhood memories.

It’s always hard to grade albums involving extensive re-workings of older songs, but I mostly enjoyed this set although some cherrypickimg might be advised.

Grade: B+

Classic Rewind: George Jones – ‘Just A Closer Walk With Thee’

Classic Rewind: Randy Travis – ‘Once You’ve Had The Best’

Paying tribute to George Jones:

Classic Rewind: George Jones – ‘Amazing Grace’

Classic Rewind: George Jones – ‘Just A Little Talk With Jesus’

Album Review: Conway Twitty – ‘Hello Darlin’

Note: I never owned this album on vinyl so I am working off a CD released on MCA Special Products in 1991, The songs are the same as on the initial vinyl release but the sequence of the songs is different on the CD.

Issued in June 1970, Hello Darlin’ was the ninth solo studio album released by Conway Twitty on Decca. The album was Conway’s first #1 country album and was eventually certified “Gold”. It also reached #65 on Billboard’s all genres chart, the highest that any of Conway’s country albums would reach, although reporting of country albums on the all-genres chart was very suspect and country albums were frequently under-reported by record shop personnel.

The CD opens with the Felice & Boudreaux Bryant classic “Rocky Top”. At the time, “Rocky Top” was a fairly new song that had not been covered to death. The Osborne Brothers had a hit with the song in 1968 and the combination of Doug Dillard, Gene Clark and Donna Washburn had a really nice version of the song on a Dillard & Clark album from that same year. Conway’s version has a banjo on it with what is otherwise an up-tempo Nashville production. Needless to say, Conway sings the song very well although he changes the words very slightly to accommodate his own phrasing.

Next up is “I’ll Get Over Losing You” a song written by Conway, a somewhat generic ballad about lost love. As always Conway sings it well, making for pleasant listening.

Conway also penned “Up Comes The Bottle” a mid-tempo song about the effects of alcohol. It’s a good song, well sung by Conway

Up comes the bottle and down goes the man

I can’t help him but I can understand

When up comes the bottle

And down, down, down, goes the man.

 

You may find him anywhere there’s heartache and despair

With loneliness so heavy you can feel it in the air

And the only thing that matters is the drink in his hand

Then up comes the bottle

And down, down, down, goes the man.

Bill Anderson wrote “You and Your Sweet Love”, which charted for Connie Smith in 1969, While I prefer Connie’s version, it would have made a good Conway Twitty single, one of many such songs stranded as album tracks on the early Conway Twitty albums. I seem to recall that Connie Smith wrote the liner notes for the vinyl album’s back cover.

The self-penned “Hello Darlin’” is the song for which Conway is best remembered, although “It’s Only Make Believe” was a huge pop hit in 1958 and by far his biggest seller. “Hello Darlin’“ reached #1 and stayed there for four weeks. The song is about a man who runs into an old flame, reigniting old feelings in the process. This was the only single released from the album.

 Hello darlin’

Nice to see you

It’s been a long time

You’re just as lovely

As you used to be

 

How’s your new love

Are you happy?

Hope you’re doin’ fine

Just to know means so much to me

 

What’s that darlin’

How am I doin’?

I’m doin’ alright

Except I can’t sleep

I cry all night ’til dawn

 

What I’m tryin’ to say is

I love you and I miss you

And I’m so sorry

That I did you wrong

Conway would revisit the theme with his next single “Fifteen Years Ago”. I saw Conway in concert several times before this song was released and several times after. From 1971 onward, this was his opening number and “It’s Only Make Believe” his closing number, perfect bookends for a great show.

“Rose” (not to be mistaken for the maudlin Amanda McBroom composition “The Rose” that Bette Midler would record later and Conway would cover) was written by L.E. White, a staff writer for Conway’s publishing company. This song is a ballad about a brother whose sister has strayed off-track in life.

“Reuben James” was a top thirty pop hit for Kenny Rogers and The First Edition (it went top ten in Canada, New Zealand and Australia) that was covered by a large number of American country artists. This is a nice mid-tempo track.

Bill Anderson also wrote “I Never Once Stopped Loving You”, which reached #5 for Connie Smith in 1970, Again, I prefer Connie’s version, but Conway does a nice job with this ballad

It is difficult to find a country album of the late 1960s-early 1970s that does not contain a Dallas Frazier composition. This album features “Will You Visit Me On Sundays” which was a top twenty single for Charlie Louvin in 1968, and the title track of a 1970 George Jones album. I can’t say that Conway’s version is better than Charlie Louvin or George Jones (the lyric seems perfect for Charlie’s weathered voice) but this would have made a good Conway Twitty single.

