My Kind of Country

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

Tag Archives: George Strait

Album Review: Adam Harvey – ‘Cowboy Dreams’

Released in April 2003, Cowboy Dreams was Adam’s fifth album and the second to be certified gold by the Australian Recording Industry Association signifying sales of 35,000 albums.

The album opens up with the “Love Bug”, the Wayne Kemp-Curtis Wayne penned hit for George Jones in 1965 and George Strait in 1993, both top ten records. It’s a silly song but Adam handles it well.

Next up is “Call It Love” a nice ballad that I could see George Strait having a hit with in his prime

Just Lookin Back On The Life We’ve Made
The Things We’ve Lost The Words To Say
A Million Words Are Not Enough
Call It Love

I Know That Sometimes I Put You Through
More Than I Should Ask Of You
There Must Be A Reason You Don’t Give Up
Call It Love

I Don’t Know What Else To Call It
When All I Wanna Do
Is Grow Old With You
What Else On Earth Can It Be When Every Time You’re With Me
A Simple Touch Tears Me Up
Call It Love

“When Lonely Met Love” is a nice up-tempo dance floor number:

He was empty as a bottle on a Saturday night
She was sweet as a rose that grows in a garden getting good sunlight
As fate would have it, the unlikely happened
In a parking lot, two worlds collide

When lonely met love, they hit it off
Dancing on the ceiling, couldn’t peel them off
Now they’re real tight, it feels real nice
Lonely ain’t looking, lonely no more
Love started popping like a bag of popcorn
When they opened up, when lonely met love

Those good old ballads of booze, women and cheating have been largely banished from modern country music so “Hush”, so this mid-tempo ballad is a refreshing change of pace

He’s looking in the mirror checking out his hair, putting on his cologne
He ain’t shaved since Tuesday but tonight every little whisker’s gone
He’s going out with the perfect wife but she ain’t his own

Chorus:
Hush…can’t talk about it
Hush…dance all around it
Everybody’s doing it old and young
Don’t breath a word cats got your tongue
Huush

She makes the kids breakfast, packs their lunch, sends them on their way
Makes all the beds and cleans up the kitchen loads the TV tray
But that ain’t coffee in the coffee cup gets her through the day

“She Don’t Know It Yet” is a wistful ballad about a man who has not been able to convey to his woman just how much he really loves her

I really love western swing and “Cowboy For A Day” is a nice example with a subject matter similar to Conway Twitty’s “Don’t Call Him A Cowboy” but with a more upbeat message and taken at a much faster tempo. This would be a great dance number

Adam’s voice is in Trace Adkins / Josh Turner territory but the structure of the album reminds me of many of George Strait’s albums, with a nice mix of slow and up-tempo songs.

My digital copy of the album did not include any information concerning songwriting credits, but it is fair to assume that where I haven’t commented, that Adam had a hand in the writing. I really liked “A Little More To It Than That” and “Little Cowboy Dreams” which I assume are Adam’s compositions. The latter is a really cute song, a father’s words to his son:

Dust off your boots, take off your star
Whistle your rocking horse in from the yard
Take off your hat you’ve tamed the wild west
But son even heroes need to get rest

Close your eyes little man it’s been a long day
And your worn out from riding it seems
Let your work in the saddle
All drift away
Into sweet little cowboy dreams

Old-timer that I am my favorite song on the album goes way back to 1965 when Lefty Frizzell recorded the Hank Cochran-Chuck Howard song “A Little Unfair”. Adam doesn’t sound like Lefty and doesn’t try to sound like Lefty but doers a very effective job with the song:

You want me to love just you while you love your share
Ain’t that being a little unfair
It’s me stay home while you stay gone till you decide to care
Ain’t that being a little unfair

I can’t see how it can be anything for me
What’s mine is yours but what’s yours is yours
That’s how you wanted to be
You want me to wait for you till you decide to care
Ain’t that being a little unfair

I can’t see how it can be anything for me
What’s mine is yours but what’s yours is yours
That’s how you wanted to be
You want me to wait for you till you decide to care
Ain’t that being a little unfair

This is a very country album – fiddle, steel guitar, thoughtful lyrics and everything else you would want in a country album.

