My Kind of Country

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

Tag Archives: George Jones

Album Review: Jim Lauderdale and Roland White

We interrupt this program to present an album that was recorded before ANY of the albums we’ve reviewed up to this point. Lost for many years, the masters for this album were recently recovered and are now released for your listening pleasure by the good folks at Yep Roc.

It has always been the case that musicians and singers have been quicker to recognize Lauderdale’s talents than record executives, radio programmers and the general public.

Lauderdale arrived in Nashville and started hanging around with Roland White, brother of the legendary guitarist Clarence White, and then (as now) one of the great mandolin players. Roland was (and is) an astute judge of talent and saw in Lauderdale an up and comer. White arranged to cut an album with Lauderdale in Earl Scruggs’ home studio with a band that included Marty Stuart on guitar, Gene Wooten on Dobro, Johnny Warren (of current Earls of Leicester fame) on fiddle, and of course White on mandolin. For reasons I will never understand the album was never released and presumed lost.

The album is comprised of two Lauderdale originals and ten songs from the folk and bluegrass canon.

The album opens with a Lauderdale original “Forgive & Forget” that has the sound of a burnished country classic. The song is taken at a medium fast tempo with fine fiddle and Dobro solos and that country harmony.

“Gold and Silver” comes from the pen of Shirley “Milo” Legate. I don’t know much about him, but it is a fine song that was originally recorded by George Jones. Legate also wrote some songs for Sonny James and placed bass for Sonny as part of his Southern Gentlemen.

“(Stone Must Be) the Walls Built Around Your Heart” is an old classic Don-Reno & Red Smiley composition on which Jim sings the verses and Roland joins in on the chorus.

Clyde Moody is largely forgotten now, but he was a fine singer and songwriter whose “Six White Horses” is a song that fits in the cracks between folk and bluegrass. Dobro dominates the arrangement on this bluesy song, but there is also a nice walking bass line in the song.

L-Mack penned “I Might Take You Back Again”, a mid-tempo song about a fellow contemplating taking his wayward love back.

Donovan Leitch (a/k/a “Donovan), a Scottish folk singer, was a major pop star in the US, UK and Australia with his greatest success in the UK. “Catch The Wind” was top five in the UK and Australia but just missed the top twenty in the US. While not his biggest hit, it is probably his most covered tune, covered by nearly every folk act and many country and pop acts. Even Flatt & Scruggs covered the song

In the chilly hours and minutes
Of uncertainty, I want to be
In the warm hold of your loving mind
To feel you all around me
And to take your hand, along the sand
Ah, but I may as well try and catch the wind

“Don’t Laugh” was a classic brother-style duet originally performed by Rebe Gosdin & Rabe Perkins.
Gosdin wrote the song which is definitely part of the bluegrass canon. I’ve heard recordings by the County Gentlemen, the Louvin Brothers and J. D. Crowe and have heard other acts perform the song in live concert . Rebe may have been a distant relative of country great Vern Gosdin.

If I cry when I kiss you when we say goodbye
Don’t laugh, don’t laugh
If I say I’ve always loved you and I will til I die
Don’t laugh, don’t laugh

I could never find another there’s no use for me to try
I beg of you my darling, please don’t laugh if I cry
If I say I’ve always loved you and I will til I die
Don’t laugh, don’t laugh

“Regrets and Mistakes” is the other Lauderdale original on the album. The song is a slow ballad with Lauderdale singing lead and White singing an echo and harmony. The song is nothing special but it definitely is not out of place on this album.

It is rather difficult to categorize Shel Silverstein as a songwriter – he was all over the place. On “February Snow” Shel serves as a straight-ahead ballad writer. Bobby Bare recorded the song on an album.

“That’s What You Get) For Loving Me” was written by Gordon Lightfoot, and covered by the likes of Johnny Cash, Peter, Paul & Mary, Waylon Jennings and Ian & Sylvia. In fact, it was Waylon’s first top ten single.

That’s what you get for lovin’ me
That’s what you get for lovin’ me
Ev’ry thing you had is gone
As you can see
That’s what you get for lovin’ me

I ain’t the kind to hang around
With any new love that I found
‘Cause movin’ is my stock in trade
I’m movin’ on
I won’t think of you when I’m gone

The album closes with a pair of Alton Delmore compositions “Gonna Lay Down My Old Guitar”and “Nashville Blues”. The Delmore Brothers were perhaps the quintessential brother act. Roland and Jim do them proud .