 Just outside these prison bars

The hanging tree is waitin’

At sunrise I’ll meet darkness

And death will say hello

Darling, touch your lips to mine

And tell me you love me

Promise me again before you go

 

Will you visit me on Sundays?

Will you bring me pretty flowers?

Will your big blue eyes be misty?

Will you brush away a tear?

Fred Rose write the classic “Blue Eyes Crying in The Rain”, a song that both Hank Williams and Rof Acuff had recorded. Since Willie Nelson had yet to record this song (Willie’s version would be released in 1975), this was not a cover of somebody else’s hit single, but simply case of Conway going “deep catalog” in finding a song that he liked. Conway’s version is not the sparse recording that Willie released but a normal Owen Bradley production applied to a classic Fred Rose composition from the 1940s.

The album closes with “I’m So Used To Loving You”, the fourth of Conway’s own compositions on the album. This is a good song that somebody somewhere should have released as a single.

I’m so used to loving you sweetheart

You’re on my mind each minute we’re apart

And I love you more each day that we go through

You’re my life and I’ll live it loving you

 

I’m so used to loving you it seems

I can’t stand the thought of losing you not even in my dream

Hold me close and tell me what I’d do without you

I couldn’t take it, I’m so used to loving you

Conway Twitty was a good and prolific songwriter who would use his own compositions on his albums, but, unlike some singer-songwriters, only if they were good songs. Through this album, the highest number of Conway Twitty and/or Mickey Jaco compositions on an album was four. There would be one future album in which he wrote eight of the ten songs (there must be a story behind this since it is a complete outlier) and several on which he wrote one or none of the songs

None of the Conway Twitty compositions that I’ve ever heard were duds, and many of them fell in the very good-to-great category

This album is a solid A with solid country production throughout

Album Review: Conway Twitty – ‘Country’

1967 saw the release of the unimaginitvely titled Country. There were two singles from this album, both credited to Conway’s wife Mickey Jaco. ‘Don’t Put Your Hurt In My Heart’ is a measured ballad turning down an ex’s advances. It is quite a nice song, beautifully song by Conway, but performed indifferently on the charts, peaking outside the top 30. Even less successful was ‘Funny (But I’m Not Laughing)’, which I like, although it comes across as a pale copy of ‘The Window Up Above’. It is a sad ballad in which Conway’s vocal exudes the sense of betrayal. Another Jaco song, ‘Go Woman Go’ has more of a 60s country-meets-rock and roll feel. (I have read that these songs were actually written or co-written by Conway but credited to Mickey for tax reasons – not sure if this is true, though,). Conway himself wrote one song, the midpaced ‘Walk Me To The Door’, which is okay.

‘But I Dropped It’ is an excellent song written by the great Harlan Howard, a regretful ballad about past choices derailing a relationship, which might have been a better choice for a single. The backing vocals are a bit dated, but not too intrusive. I didn’t much like another original, the rock leaning ‘Working Girl’ (written by Wes Buchanan). ‘Two Of The Usual’ had been recorded by several other artists, but was never a single. It is another strong song about betrayal.

The remainder of the set consists of the usual 60s country album practice of covers of current or recent hits for other artists. Conway showed great taste in music in his selections of some genuinely great songs. ‘Things Have Gone To Pieces’ is one of George ones’ greatest recordings; Conway’s version is a good copy but definitely a copy. Another Jones classic, ‘Walk Through This World With Me’ allows Conway more of a chance to put his own stamp on the song (although I still prefer the Jones cut). Conway’s cover of Merle Haggard song ‘I Threw Away The Rose’ is quite good, but again pales compared to the original.

Conway does, however, turn in a superlative version of Harlan Howard’s ‘Life Turned Her That Way’, which was a current hit Mel Tillis, but will be most familiar to younger fans from Ricky Van Shelton’s chart topping 90s version. This is by far my favorite track on this album. I also quite liked ‘A Wound Time Can’t Erase’, a Stonewall Jackson hit later covered by Ricky Skaggs.

This is not a bad album, but there is not enough uniqueness in Conway’s imterpretations to really recommend it over the classic versions of the cover songs, and the originals are less distinguished. It is available as a 2-4-1 deal, so may be worth checking out if you can find it cheaply.

Grade: B+