Grade: A+

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Album Review: Adam Harvey — ‘Sugar Talk’

Adam Harvey released his third album, Sugar Talk, in late August 1999. Much like Occasional Hope noted in her review last week, there isn’t much information about the album online although I was able to find it on Apple Music.

The album is comprised of fourteen tracks. Wikipedia lists two singles. “Treat Me Like A Dog” is a ruckus barnburner about a man who wants a woman who will love and forgive him despite his flaws, much the same way people love everything about their pets. “I Blame You” is a nice power ballad where a man blames his woman for all the riches in his life.

When researching “Gypsy Queen,” I found out it is an old Australian song from the 1970s and became Harvey’s first number one hit. The track is excellent, dosed in mandolin and has a nice sing-song-y melody. “When I’m Drinking” is a playful honky-tonk rocker about a man who’s let the bottle have a grip on his life.

“Hold on my Heart” is another barnburner, in which Harvey sings about a woman who has “a hold on my heart and I hope she never let’s go.” The title track follows the same uptempo formula, with slight variations.

Harvey is a keen observer on “I Can Tell By The Way You Dance,” in which he predicts the woman he’s watching on the dance floor will become his girl. It’s probably not a sequel, but the next track in sequence is “Caroline.” In the chorus he sings, “when I’m with you I lose my mind.”

The last of the high-octane moments is “It’s Still Love,” which is very good but feels slightly generic. “When You Love Somebody” is a nice contemporary ballad. “Love Listens” falls at mid-tempo, with generous steel guitar throughout and a smoother vocal from Harvey.

Harvey also includes three songs I recognize as being recorded by other artists. When I played “Don’t Tell Me (You’re Not in Love)” I recognized it immediately, but didn’t know where I’d heard it before. It turns out George Strait included it as an album track on The Road Less Traveled three years after Harvey released it here.

He gives himself a tall order singing Lefty Frizzell’s “I Never Go Around Mirrors,” which was famously covered twice by Keith Whitley. Harvey’s version is very good and holds its own against the others.

The final cover, “Goodnight Sweetheart,” was originally recorded by Joe Diffie in 1992 before being picked up as the title track and second single from country singer turned Texas real estate agent David Kersh’s debut album. It peaked at #6 for him in 1996. Harvey’s version is excellent, tender, and makes me believe this is a song Whitley would’ve likely recorded had he lived.

I was unfamiliar with Adam Harvey before writing this review. Sugar Talk is a very strong album with some excellent moments throughout. He goes a bit too heavy on the light uptempo material but kills it when he slows things down. In addition to Apple Music, Sugar Talk is all available on iTunes. I recommend checking it out.

Grade: A-

Album Review: Jim Lauderdale – ‘This Changes Everything’

It was back to traditional country for Jim’s 2016 release This Changes Everything, recorded in Texas with a strongly Texas flavour to the music. Steel guitarist Tommy Detamore produced, and a number of Texas mainstays formed the backing band. Most of the record was produced in a single all-day session.

The opening track, written with Texan singer-songwriter Bruce Robison, is a very nice conversational, steel laden song about falling in love. It would be ideal for George Strait (who did record this record’s ‘We Really Shouldn’t Be Doing This’). Robison also co-wrote the gentle ‘There Is A Horizon’. A singer-songwriter of a more recent vintage, Hayes Carll, is the co-writer on ‘Drive’, a rather laid back sounding song about being on the road written very much in Carll’s voice.

Sunny Sweeney adds her distinctive harmony on the engaging ‘All The Rage In Paris’, about being a superstar local act – in Paris, Texas, and environs. ‘You Turn Me Around’, written with Terry McBride, is a charming Western Swing number. Buddy Cannon and Kendell Marvel joined Jim to write ‘Nobody’s Fault’, a laidback song about falling in and out of love.

‘Lost In The Shuffle’, written with Odie Blackmon, is the most delightful of several traditional country shuffles with glorious fiddle from Bobby Flores. ‘It All Started And Ended With you’, written with Frank Dycus, has a mournful feel, helped by the gorgeous steel and Jim’s plaintive wail. Dycus also co-wrote the romantic love song ‘I’ll Still Be Around’ and the sober cheating song ‘The Weakness Of Two Hearts’.