My only criticism of the album is that I would like for Roland’s mandolin to have been a little more forward in the mix. Lauderdale mostly sings the leads, and while he is a good guitar player, I think he left the pickin’ to the ace musicians that Roland collected for the project – when you look at the names below, you’ll see that leaving the pickin’ to them could never be a mistake.

im Lauderdale – vocals
Roland White – vocals, mandolin
Stan Brown – banjo
Terry Smith – bass
Marty Stuart – guitar
Johnny Warren – fiddle
Gene Wooten – dobro

To me this album is a very solid A.

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Classic Rewind: Jim Lauderdale – ‘The King Of Broken Hearts’

Album Review: Jim Lauderdale – ‘Planet Of Love’

Jim Lauderdale was already a successful songwriter when he secured his first album deal with Reprise Records, a subsidiary of Warner Brothers. His debut album in 1991 was produced by Rodney Crowell and John Leventhal, and Lauderdale wrote every song, mostly with Leventhal.

The label tried three singles, none of which saw any chart action. ‘Maybe’, co-written by Lauderdale and Leventhal with Crowell, may not have been the best choice to launch Lauderdale as a solo artist. It is a decent mid-tempo song with an optimistic message about taking a chance in love, but it is not very interesting musically.

‘I Wasn’t Fooling Around’ is much more on the mark, and it is a shame it didn’t get airplay. A great traditional country shuffle, it was picked up by George Strait a couple of years later. The third single, ‘Wake Up Screaming’, is a minor keyed country rock number later recorded by Gary Allan on his debut album, but I don’t’ particularly like it.

Other artists also saw potential hits from this album’s set list. My favorite is ‘The King Of Broken Hearts’, later covered by George Strait, and still later by Lee Ann Womack. This is a loving tribute to George Jones and Gram Parsons, ornamented by tasteful steel guitar from Glen D. Hardin. Emmylou Harris adds harmonies. ‘Where The Sidewalk Ends’ was another Strait pick, and was also recorded by Jann Browne. It’s a very good song about a breakup, but I prefer both the covers to Lauderdale’s own version.

The jazzy and sophisticated title track was covered by Mandy Barnett and the pre-Natalie Maines incarnation of the Dixie Chicks. The soulful ‘What You Don’t Know’ was later recorded by Jon Randall.

‘Heaven’s Flame’ is a midpaced warning against a femme fatale. ‘Bless Her Heart’ is a low-key love song and is rather sweet, with gospel style backing vocals. The valedictory ‘My Last Request’ is slow and sad, with Rodney Crowell adding a prominent harmony.

Lauderdale’s main problem as an artist was that his vocals were not strong enough. He may also have been a bit too eclectic. However, he is a great songwriter, and this album has a lot to offer, especially if you have more adventurous tastes.

Grade: B

September Spotlight Artist: Jim Lauderdale

Our September Spotlight features one of the true Renaissance persons of roots music, Jim Lauderdale. Born in 1957, Lauderdale has a thorough-going knowledge of country, bluegrass, roots-rock, folk and jazz and incorporates elements of all of these into his songwriting and performances. He has performed in theatre, as a member of various bands, and as a solo performer. He has an affable personality and a decent, but not necessarily terrific, singing voice that could, under different circumstances, led him to become a major recording star in the fields of bluegrass or traditional country music. As it is, Jim has had difficulty in receiving airplay for his own recordings and never made much of an impact on radio with his only charted single, “Stay Out of My Arms” reaching #86 on Billboard’s country chart in 1988. If heard at all on the radio, it is most likely to be on bluegrass programs (usually on NPR) or on Bluegrass Junction on Sirius-XM as his duet recordings with Ralph Stanley are quite popular with the bluegrass crowd.

As a songwriter, he has been far more successful with his songs being recorded by many artists across a variety of genres including George Strait, Gary Allan, Elvis Costello, George Jones, Buddy Miller, Blake Shelton, the Dixie Chicks, Vince Gill, and Patty Loveless. I don’t know how many of his songs George Strait recorded, but it is a bunch.

Although not a household name with modern county radio audiences, Jim Lauderdale has been quite busy, co-hosting Music City Roots, the annual Americana Music Awards Show (since 2002) and appearing on various other television shows. He has collaborated with artists as diverse as Robert Hunter (Grateful Dead), Dr. Ralph Stanley, Nick Lowe and Roland White.

Between television and touring, he stays quite busy. We have selected an interesting array of albums to review, so please join us in saluting our September Spotlight Artist – Jim Lauderdale.

Album Review: Earl Thomas Conley – ‘The Heart Of It All’

Released at the heart of the New Traditional era in 1988, The Heart Of It All did not stray too far from ETC’s accustomed wheelpath, although producers Emory Gordy Jr and Randy Scruggs made sure the arrangements were a bit less AC than previously. He was still a reliable hitmaker beloved by country radio, with singles destined to reach #1, and the first four singles from this album followed the pattern.

The lead single is a nice ballad written by Bob McDill and Paul Harrison about a woman tied to an unworthy husband, who she loves regardless. ETC’s hushed vocals are lovely, and the production fairly restrained.

Harmonies from Emmylou Harris make any song better, and the next single was the lovely duet ‘We Believe In Happy Endings’, another McDill song about keeping a marriage going, but a more positive one. It had been a top 10 solo hit for Johnny Rodriguez a decade earlier. This is one of my favorite ETC recordings.

‘What I’d Say’, written by Robert Byrne and Will Robinson, is another excellent ballad. This one faces up to the immediate afterbreak of a breakup, with the protagonist uncertain how he would react if he met her unexpectedly.

What would prove to be Earl’s very last #1 hit was Thom Schuyler’s ‘Love Out Loud’. A more upbeat tempo enlivens a sincerely sung song about an inarticulate man who nevertheless loves his lady. It is my least favorite of the singles from this album, but not a bad song.

The long run of #1 and 2 hits, dating back to 1982’s ‘Somewhere Between Right And Wrong’ was to come to a juddering halt with this album’s fifth single, which peaked at a very disappointing #26. It was the first time ETC had attempted more than four from one album, but the main problem may have been the underlying shifts in country radio. He would experience only two more top 10s, one of which was a posthumous duet with Keith Whitley. ‘You Must Not Be Drinking Enough’ is actually a fine song which deserved better, and more traditional sounding than much of ETC’s oeuvre (despite being a Don Henley cover). A soulful vocal is backed up with steel guitar as ETC offers advice to a lovelorn friend, or perhaps himself:

You keep telling yourself she means nothing
Maybe you should call her bluff
You don’t really believe it
You must not be drinking enough …

You keep telling yourself you can take it
Telling yourself that you’re tough
But you still want to hold her
Must not be drinking enough

You’re not drinking enough to wash away old memories
And there ain’t enough whiskey in Texas
To keep you from begging “please, please, please”
She passed on your passion, stepped on your pride,
Turns out you ain’t quite so tough
Cause you still want to hold her
You must not be drinking enough

The rambunctious ‘Finally Friday’ would be a single for George Jones a few years later. ETC’s version is more restrained, but the accordion-led production lends it a happy Cajun feel which works pretty well.

ETC co-wrote three songs, two of them with producer Randy Scruggs. The title track, ‘Too Far From The Heart Of It All’, is quite a pretty ballad on a religious theme although the meaning is not very clear. ‘Carol’ is a tender, thoughtful ballad about a man who regrets having left his wife years ago:

If I could turn back time to yesterday
I’d be coming home this time to stay …
I guess I never felt this way before
Feeling like a stranger at my own door
I wouldn’t have to ask you how you’ve been
And I wouldn’t have to fall in love again

Carol
No one has replaced you
I’ve never looked a day beyond goodbye
And Carol
Time could not erase you
It’s only made me wish I’d never tried

Guess some of us just don’t know when to stop
Reaching out for something we ain’t got

‘No Chance, No Dance’, written with Robert Byrne, is a brassy uptempo tune about not playing things safe.

Byrne teamed up with Tom Brasfield to write ‘I Love he Way he Left You’, an AC leaning ballad hoping a woman who has been hurt by a previous relationship will end up with him.

This is one of ETC’s best albums and it is definitely worth checking out.

Grade: A-

Album Review: Earl Thomas Conley – ‘Treading Water’

Released in October 1984, Treading Water was ETC’s fourth and most successful RCA album, peaking at #2 on Billboard’s Country Albums chart. By late 1984 Nashville had moved past the Urban Cowboy sludge into more traditional sounds. While the “New Traditionalist” movement was still eighteen months away, newer artists such as Ricky Skaggs and Keith Whitley were pointing the way back to more traditional sounds, and some veteran artists such as George Jones and Merle Haggard had seen some career regeneration, as had (briefly) the Kendalls.