This is an excellent album which has become one of my favorites of Jim’s work.

Grade: A

Album Review: Jim Lauderdale — ‘Country Super Hits, Vol. 1’

Released in 2006, Country Super Hits, Vol. 1 is an oddly titled collection, as it sounds like a greatest hits or tribute record when indeed all the tracks are original. But Jim Lauderdale does perform the album in a traditional style, which is a nice change of pace.

Lauderdale co-wrote eleven of the album’s thirteen songs with Odie Blackmon, who is perhaps best known as the writer behind Lee Ann Womack’s “I May Hate Myself In The Morning,” which came out a year prior to this album. The pair kicks the album off with “Honky Tonk Mood Again,” a mid-tempo shuffle about a guy following his woman since she undoubtedly knows where the party is at.

“Playing On My Heart Strings” is a Dwight Yoakam-esque ballad. “Too More Wishes” is a steel-drenched uptempo number about a man who feels luck is on his side. Lauderdale shines on the spellbinding “Cautious,” about a man who’s jumping into his new relationship slowly and surely. A fiddle plays a prominent role on “If You’ve Never Seen Her Smile,” which is as striking as the woman Lauderdale and Blackmon are describing in the lyric. “Right Where You Want Me” is country rock and not to my taste at all and “Are You Okay” is a modernized shuffle.

“Single Standard Time” is reminiscent of Buck Owens and is one of the album’s strongest tracks. “That’s Why We’re Here” is slow and sparse, with Lauderdale exaggerating his twang. The album rebounds with “Change,” which has a wonderful melodic structure and an ear-catching sonic makeup. “You Can’t Stop Her,” about a guy who realizes his girl isn’t ever coming back, is firmly within the 1990s country style and would’ve worked brilliantly in George Strait’s hands during that era.

The album also features two non-Blackmon tracks. Lauderdale teamed with Leslie Satcher for “I Met Jesus In A Bar” and Shawn Camp for “She’s Got Some Magic Going On.” The former is much strong than its title would indicate while the latter has an interesting and engaging melody.

Both songs are very good, as is the album, which owes more to Americana than country, despite the abundance of traditional instrumentation. I highly recommend checking this one out. You won’t be disappointed.

Grade: A- 

Album Review: Jim Lauderdale – ‘Whisper’

Produced by Jim with Blake Chancey in 1998 for BNA Records (making it his third album and his third record label), Whisper is one of his most traditional country records. Not coincidentally it is one of my favorites, but not only for the musical style. The song quality on this album is exceptionally high.

Jim collaborated with songwriting legend Harlan Howard on two songs. The opening honky tinker ‘Goodbye Song’ is an excellent song about denying a relationship has come to its end. ‘We’re Gone’ is also great, with Jim brooding over his lost love and their empty former home after a too-early marriage comes to an end:

She lives on the right side of the tracks
I’m on the wrong
There’s nothin’ but the TV going on

One-time George Jones duet partner Melba Montgomery, another fine songwriter, helped Jim with my favorite song, ‘What Do You Say To That’, a charming love song notable for its truly gorgeous melody. It was to be one of George Strait’s Lauderdale-penned hits a couple of years later but Lauderdale’s original is lovely too. Strait and Wade Hayes both later covered the John Scott Sherrill co-write ‘She Used To Say That To Me’, another super song with an ironic edge to the lyric.

Jim teamed up with Frank Dycus to write several songs. Twin fiddles introduce the fine ‘In Harm’s Way’, with its hindsight recollection of a romance which was always headed for disaster, just like the Titanic. Jim’s vocal’s have a high lonesome quality on the right song, and it works to perfection on this track. ‘Without You Here It’s Not The Same’ is another strong song regretting failure to see trouble before it hit the relationship. I also liked ‘Take Me Down A Path (My Heart Won’t Know)’. I didn’t like ‘Sometimes’ as much aurally, as its melody is more repetitive, but it is another well written song.

The rhythmic ‘Hole In My Head’, written with Buddy Miller, is repetitive, unmelodic and my least favourite track.

Jim wrote the remaining songs solo. The slow title track is a love song loaded with gorgeous steel guitar which would benefit from a cover by someone with a sweeter voice. ‘It’s Hard To Keep A Secret Anymore’ is an excellent song with Jim’s protagonist guessing his wife is cheating. ‘You’re Tempting Me’ is a pretty good song about initial attraction.

The album closes with the bluegrass gospel of ‘I’ll Lead You Home’, featuring Ralph Stanley and the Clinch Mountain Boys – before Stanley’s career was revived by O Brother, Where Art Thou. This is a lovely recording.

Overall this is a very strong album worth checking out.

Grade: A

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.

Lane Turner – Stardom Unfulfilled

George Strait was always a bit of an outlier as far as country radio was concerned, a fan of western swing who has allowed to keep some of those influences in his music as long as he came up with a reasonably mainstream sound. Of course radio afforded Strait this courtesy because of his visual aura, excellent voice and scandal-free personal life.

During 2004, another strongly western (or Texas) swing influenced artist received some airplay as a result of a pair of singles released on a major label, Warner Brothers. The single “Always Wanting More (Breathless)” was penned by Lane (with Kent Blazy and Monty Holmes) and received heavy airplay around Central Florida. The song was sold as a CD single with the second song, penned by Lane Turner the disc, “King of Pain” also receiving some airplay. On the physical single were the words “From the forthcoming Warner Brothers album RIGHT ON TIME (2/6-48655) . Unfortunately, the single did not fare as well in other markets and died at #56.

The second single released, “Right On Time” also received some airplay, but I did not see a CD single on sale for the song. I patiently awaited release of the album but by mid-2005 (after some inquiries) I resigned myself to the fact that Warner Brothers had bailed on the album. Since the market seemed to be turning away from traditional country sounds (pseudo boy-band Rascal Flatts seemed to be the hottest thing going), I doubted that Turner would get another crack at a major label.

About five years ago, a friend of mine brought me a promotional CD that he’d copied for me that was never officially released and he had added a few extra tracks he’d found. The CD was the Warner Brothers album RIGHT ON TIME.

I don’t have any writer information for the remaining songs, although I suspect that Lane had a hand in writing most of them

“King of Pain” is a ballad of lost love.

“Halfway to Mexico” is up-tempo modern country with some Mexican rhythms.

“Better to Have Loved” is a ballad of the kind that George Strait routinely turned into hits.

“Let You Go” is an up-tempo song of loss with a banjo serving as the driving force behind the melody.

I have no idea why “Right On Time” was not a hit. The song is a thoughtful slow ballad.

“Happy Hour” is a throwback to early 1970s country, not unlike some of Freddie Hart’s hits but also similar to some of George Strait’s ballads.

“Outside Looking In” is an up-tempo rocker that might have made a good single.

“Thinking Right This Time” is a mid-tempo ballad about a fellow coming to grips with his errors of omission that cost him the loss of the love of his life.

“Horses” is a dialogue between a father to his young son. The father has lost custody of his son to his ex-wife and he is reminding the son to remember the things he has learned such as how to ride horses.

“If It Ain’t One Thing It’s Another” is an up-tempo ballad about life’s little problems.

“Always Wanting You More (Breathless)” was the biggest hit for Lane Turner, an excellent ballad about the mystery generated by his love, a mystery that he cannot fathom but always wants.

Some of this album is available to view on Youtube such as this clip for “The Horses”.

I would regard this album as an A- and deeply regret that Lane Turner never got a real shot at stardom. Perhaps he was too similar to George Strait, or perhaps radio programmers of the time simply had lost interest in real county music. These were good songs that in a different time could have been his.

Lane released an EP in 2009 titled LANE TURNER, currently available as a digital download on Amazon. In 2011 he surfaced as the lead singer of the group Western Underground. This band was formerly Chris LeDoux’s road band. I believe he is still with this group.

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

Week ending 6/23/18: #1 singles this week in country music history

1958 (Sales):  Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)

1958: I Guess Things Happen That Way — Johnny Cash (Sun)

1968: I Wanna Live — Glen Campbell (Capitol)

1978: I’ll Be True To You — Oak Ridge Boys (Dot)

1988: He’s Back and I’m Blue — The Desert Rose Band (MCA/Curb)

1998: I Just Want To Dance With You — George Strait (MCA Nashville)

2008: Last Name — Carrie Underwood (Arista Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Everything’s Gonna Be Alright — David Lee Murphy feat. Kenny Chesney (Reviver)

Week ending 6/16/18: #1 singles this week in country music history

1958: All I Have To Do Is Dream / Claudette — The Everly Brothers (Cadence)

1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)

1968: I Wanna Live — Glen Campbell (Capitol)

1978: Two More Bottles of Wine — Emmylou Harris (Warner Bros.)

1988: I Told You So — Randy Travis (Warner Bros.)

1998: I Just Want To Dance With You — George Strait (MCA Nashville)

2008: I’m Still A Guy — Brad Paisley (Arista Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Woman, Amen — Dierks Bentley (Capitol Nashville)

 

Week ending 6/9/18: #1 singles this week in country music history

1958: All I Have To Do Is Dream / Claudette — The Everly Brothers (Cadence)

1958 (Disk Jockeys): Just Married — Marty Robbins (Columbia)

1968: Honey — Bobby Goldsboro (United Artists)

1978: Georgia On My Mind — Willie Nelson (Columbia)

1988: I Told You So — Randy Travis (Warner Bros.)

1998: I Just Want To Dance With You — George Strait (MCA Nashville)

2008: I’m Still A Guy — Brad Paisley (Arista Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: One Number Away — Luke Combs (Columbia)

Classic Rewind: George Strait – ‘There Stands The Glass’

Week ending 5/12/18: #1 singles this week in country music history

1958 (Sales):  Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)

1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)

1968: Have A Little Faith — David Houston (Epic)

1978: It’s All Wrong, But it’s Alright — Dolly Parton (RCA Victor)

1988: Cry, Cry, Cry — Highway 101 (Warner Bros)

1998: Two Piña Coladas — Garth Brooks (Capitol)

2008: I Saw God Today — George Strait (MCA Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): You Make It Easy — Jason Aldean (Broken Bow)

Week ending 5/5/18: #1 singles this week in country music history

1958 (Sales):  Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)

1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)

1968: The Legend of Bonnie & Clyde — Merle Haggard (Capitol)

1978: It’s All Wrong, But it’s Alright — Dolly Parton (RCA Victor)

1988: It’s Such A Small World — Rodney Crowell and Rosanne Cash (Columbia Nashville)

1998: You’re Still The One — Shania Twain (Mercury Nashville)

2008: I Saw God Today — George Strait (MCA Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): You Make It Easy — Jason Aldean (Broken Bow)

Week ending 4/14/18: #1 singles this week in country music history

1958 (Sales):  Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)

1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)

1968: You Are My Treasure — Jack Greene (Decca)

1978: Someone Loves You Honey — Charley Pride (RCA)

1988: Famous Last Words of a Fool — George Strait (MCA)

1998: Perfect Love — Trisha Yearwood (MCA)

2008: You’re Gonna Miss This — Trace Adkins (Capitol Nashville) 

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Most People Are Good — Luke Bryan (Capitol Nashville) 

Album Review: Jann Browne – ‘It Only Hurts When I Laugh’

The modest success achieved by the singles from Jann’s debut album was sadly not to be repeated, with neither of the two singles from its successor charting at all. ‘Better Love Next Time’, written by Gail Davies and Paul Kennerley, is a mid-paced song addressed to a departing lover, with pain filled vocals belying the generous lyrics. It’s a pretty decent song, but wasn’t really memorable enough to have an impact. It was followed by the title track, written by hitmaker Kostas and Marty Stuart, which on paper was made for radio and combines an upbeat tune with a heartbreak theme. Coincidentally it would be covered a couple of years later by another of our current spotlight artists. This really ought to have been a hit.

Jann cowrote a pair of songs with Pat Gallagher. ‘Blue Heart In Memphis’ is a country-blues-rocker with a solid groove. The ironic ‘Who’s Gonna Be Your Next Love’ is another up-tempo tune but with a bluegrass feel.

One of my favorite tracks is ‘I Don’t Do Floors’, written by Don Cook and Chick Rains. This is a classic style country shuffle about being over someone and telling him so. The nights of walking the floor are over. The album closes with another outstanding track, ‘Where Nobody Knows My Name’, a ballad written by John Hiatt and Jimmy Tittle about moving on, which has a beautiful melody led by a simple acoustic guitar and a soothing vocal:

Even when the past comes calling
Looking for somebody to blame
I’ll be easing on down the road
Where nobody knows my name

When the burning sun surrenders
Will he still remember me?
I never told him I was going
Out where the wind is blowing free

If he thinks about me tonight
I know he won’t miss the pain
I’ll be taking it down the road
Where nobody knows my name

Almost as good is a lovely version of Nanci Griffith’s wistful ‘I Wish It Would Rain’, which acts as a lyrical counterpoint to the message of the Hiatt song:

Once I had a love from the Georgia pines who only cared for me
I wanna find that love at 22 here at 33
I’ve got a heart on my right and one on my left
And neither suits my needs
Oh, the one I love is a way out west and he never will need me

So I wish it would rain and wash my face clean
I wanna find some dark cloud to hide in here
Oh, love and a memory sparkle like diamonds
When the diamonds fall, they burn like tears …

I’m gonna pack up my two-step shoes and head for the Gulf Coast plains
I wanna walk the streets of my own home town where everybody knows my name
I want to ride the waves down in Galveston when the hurricanes blow in
Cause that Gulf Coast water tastes sweet as wine
When your heart’s rolling home in the wind

A folk-bluegrass arrangement with harmonies from Iris DeMent makes this a delight. Also great is ‘I Knew Enough To Fall In Love With You’, a lovely ballad written by Gary Nicholson and Hank DeVito about finding true love after a hard life, with a very pretty tune – a really sweet love song.

‘My Shoes Keep Walking Back To You’ is an old Bob Wills tune which became a country standard. Jann’s version is excellent and very traditional country, with some very nice fiddle and steel. ‘Where The Sidewalk Ends’ (later cut by George Strait) is a Jim Lauderdale/John Leventhal song on which Lauderdale provides backing vocals.

It is a shame this album did not perform better for Jann, as it is excellent. You can download it from iTunes.

Grade: A

Album Review: Tyler England – ‘Highways & Dance Halls’

Ty England released his third album in the fall of 2000. The record, his first and only on Capitol Nashville, was produced by Garth Brooks. The album spawned three singles, none of which even made a dent on the charts. Highways & Dance Halls found England recording as Tyler England for the first time.

The mid-paced “Too Many Highways” and similarly mid-tempo “I’d Rather Have Nothing” both failed to chart. They were sandwiched between “I Drove Her to Dallas,” which bottomed out at #53. The middle single, the only true ballad of the group, was the best of the bunch.

The album includes a pair of songs written by Bruce Robison. “She Don’t Care About Me” has an engaging melody and nice traditional production. The other one is “Traveling Soldier,” which of course was made famous by Dixie Chicks three or so years later. England’s version is very good, but I didn’t care for the intrusive background singer on the chorus.

Three of the album’s songs would also appear on Brooks’ own The Lost Sessions in 2005. “My Baby No Está Aquí No More” has wonderful production but a hideous rhyme scheme. The other two were the aforementioned “She Don’t Care About Me” and “I’d Rather Have Nothing.”

“Collect From Wichita” is a pleasant and “I Knew I Loved You” is engaging. “Blame It On Mexico” is a cover of the George Strait song from 1981. England closes out the album by reprising “Should’ve Asked Her Faster” in collaboration with Steve Wariner.

Highways & Dance Halls is a very good album with a strong sense of song and wonderfully traditional production from Brooks. The weak link here is England, who lacks the personality vocally to elevate these songs and create worthy moments. He’s a wonderful singer, which he more than proved on his RCA releases, but everything here is too clean, neat and precise.

Grade: B+

Album Review: Ty England – ‘Ty England’

Born in 1963, Ty England met Garth Brooks while attending Oklahoma State University and roomed with Garth while in college. Thereafter, he was a member of Garth’s band for a few years until signing with RCA in 1995.

Far more traditionalist than Garth, Ty’s eponymous debut album, released in August 1995, would prove to be his most successful album, reaching #13 on Billboard’s Country Albums chart. The album would generate Ty’s only top twenty hit and two more charting singles, neither of which cracked the top forty.

First up is “Red Neck Son”. Released as the third single from the album, the song died at #55. It’s not a bad song but I doubt that I would have released it as a single.

“Smoke In Her Eyes” was the second single released on the album. Written by Hugh Prestwood, this tender ballad really should have done better than #44.

Her heart could tell at a glance
She would be falling for him
She knows she’s taking a chance
But still goes out on a limb

She knows he could be for real
Or he could be in disguise
Although she may have a heart on fire
She don’t have smoke in her eyes

“Should Have Asked Her Faster”, an Al Anderson-Bob DiPiero composition was the first and most successful single released from the album, reaching #3. The song is a mid-tempo tale about a guy whose courage is too slow:

In a little dance hall just outside of Dallas
I dropped my drink when she came walking by
By the time I got a grip she slipped through my fingertips
And left me with my big mouth open wide

I should’ve asked her faster but I waited too long
In a red hot minute like a flash she was gone
I didn’t get her number, I never got her name
A natural disaster, I should’ve asked her faster

“Her Only Bad Habit Is Me” (Don Cook, Harlan Howard) and “You’ll Find Somebody New” (Aaron Barker, Dean Dillon) are both slow ballads, competently sung.

“A Swing Like That” by Billy Lavelle and David L. Lewis is an up- tempo romp that I would have released as a single. The track features some neat fiddle by Aubrey Haynie and steel by Paul Franklin, and has a strong western swing feel to it.

The remaining songs (“New Faces in the Fields” written by Harley Allen, Denise Draper and Steve Hood; “The Blues Ain’t News to Me” from the pens of Wayland Holyfield and Verlon Thompson; “It’s Lonesome Everywhere” by Verlon Thompson, Reese Wilson and Billy Spencer; and Hugh Prestwood’s “Is That You”) are all slow ballads, competently sung by England.

In fact, I would have released “Is That You” as a single. The song is an outstanding ballad, and while I do not know how it would have done as a Ty England single, I’m dead certain that either Garth Brooks or George Strait would have had a monster hit with the song:

They had been together way too long
For him to start again
So he does most of his living in the past
Round the house he never says a word
Til something makes him ask
Is that you

Tappin’ my window pane
Is that you
Or just a draft movin’ that candle flame
Something round here keeps my heart
From breakin’ right in two
Is that you

In the dark he rises from a dream
And takes a look around
Makin’ sure there really isn’t someone there
He could swear he heard her call his name
Quiet as a prayer
Is that you

Therein lies the problem – Ty England is a very good and pleasant singer, but there is nothing distinctive about his voice. Produced by Garth Fundis, Ty England is a solid country album featuring songs by the cream of Nashville’s songwriting talent and the cream of Nashville’s session men:

Bobby All — acoustic guitar (tracks 2,3,5,6,7,9,10) / Eddie Bayers — drums (tracks 1,2,9)
Richard Bennett — acoustic guitar (tracks 4,8) / J. T. Corenflos — electric guitar (track 10)
Stuart Duncan — fiddle (track 3)/ Paul Franklin — steel guitar (all tracks except 4)
John Gardner — drums (tracks 4,8) / Aubrey Haynie — fiddle (track 2,5,6,7,9,10)
John Hobbs — piano (tracks 5,6,7,10), organ (track 10) / Paul Leim — drums (tracks 3,5,6,7,10)
Mark Luna — background vocals (tracks 2,10) / Brent Mason — electric guitar (all tracks except 10)
Weldon Myrick — steel guitar (track 4) / Dave Pomeroy — bass guitar (all tracks)
Steve Nathan — Wurlitzer electric piano (track 1), piano (tracks 2,4,8,9), keyboards
Hargus “Pig” Robbins — piano (track 3) John Wesley Ryles — background vocals (track 3)
Billy Joe Walker, Jr. — acoustic guitar (track 1) Dennis Wilson — background vocals (tracks 2,4,5,9)
Curtis “Mr. Harmony” Young — background vocals (track 1,6)

Good songs and competent singing – I like this album and would give it a B+, but Ty is only as good as his material, and this was his best album.

Classic Rewind: George Strait ft Chris Stapleton – ‘When Did You Stop Loving Me?’