The album opens with “Too Hot To Handle”, a non-single that sounds more energetic than most of Earl’s recordings. This is followed by “Love Don’t Care”, a #1 single that was the third single released from the album and “Labor of Love”, a quiet ballad about a relationship that is disintegrating.

“Your Love Says All There Is” is an album track that seems rather generic and too similar to other recent ETC songs. It is an okay song but certainly not worthy of single release.

Y

ou keep talking with your body
And to your every move I can relate
Cause I’ve been feeling what you’re thinking
And I guess your love says all there is to say

This party started in your arms tonight
And I can see forever in your eyes
Without a word you put me in my placeo Your love says all there is, your love says all there is to say

Similarly “Love’s On The Move Again” seems a bit familiar but the use of real piano and steel is certainly welcome.

“Chance of Loving You” was the first single released from the album, a #1 single that was co-written with Randy Scruggs. The song is taken at mid-tempo with a lyric than commands attention.

Like a young and courageous fool
Ready to take on the night
You came dressed to kill all of the boys
And it looks like you’ve done enough right

You say that love is your only rule
It kinda comes from the heart
When it all comes down to what lovers do
You fall in love and just fall apart

But that’s the chance you take with a lonely heart
That’s the price you pay with a lonely heart
That’s the game you play when there’s nothin’ to loose
And I could never refuse the chance of lovin’ you

“Honor Bound” was the second single from the album, another #1 hit. The song is a dramatic song about a wife who is taking her vows seriously; however, both the wife and the narrator know that from her perspective that the flame has gone out of the relationship. There is a nice sax break in the song.

Nothing’s been said, nothing’s been done
It’s hard to see a difference between the rising and the setting sun
But I can feel a change, it’s there in her touch
It’s subtle but it’s deep and it hurts us both so much
Me, because I’m losing her and her because she feels

She’s honor bound, bound by promise that she made so long ago
But I love her so much that I can’t let her know I know
Oh, I know her pure heart made that promise
Honestly, oh, but how long can her honor keep her bound to me

I think “Treading Water” is the best song on the album but it was not released as a single. The tale of a fellow who gets the girl (briefly) whenever she is on the rebound, the narrator is beginning to rebel against his role in the matter.

“Feels Like A Saturday Night” could have been a rowdy song in the hands of another singer. ETC never truly sounds rowdy, but the song has a nice beat to it and is probably one of the few ETC songs suitable for dancing.

The album closes with the up-tempo “Turn This Bus Around”.

This is probably my favorite Earl Thomas Conley album on RCA. I’d give this album a B+, but it would prove to be the last ETC album I would purchase for many years as I realized that I liked Conley as an artist, but did not love his music and did not often pull it out to play. Most of my Conley albums were on cassette tape and as CD became the dominant media, I purchased some hit collections but little else more, until a few years ago. He’s a fine artist and is worth discovering, especially for one with less traditional tastes than mine.

Spotlight Artist: Earl Thomas Conley

Born in October 1941, Earl Thomas Conley is the quintessence of the term “late bloomer” as far as becoming a country music star. Although he had some very modest chart success starting in 1975 with GRT Records and again with Warner Brothers in 1979, it wasn’t until Conley reached independent label Sunbird in late 1980, that Earl (or ETC as he was often called) began to achieve real success as a recording artist. By then, he was thirty-nine years old.

Earl Thomas Conley was the oldest and most successful of the triumvirate of somewhat similarly named country artist of the 1980s (the others were Con Hunley and John Conlee), each of whom had very distinctive voices. Earl had an extended run of success, both as a recording artist and as a songwriter. Between 1980 and 2003, he recorded ten studio albums, including seven for RCA. During this same period he charted more than 30 singles on the Billboard country charts, with 18 reaching #1.

Earl was raised in a working class family that had a love for music and the arts, and painting – which he started when he was 10 – was Earl’s first love. At age 14, Earl’s father lost his job with the railroad and Earl went to live with an older sister in Dayton, Ohio, where he continued to paint and develop his skills as an artist. While painting was his first love, Earl’s father had introduced him to music and Earl began to be more aware of it as an influence in his life.

After graduating high school, Earl decided against college, joining the Army instead. While in the Army, Earl became a member a Christian-influenced trio, where his musical talent and vocal ability were first placed on public display. At some point Earl decided that performing might not be a bad way to make a living. Accordingly, he delved more deeply into the classic country sounds of artists such as Merle Haggard and George Jones. During this period Earl first tried his hand at songwriting. In 1968, after his discharge from the Army, Earl began commuting from Dayton to Nashville.

With nothing happening for him in Nashville (and tired of back and forth commuting), Earl moved to Huntsville, Alabama, to be 150 miles closer to the recording industry. While in Nashville on a song-plugging visit in 1973, Earl met Dick Herd, who produced the great Mel Street. This meeting eventually led to the Conley-Herd collaboration on the song “Smokey Mountain Memories”, which Street took into the top 10 in early 1975.

Prior to Street’s recording Earl had moved to Nashville, where he met record producer Nelson Larkin, who signed Earl to his publishing house and helped sign him with independent label GRT in 1974. Larkin placed one of Earl’s songs with his brother Billy Larkin, “Leave It Up to Me”, which Larkin took to #22 in late 1975. Nelson Larkin would produce Earl’s sessions through the end of the 1980s.

GRT released four of Earl’s singles without much success. Meanwhile, Earl placed “This Time I’ve Hurt Her More Than She Loves Me,” with Conway Twitty, who took it all the way to the top in 1975, giving Earl his first #1 record as a songwriter.

On the strength of his successful songwriting, Warner Brothers signed Earl to a recording contract. Unfortunately, the three singles Warner Brothers issued in 1979 on ‘Earl Conley’ failed to achieve much traction.

After his stint at Warner Brothers was over, Earl Thomas Conley (as he was now billed) signed with the independent label Sunbird Records, where he recorded the album Blue Pearl, reuniting with producer Nelson Larkin. “Fire & Smoke,” released as a single and given a decent promotional push to radio, emerged as Earl’s first major hit, eventually reaching the top of Billboard’s county chart, thus giving Earl his first #1 record as a performer at the relatively old age of 40.

The success of “Fire and Smoke” caused RCA to pick up Earl’s contract and purchase the rights to Earl’s Sunbird recordings for release on RCA. Ultimately RCA became his home for the next decade during which time the following songs reached #1:

•“Somewhere Between Right and Wrong”
•“Your Love’s On The Line”
•“Holding Her and Loving You”
•“Don’t Make It Easy For Me”
•“Angel In Disguise”
•“Chance of Loving You”
•“Love Don’t Care (Whose Heart it Breaks)”
•“Nobody Fall s Like A Fool”
•“Once In A Blue Moon”
•“I Have Loved You Girl”
•“I Can’t Win For Losing You”
•“That Was A Close One”
•“Right From The Start”
•“What She Is (Is A Woman In Love)”
•“We Believe In Happy Endings” (w/Emmylou Harris)
•“What I’d Say”
•“Love Out Loud”

While Earl Thomas Conley tended to regard himself as a straight country artist, his rather smoky voice helped gain him acceptance across the board. Earl appeared on the television show Soul Train in 1986, and to the best of my knowledge he is the only country artist to be so featured.

Chart success basically ran out for Earl at the end of the 1980s although there were some decent chart hits through 1992, including the 1991 recording of “Brotherly Love” a duet with Keith Whitley released after Keith’s death.

Since then, Earl has continued to tour occasionally and write songs but has done relatively little recording, with a seven year recording hiatus 1991-1997. This hiatus was due to a number of factors, including vocal problems, disenchantment with record label politics, road fatigue and mental burnout. Earl finally emerged with another album in 1998, Perpetual Emotion, aided and abetted by long-time friends Randy Scruggs and Curly Corwin. His last albums were Should Have Been Over By Now, released in 2003, and Live at Billy Bob’s, released in 2005.

Earl is now 76 years old and no longer maintains a website, although he does maintain a Facebook page. Earl retired from performing about a year ago.

Various artists continue to record his songs, and Blake Shelton released Earl’s “All Over Me” as a single in 2002. Earl has always eschewed fads, not becoming a ‘hat act’ during the late 1980s and continuing to write thoughtful, non-gimmicky songs.

The digital age has seen much of Earl’s recorded legacy restored to the catalogue, so finding his songs should not be difficult. We hope you enjoy discovering (or rediscovering) the music of our very distinctive Spotlight vocalist Earl Thomas Conley.

Classic Rewind: Vince Gill – ‘Sad One Comin’ On’

The song starts about 3 minutes in:

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

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;: