My Kind of Country

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

Tag Archives: Hank Williams

Album Review: Curtis Grimes – Undeniably Country’

undeniably-countryTexan neotraditionalist Curtis Grimes had a run on The Voice a few years ago, but his main musical success has been regionally. Produced by Trent Willmon, this new release is his most traditionally rooted by far, and it is well worth hearing.

Curtis is clearly an enormous Keith Whitley fan, showing his natural good taste. In ‘If You Ask Me’, a beautifully sung but otherwise ordinary statement of country philosophy-cum-love song, he is clearly referring to him when he says “The best of country music died in 1989”.

‘Everything Hank Did But Die’ was one of the songs recorded by Keith Whitley and never released (probably because it was thought to be a little too close to home to do so posthumously). Curtis sounds very much like Keith in his vocal stylings on this track, and it is great to finally hear a full produced version of the tune (Keith’s demo can be found on youtube.)

Old Hank was my hero, since I was a kid.
And I grew up relivin’ all the crazy things he did.
Whiskey drinkin’, honky tonk singin’, stayin’ out all night,
Livin’ hard and dyin’ young was just a way of life.

I’ve done everything Hank did but die
And it ain’t because I did not try
Sometimes it amazes me that I got out alive
‘Cause I’ve done everything Hank did but die

I didn’t know how dangerous that lost highway could be
Till one too many whiskey binges brought me to my knees
I saw the light that very night
Ol’ Hank is still the King
But I found out that I don’t have to kill myself to sing

Great song, excellent performance.

Much in the same vein is the somber ‘Had A Thing’, a superb self-written song in which he considers pain, sin, the life of a musician, and final salvation:

I had a thing for whiskey, women and weed
Seemed to be ‘bout all I’d ever need
Three vices with a visegrip on
Wouldn’t numb the pain for me…

I had a thing for a guitar and old dime bars
They can pay the rent or tear a home apart…

I had all I ever wanted
Thought I wanted a whole lot more
It takes a heavy toll on a Lone Star troubadour
When the price you pay ain’t worth the things you lose along the way
You come crawlin’ back to lay in the bed you made

I had a thing for sad old country songs
Tuggin’ on your heartstrings one by one
Puttin’ into words the way it feels to be alone

But having reached this low point, enduring religious faith saves him in the end, as the melody syncs into an outro of ‘Amazing Grace’.

He continues the religious mood with ‘Born To Die’, a nice song about Jesus.

The pacy shuffle ‘Right About Now’ is a highly entertaining song written in the second person, addressed to a stubborn man who prefers clinging to his hurstpride to backing down:

Well you were in the right and she was in the wrong
And sometimes a man’s gotta stand on principle…
You really kinda miss her but
You don’t wanta let her know
All you gotta do to bring her back is apologize
But hey, what’s a fella got if he ain’t got his pride

Right about now she’s out on the town
Without a reason not to be havin’ her a good time
And right about now
One of your pals is buyin’ her a third (fourth, fifth) round of applepie moonshine
You bit the bullet
You stuck to your guns
And I bet by golly you’re proud
You sure got somethin’ to be right about now

He ends wryly with the thought that the woman he has made cry has got the last laugh:

If you think she’s about to do you wrong
You just might be correct
You drew that line and she crossed it
I think you got yourself an Ex

‘Ten Year Town’ tackles Nashville and the state of country music:

I came out here so I could write and sing
Not rap on stage wearing skinny jeans

The lead single, ‘From Where I’m Standing’ is a mellow sounding romantic ballad written by Thomas Rhett, Chris Janson and Jaron Boyer, which is much better than one might expect with those origins. It’s attractive melodically, although the lyrics are a little cliche’d. ‘Put My Money On That’ is a bit generic and the album’s weakest entry, but it is pleasant enough listening.

The only real disappointment is that there are only eight tracks.

Grade: A

Listen here.

Album Review: Asleep At The Wheel – ‘Comin’ Right At Ya’

comin-right-at-yaUnited Artists released the first Asleep At The Wheel (“AATW”) album in 1973. The album featured a mix of straight ahead country and honky-tonk, along with western swing. No doubt United Artists felt a need to mix the western swing with country as it had been a good dozen years since western swing had been a viable force in the marketplace, aside from the small band swing novelties of Hank Thompson and his Brazos Valley Boys.

The core of this early version of AATW was Ray Benson on lead guitar and vocals, Leroy Preston on guitar, drums and vocals, Lucky Oceans on steel guitar, Jim Haber (aka Floyd Domino) on piano and Chris O’Connell on vocals and rhythm guitar. Guests Johnny Gimble, Buddy Spicher and Andy Stein augment the band on fiddle, with Gimble also playing electric mandolin.

The album opens with a Bob Wills-Tommy Duncan composition “Take Me Back To Tulsa”. The arrangement on this track swings but not nearly as much as it would in later years.

Track two is the Leroy Preston composition “Daddy’s Advice”, a straight ahead country song with a very traditional steel guitar sound paired with the fiddles. The vocal sounds like it may be Preston singing.

Leroy Preston also contributed “Before You Stopped Loving Me” is a nice ballad handled by the inimitable Chris O’Connell. I think that Chris may have been the best female vocalist AATW ever had.

Jerry Irby’s “Drivin’ Nails In My Coffin” was a hit for Ernest Tubb. Although Ernest was not a western swing artist, his recording of the song straddled the line between western swing and honky-tonk, as does this recording.

The Hank Williams classic “I’ll Never Get Out of This World Alive” is given a straight-ahead country arrangement. Again, the vocal sounds like Leroy Preston.

Lucky, Leroy and Floyd wrote “Space Buggy” which has a barrelhouse boogie sound. Ms. O’Connell handles the lead vocals on this bright up-tempo song.

“Cherokee Boogie” was one of Moon Mullican’s great songs, one that was a hit for Moon and has graced the charts several times since them. Since Mullican was one of the great piano influences on Jerry Lee Lewis, it is only appropriate that Floyd Domino’s piano is featured heavily on this track.

Track eight on album is another Leroy Preston original titled “Hillbilly Nut”, a bit of a novelty with some instrumental snippets of other famous tunes. Preston sings this song.

Ray Benson and Leroy Preston collaborated on “Your Down Home Is Uptown”, a country ballad sung by Chris O’Connell.

Preston also penned “I’m The Fool (Who Told You To Go)” another straight ahead country ballad with Chris O’Connell shining on harmony vocals on the chorus. Ray Benson sings the lead.

Geoff Mack, an Australian country singer, penned “I’ve Been Everywhere”. The song originally featured Australian place names; however, with American place names, the song became a massive hit for Hank Snow. Leroy Preston takes the lead vocals on this song, which are NOT taken at the breakneck speed often associated with the song. The vocals of this song frequently have been rewritten to reflect the nationality of the singer.

The album closes with “The Son Shines Down On Me”, a nice gospel ballad sung by Chris O’Connell. The songwriter is credited as ‘L. Lee’ but I know nothing further about that person.

Comin’ Right At Ya is an album which sees the band finding itself. The album produced no hit singles, and while there are traces of western swing styled elements throughout the album, the album is less western swing than any of their future efforts would be. As a vocalist Leroy Preston isn’t all that good and his vocals would be less prominent on future albums. I liked this album (I picked up a copy on vinyl when it first came out) but it is mostly a harbinger of things to come. I’d give it a B.

Koch paired this with Texas Gold (a much better album) on a CD reissue in 2000. Texas Gold, released on Capitol in 1975, would feature the band’s biggest hit “The Letter That Johnnie Walker Read”.

Album Review: Loretta Lynn – ‘I Like ‘Em Country’

i like em countryLoretta’s fifth album was released in 1966. The material is very much along the same lines as its predecessors, with a lot of covers, but all very high quality. It was the first of her records to have two singles, which may be an indicator of her growing commercial appeal.

The plaintive ‘The Home You’re Tearing Down’, addressed to the other woman who is breaking up the protagonist’s marriage, was a top 10 hit, written for Loretta by Betty Sue Perry. Although it’s not remembered as one of Loretta’s best known hits today, it’s a stellar example of pure country music. Betty Sue also wrote ‘Go On And Go’, an excellent response to the man in the story:

Between your passion and your pride, you’re half a man
I don’t want your kiss without your sweet love too
Go on and go
If you need her like I need you

The controversial ‘Dear Uncle Sam’, the only song on the album written by Loretta, was a bold and topical choice for a single, and peaked at #4. US ground troops had been deployed in Vietnam since March 1965, and in August of that year married men also became subject to conscription, as increasing numbers of US soldiers were needed to fight in that controversial war. Loretta’s emotional song does not debate the merits of the war itself at all, but movingly shows the effects on one woman whose husband is called on to fight, and who is killed in action.

Loretta recorded her brother Jay Lee Webb’s song ‘Today Has Been Day’, a mournful tale of lost love and unsatisfactory refuge in a neon-lit bar. Jay Lee was about to launch his own attempt at a country career.

As usual a lot of covers were included. Ernest Tubb’s ‘It’s Been So Long Darling’ had been a hit for Loretta’s duet partner some 20 years earlier. Loretta’s version of this sweet song about an impending reunion of lovers (whose original context was that of the end of the Second World War) is very good, and is an interesting counterpoint to ‘Dear Uncle Sam’, where the reunion can never happen.

The Hank Williams classic ‘Your Cheatin’ Heart’, one of the greatest songs of all time, is always good to hear, and Loretta offers a fine reading. Country standard ‘If Teardrops Were Pennies’ is nicely done too, and Johnny Cash’s ‘Cry, Cry, Cry’ gets an energetic workout. ‘Jealous Heart’, another much- recorded tune is also beautifully performed, with some interesting organ backing.

The tongue in cheek ‘Two Mules Pull This Wagon’ was written by Johnny Russell is a highly entertaining song with a housewife complaining that her husband doesn’t appreciate her hard work at home:

Well, you come home most every night as grouchy as can be
And start right in a pickin’ on our little kids and me
I’m sick and tired of hearin’ how your work keeps you a braggin’
Cause you seem to forget big boy that two mules pull this wagon

Yeah two mules pull this wagon
You don’t do it by yourself
I know you’ve got a heavy load
But I give you lots of help
I do my share of pullin’ and I don’t mean to be braggin’
But you seem to forget big boy that two mules pull this wagon

Well, I guess you think while you’re at work I sit and watch TV
But you’d learn different, honey, if you’d spend one day with me
I’m washin’, ironin’, cookin’, sewin’, and find time for your naggin’

The attitude is the kind of song many listeners expect from Loretta, and it is a fine example of its kind.

‘Sometimes You Just Can’t Win’ was written by Smokey Stover, a songwriter and DJ who issued a few honky tonk singles himself (plus a novelty song about Jimmy Hoffa). A wonderful sad song about losing at love, it had been recorded by George Jones a few years earlier.

Most of the album has a timeless classic country feel. Only the vivacious ‘Hurtin’ For Certain’ feels dated, thanks to the backing vocals.

It is available on a 2-4-1 CD with Blue Kentucky Girl. The package is well worth picking up.

Grade: A-

Album Review: Loretta Lynn – ‘Blue Kentucky Girl’

51i+XrdZe0L._SS280By 1965, with three consecutive Top 5 hits under her belt, Loretta Lynn was on a hot streak and well on her way towards becoming country music’s next big female star. “Blue Kentucky Girl”, which was written by Johnny Mullins, who had also penned her breakthrough hit “Success”, didn’t fare quite as well on the charts but still finished at a very respectable #7. It’s one of my favorites of Loretta’s early recordings and is interesting today for a couple of reasons, aside from just being a very good song: the use of the banjo was quite unusual for the era, when the lush Nashville Sound was at its peak. It’s also notable because we are still seeing Loretta in the role of the downtrodden woman, who is pining for her man who has been lured away — at least temporarily — by the bright lights of the city. She would continue in this vein for just a little while longer, but soon the public would get to see a more assertive side of Loretta, beginning with 1966’s “You Ain’t Woman Enough (To Take My Man)” and continuing on with “Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind)” and the following year’s “Fist City”.

She asserts herself just a little bit on “Night Girl”, a co-write with Teddy Wilburn, which is one of the album’s four Loretta-penned songs. This one casts her as girl from the wrong side of the tracks who has fallen for rich man, but not enough to sacrifice her pride. She knows he’s ashamed to be seen with her publicly and tells him on no uncertain terms that she’s not willing to partake in a clandestine relationship with him. The pair also wrote “Love’s Been Here and Gone”, a filler song about a dying relationship. Her solo composition “Farther to Go” is similarly unmemorable, although it contains some nice Hank Williams-ish steel guitar licks. The uptempo “Two Steps Forward”, another Loretta original, is quite good. This one finds her trying to work up the nerve — and not quite succeeding — in walking away from a bad relationship.

Like most country albums of the era, Blue Kentucky Girl relies heavily on remakes of other artists’ hits. Though some have been critical of this practice, it is important to remember why it was done. First and foremost, most major stars were releasing at least three albums a year. It would have been difficult to come up enough good original material to fill out that many albums. Covers had the advantage of being already familiar to record buyers, as well as the studio musicians, which meant that they had to spend little or no time learning the songs, which made them relatively inexpensive to record. Loretta does a beautiful job on Johnny Cash’s “I Still Miss Someone” and Hank Locklin’s “Send Me The Pillow You Dream On”, both of which showcase her voice nicely. Harlan Howard’s “I Won’t Forget You” had been a monster hit for Jim Reeves the previous year, and shows that Loretta was more than capable of handling more polished material. She does an adequate job on George Jones’ “The Race Is On”, but doesn’t really leave her stamp on the song.

Barbara Mandrell once said in an interview that early in her career before she had enough of her own hits to fill out a show, she was advised only to perform hits sung by men, because audiences were bound to make too many comparisons of a woman singing another female artist’s song. Loretta’s cover of “Then and Only Then” illustrates this point nicely. Written by Bill Anderson, it was Connie Smith’s Top 5 follow-up to “Once a Day”. It’s not that Loretta’s version isn’t good – it is and if I’d never heard Connie Smith’s version it might actually be my favorite song on the album. But there is no escaping the fact that it doesn’t really sound much like a Loretta Lynn song and that it still sounds very much like a Connie Smith song, no matter who is singing it.

That being said, I’m not as opposed to covering other artists’ hits as many people are. I consider Blue Kentucky Girl to be Loretta’s strongest album up to that point and I highly recommend it.

Grade: A

Album Review: Wynonna – ‘Sing, Chapter 1’

81hrny-Ha0L._SX522_I always felt that Wynonna was miscast as a country singer but was otherwise a great vocal performer. This album is the proof of my latter assertion, a twelve song collection of great songs perfectly executed by a master singer.

The album opens up with a thirty’s classic “That’s How Rhythm Was Born”, a Boswell Sisters hit from the 1930s, long forgotten but well worth reviving. The Boswell Sisters pre-dated and were an inspiration for the Andrews Sister. The song sounds very Andrews-ish with Vickie Hampton and Wynonna doing harmonies to create that trio sound. There is an old-time, non-bluegrass banjo in the mix played by Ilya Toshinsky.

Next up is the greatest country song ever written, Hank Williams’ “I’m So Lonesome I Could Cry”. While there are versions I prefer to Wynonna’s, she does an excellent job with the song. The Nashville String Machine provides tasteful and effective orchestral accompaniment.

Wynonna gives the sisterhood some wise advice in the very bluesy “Women Be Wise”.

Dave Bartholomew was a noted New Orleans songwriter closely associated with the legendary Fats Domino. “I Hear You Knocking” was a big R&B hit for Smiley Lewis in 1955 (#2 R&B) and a big pop hit (#2) for actress Gale Storm. Fats Domino also recorded the song a few years later, and because of his sustained success, Fats’ version is probably the best remembered. Wynonna’s version has a more New Orleans style rock feel. It is quite good

Larry Henley and Red Lane penned “Til I Get It Right”, a major Tammy Wynette hit from 1973. The focus is on Wynonna’s vocal with spare but graceful accompaniment that includes unobtrusive strings.

Another country classic follows, Merle Haggard’s “Are The Good Times Really Over For Good”. Not one of my favorite Hag songs, but still a good song. I do like the brass instrumentation in Wynonna’s arrangement.

I was not a big Stevie Ray Vaughan fan but I could take him in small doses and Wynonna’s take on “The House is Rockin'” is just enough Stevie Ray for me. Wynonna’s take on this song rocks just enough.

The almost forgotten Bill Withers had a relatively short career as a recording artist (he is still alive) but the music he did produce was exceptional leading to his induction into the Rock and Roll Hall of Fame. “Ain’t No Sunshine” was one of those classics and Wynonna gives it the appropriately moody reading.

Jerry Lieber & Mike Stoller are arguably one of the two or three greatest pop songwriting tandems in history. “I’m a Woman” was initially released in 1962 by Christine Kittrell, but is best remembered as a classic Peggy Lee track. Wynonna’s version is as good as any of them albeit very different from Peggy Lee’s sexy rendition, Wynonna’s being a very assertive R&B track

I am not a big fan of most Burt Bacharach-Hal David compositions, other than those written for the great Gene Pitney. That said, “Anyone Who Had A Heart” had a distinguished pedigree with British songbird Cilia Black taking her George Martin-produced record to #1 in the UK for three weeks in 1964. Cilla’s version also went to #1 in Ireland, New Zealand and South Africa, but I don’t think it was released in the US. Dionne Warwick also had a notable hit (#8 pop/ #2 adult contemporary) with the song in the US but only got as high as #47 in the UK. Both versions competed in various global markets, basically to a draw in Europe. Wynonna’s version is a pretty standard, but effective presentation.

“When I Fall In Love” is a pop standard that has been recorded by many artists, most notably Jeri Southern and Doris Day. Wynonna gives it a fairly standard interpretation with the Nashville String Machine setting the mood for Wynonna’s strong vocal.

The album closes with a Rodney Crowell original “Sing”. I think that this is the weakest song on the album, but I would also give it a B+ which should tell you what I think of this album

Of all the Wynonna albums I’ve heard, this one is my favorite, both in terms of the strength of Wynonna’s vocals and the quality of the material. To me this is a definite A+.

Album Review: Buddy Miller and Friends – ‘Cayamo Sessions At Sea’

cayamo sessions at seaBuddy Miller’s latest project comprises a series of collaborations with other artists recorded between 2012 and 2015 on the cruise ship Cayamo, as part of a music festival the ship puts on annually. The eclectic selection of artists tackle some classic country songs, with the odd outlier given a country arrangement, and the result is a joy to listen to from start to finish. Buddy does an excellent job producing, and sings either harmonies or duet vocals on each track.

The album opens with a tremendous version of the classic duet ‘After The Fire Is Gone’, performed with the always wonderful Lee Ann Womack. Kacey Musgraves is charming on Buck Owens’ upbeat ‘Love’s Gonna Live Here Again’. I also enjoyed the duet with the underrated Elizabeth Cook on ‘If Teardrops Were Pennies’.

Kris Kristofferson sings his own ‘Sunday Morning Coming Down’, and sounds more controlled vocally than he usually does live. Lucinda Williams, another singer who can be unpredictable, is intensely emotional on a slow, measured version of ‘Hickory Wind’. The legendary British folk singer, Richard Thompson, has a longstanding love of traditional country music, and he sings Hank Williams’ somber ‘Wedding Bells’. Doug Seegers, an equally towering figure of American folk, joins Buddy for the gospel number ‘Take The Hand Of Jesus’.

Nikki Lane, whose music I had not heard previously, is soulful on ‘Just Someone I Used To Know’. Another unfamiliar name, Jill Andrews sings ‘Come Early Morning’ charmingly, duetting with Buddy.

Singer songwriter Shawn Colvin tackles the Rolling Stones’ most country-sounding song, the wistful ballad ‘Wild Horses’, to beautiful effect. Brandi Carlile, who falls somewhere in between alt-country and folk-rock, is joined by the Americana band The Lone Bellow for ‘Angel From Montgomery’. If this is my least favourite track, this is only because it is merely very, very good, and everything else is even better.

This is a superb album, which is my favorite of everything Buddy Miller has recorded. It is highly recommended.

Grade: A+

Album Review: Buddy Miller – ‘Midnight and Lonesome’

51BcEdcn+IL2002’s Midnight and Lonesome was Buddy Miller’s most successful solo album to date. It was the first to chart (reaching a modest #50), in no small part due to the success of the previous year’s duets project with wife Julie. He produced the album himself. He and Julie wrote some of the album’s songs, but separately and together but there are also a fair number of songs, including covers, provided by outside songwriters. Though mostly a country effort, it does find him delving into rock and blues, with somewhat mixed results. I was a bit worried after hearing the opening track, “The Price of Love”, a rock-leaning Everly Brothers tune with which I was previously unfamiliar. Fortunately, things get back on track with the second track “Wild Card”, which he and Julie wrote, which finds him turning up the twang. It sounds very much like a number Hank Williams might have recorded in the early 50s.

One of the album’s best moments is the third track “I Can’t Get Over You”, a beautiful steel-laced ballad written by Julie Miller, with delicately understated harmony vocals provided by Lee Ann Womack. It is topped only by another ballad – “A Showman’s Life”, written by Jesse Winchester. Previously recorded by Gary Allan with Willie Nelson and George Strait with Faith Hill, it describes the hardship and loneliness experienced by musicians on the road. Buddy is joined by Emmylou Harris and the result is nothing short of magic. It easily trumps both the Allan/Nelson and Strait/Hill versions (although both of those are also quite good).

The mournful lyrics and high-lonesome harmonies (provided by Julie) of the title track are at odds with its up-tempo pace but it works surprisingly well.

I wasn’t particularly impressed with “When It Comes To You”, a bluesy number written by Buddy and Julie with Jim Lauderdale. It sounds like something Conway Twitty might have scored a big hit with in the early 80s. It’s not a bad song but it is marred beyond redemption by the production. It has a decidedly low-fidelity sound; the vocals are muffled as though Buddy were singing through some sort of filter. I found it very distracting. Another bluesy number, a cover of Percy Mayfield’s “Please Send Me Someone to Love”, works much better. It’s a bit of an artistic stretch for Buddy, but one that pays off nicely. I’m not familiar with the original version and my first impression was that the melody was very similar to Ray Price’s “Night Life”.

The Cajun-flavored “Oh Fait Pitie D’Amour (Lord Have Mercy on Me)” provides another interesting change of pace, although it’s not particularly memorable.

Another highlight is the closing track “Quecreek”, an acoustic folk-leaning ballad which finds Buddy accompanied only by an acoustic guitar and Julie’s harmony vocals. Slightly reminiscent of Merle Travis’ classic “Dark as a Dungeon”, it tells the true story of a coal mining accident in Pennsylvania.. The nation waited with baited breath when nine miners were trapped for 77 hours between July 24 and July 28, 2002. Miraculously, all nine were rescued and Buddy’s emotional retelling of the ordeal likens their recovery to Christ’s Resurrection.

Midnight and Lonesome was nominated for Album of the Year in 2003 by the Americana Music Association. Though it did not win, it is a stellar collection (“The Price of Love” and “When It Comes to You” nothwithstanding). It is perhaps most accurately described as a roots album but country is the predominant influence.

Grade: A –

Album Review: The Cactus Blossoms – ‘You’re Dreaming’

youre dreamingThe Cactus Blossoms are Jack Torrey and Page Burkum, a pair of brothers from Minneapolis who discovered a deep love for the country music of the 1950s and formed their duo in2009. Their fresh, timeless music is something like a mixture of the Louvin Brothers and the Everlys. This album,their first for Red House records after a couple of self-releases, was recorded in live takes in Chicago with simple, stripped down arrangements allowing their sibling harmonies to take center stage. Oklahoma singer-songwriter J D McPherson (a Rounder artist also worth checking out) produces sympathetically.

Their material is mostly written by Jack Torrey, one of the brothers (he changed his stage name), who writes literate, poetic lyrics and delicate, pretty. melodies, which work petrfectly with the close sibling harmonies. The opening ‘Stoplight Kisses’, which was a single last year, is an engaging upbeat number remiscent of the Everly Brothers.

The title track is a dreamy ballad which is rather lovely. Equally sweet is the gently romantic ‘Queen Of Them All’. ‘Mississippi’ is mellow and atmospheric.

‘Clown Collector’ picks up the pace a bit, but while a solid tune, is the least effective track on a very good album.

There is another change of mood with the wailing hillbilly blues of ‘Change Your Ways Or Die’, which is one of my favourite tracks, and sounds like something Hank Williams might have written:

The buffalo was here to stay
Til a fool with a gun came and took him away
If you go too far you can’t come back
When the river changes so does the map

You’ve got to change your ways or die…

A sip of whiskey gets your toes wet
If you dive too deep you’ll get caught in a net
Love and fire burn to the core

Also downbeat lyrically, but more gentle in its sound, is ‘If I Can’t Win’. The very pretty ‘Adios Maria’ is a sad story song about love and loss remiscent of Marty Robbins.

Brother Page Burkum contributed one tune – the beautiful, languid love song ‘Powder Blue’. There is one cover thrown in, ‘No More Crying The Blues’, a rockabilly tune from 1959, written and originally recorded by Sun duo Alton & Jimmy. The song works well and offers a nice change of pace.

The album closes with the wistfully valedictory ‘Traveler’s Prayer’.

I strongly recommend this album to anyone who like their country music subtle.

Grade: A

The duo is touring in northern states this month, some dates supporting Kacey Musgraves.

Album Review: Hank Williams Jr – ‘The World Of Hank Williams Jr’

the world of hank williams jrIn our look at Hank Jr’s early career we have been concentrating on material which is mostly out of print and unlikely to be released digitally. If your appetite has been whetted, and your budget doesn’t stretch to the big box set Paul recommended yesterday, you need to look at the few compilations available. The budget option is this 20-track CD originally released by a German label in 1996. The songs are all covers of classic country songs, well produced and sung but not really essential. They do make a reasonably priced introduction to this era of Hank Williams Jr’s work, although the selection of material is a bit unbalanced, and it would have been nice to have some original material.

Half a dozen tracks come from the album of Johnny Cash covers Hank Jr did in 1970
https://mykindofcountry.wordpress.com/2016/01/08/35756/ : a pleasant but sleepy cover of ‘Ring Of Fire’ fails to excite. ‘I Walk the Line’ is solid, and ‘Folsom Prison Blues works well apart from the self-referential lyric changes which made me roll my eyes. ‘I Guess Things Happen That Way’ is also very good, and ‘Give My Love To Rose’ is excellent. ‘Understand Your Man’ is another decent cut.

Two of his duets with Lois Johnson are included, the Everly Brothers’ ‘So Sad’, and country classic ‘Together Again’, both very nicely done.

Pop star Connie Francis joined Hank less successfully on another Everly Brothers’ tune, ‘Bye Bye Love’. Their voices do not combine very effectively, with a somber vocal from Hank contrasting with a bouncier one from Connie and a Nashville Sound orchestrated backing. The mismatch is even more marked on an ill-judged ‘Singing The Blues’ with Connie entirely too perky, with Jr sounding like he is copying his dad’s vocal stylings. She is better on ‘Please Help Me, I’m Falling’, which is prettily performed.

The sophisticated ballad ‘Make The World Go Away’ is smothered with strings and backing singers, but there is a fine vocal from Hank. ‘Sweet Dreams’ gets the same treatment, with a very strong, emotional vocal. ‘There Goes My Everything’ is pretty good, too. The sole song of his father’s is ‘Your Cheatin Heart’ is pretty good vocally, with a Nashville Soundproduction.

The Gold Rush tale ‘North To Alaska’ is highly entertaining and suits the robustness of Hank’s voice. Lefty Frizzell’s ‘I Love You A Thousand Ways’ is lovely, while Hank Jr is extremely good on a tasteful and believable take on ‘The Long Black Veil’. A brave take on ‘The Window Up Above’ is surprisingly good.

The tragic story of death in ‘The Blizzard’ feels a bit dated now (but currently topical given the weather conditions in part of the US).

I enjoyed listening to the cuts on this compilation, but I don’t think I’d pick them over the originals. However, as one of the few available records covering Hank Jr’s early years, it may be worth checking out.

Grade: B+

Classic Rewind: Ashley Monroe – ‘Hank’s Cadillac’

Album Review: Hank Williams Jr – ‘Living Proof: The MGM Recordings (1963-1975’

living proof mgmFor the listener wanting a good overview of Hank Junior’s career with MGM Records, the best place to start is with this 3 CD boxed set released in 1992 by Polygram, the successor label to MGM.

The set is not perfect, far from it, but within its 82 tracks , it does a good job of showing the maturation process of Hank Williams, Jr. as a singer and as an artist. For a record label trying to give an overview of a major artist of the 1960s and 1970s the task is a daunting one. Not counting Christmas albums and hit collections, George Strait released 24 albums between 1981 and 2005. Using the same criteria, Hank released 29 albums between 1963 and 1975. Hank recorded quite a few more songs in thirteen years than did modern day icon Strait in twenty-five years. That’s a lot of songs for MGM/Polygram to wade through.

The set is essentially chronological, although it gives short shrift to the very earliest recordings. In one sense, this is a good thing in that it avoids the ridiculous pop duet album recorded with Connie Francis. In another sense, it is a bad thing in that it misses some of Hank’s efforts to break away from being a clone of his father. Missing are some of the more interesting album tracks from the albums Blue’s My Name and Ballads of The Hills and Plains and essential tracks from My Own Way (“I’m In No Condition”) and My Songs (“I Ain’t Sharin’ Sharon” and “I Wouldn’t Change A Thing About You [Except Your Name]”).

That’s not to say that the track on the collection are not worthy as they most certainly are worthy. It’s simply that the set should run one disc longer. If you listen carefully, you will find that this collection of songs represents Hank’s autobiography up to 1975 – it’s that powerful.

Included are twenty-five of Hank’s forty-one chart hits for MGM (including all six of his #1 singles), examples of Hank as a clone of his father, examples of Hank’s recordings while struggling with the ‘Nashville Sound’ (particularly “All For The Love of Sunshine”, a #1 hit with the Mike Curb Congregation), and the entire Hank Williams and Friends album that closed out his MGM career.

Along the way Hank showed sign of his versatility recording country classics, pop songs (“Endless Sleep”, “Splish Splash”), R&B classics such as Fats Domino’s “Aint That A Shame”, Joe Liggins’ “I’ve Got A Right To Cry”, Tony Joe White’s “Rainy Night In Georgia”, Smokey Robinson’s “My Girl” and a bunch of songs that he wrote himself, some of them really fine efforts. Not meaning to pick on George Strait, but there is more diversity of material and more challenging material in this box, than George has tacked in his thirty-five year recording career. Only Johnny Cash, Marty Robbins, Willie Nelson and Merle Haggard ever tackled such a far ranging repertoire.

This box set, for all my quibbles with it, is still an A+. It is still available and I would recommend it to anyone.

Classic Rewind: Hank Williams Jr and Waylon Jennings – ‘The Conversation’

Album Review: Hank Williams Jr – ‘Live At Cobo Hall Detroit’

live at cobo hallAfter fifteen assorted albums in roughly a five year period, MGM finally got around to releasing a live album on Hank Jr. Released in July 1969, MGM SE-4644 was the third of five albums MGM would release in 1969. To my knowledge the album has never been released in any digital format, although Polygram did reissue it on vinyl a few years later.

Cobo Hall (now the Cobo Center) in Detroit might seem a strange venue in which to record a country album, but judging from the album that emerged from the concert it was just fine. Built in 1960 and named for Albert E Cobo (Detroit Mayor 1950-1957), Cobo Hall was one of the nation’s first really large convention centers and I believe that Hank Williams Jr. – Live At Cobo Hall was the first time a major recording label had recorded an album at such a venue.

This 1969 album catches Hank Jr. at a time when he was beginning to be his own man, and not merely a clone of his famous father. While the album has the obligatory Hank Sr. songs, it also features his own hit “Standing In The Shadows” and some covers of more recent material
Side One of the album opens with “Jambalaya”, one of Hank Sr.’s hits. Written by Hank Sr. (possibly with Moon Mullican as co-writer although not so credited) Hank Jr. tackles the song with the proper tempo and enthusiasm.

Next up is the Mel Tillis – Danny Dill classic “Detroit City” which was a hit twice in 1963 by Billy Grammer (under the title “I Wanna Go Home”) and by Bobby Bare. Hank does a nice job with the song.
Hank shows his total comfort with rock songs on his fast take on the Joe South composition “Games People Play”. This would have made a good single but Freddy Weller, a member of the rock group Paul Revere & The Raiders who was attempting to forge a career in country music, beat Hank to the punch taking the song to #1 on the Cashbox and Record World country charts a few months earlier.

That Hank chose to record the song at all was a harbinger of things to come in country music. Until 1968 what some would describe as songs of social consciousness had been rare in country music, in fact aside from Johnny Cash’s songs, they been virtually non-existent. In 1968 three songs, Roy Clark’s “Do You Believe This Town”, Henson Cargill’s “Skip A Rope” and Jeannie C. Riley’s “Harper Valley PTA”, had cracked the door open further for this kind of material:

Oh the games people play now
Every night and every day now
Never meaning what they say now
Never saying what they mean

While they wile away the hours
In their ivory towers
Till they’re covered up with flowers
In the back of a black limousine

Chorus
La-da da da da da da da
La-da da da da da de
Talking ’bout you and me
And the games people play

Oh we make one another cry
Break a heart then we say goodbye
Cross our hearts and we hope to die
That the other was to blame

But neither one ever will give in
So we gaze at an eight by ten
Thinking ’bout the things that might have been
And it’s a dirty rotten shame

It would be unthinkable for Hank to have done a live album without showcasing one of this own hits, so “Standing In The Shadows” is up next. The song got a rousing ovation from the audience.

I know that I’m not great
And some say I imitate
Anymore I don’t know
I’m just doing the best I can

After all I’m standing in the shadows
Of a very famous man

The band is feature on an instrumental, the recent Flatt & Scruggs hit (from the movie Bonnie and Clyde)”Foggy Mountain Breakdown”. It is a good rendition although the banjo player is definitely not in Earl Scrugg’s league. Snippets of several other songs are performed within this track (in jazz they call these ‘signatures’).

Side One closes out with an effective version of another Hank Sr. classic “You Win Again”.

Side Two opens with a classic George Jones song penned by Dickey Lee Lipscomb & Steve Duffy, “She Thinks I Still Care”. Hank Jr. isn’t George Jones (who is?) but he handles the song quite well.

Conway Twitty had a many #1 records in his illustrious career but “Darling You Know I Wouldn’t Lie” (#1 Cashbox / #1 Record World / #2 Billboard) is barely remembered today. Hank’s version opens with a nice steel guitar intro – in fact, the steel dominates the whole arrangement. This Wayne Kemp-Red Lane classic is the kind of song Conway Twitty really excelled at, and I really like Hank’s take on the song:

Here I am late again for the last time
And like I promised I just told her goodbye
Please believe me for this time it’s really over
And darling you know I wouldn’t lie

Didn’t I come and tell you about her
How temptation lured she and I
Now I know it was only fascination
And darling you know I wouldn’t lie

I had to let her down easy as slow as I could
After all she’s got feelings too
But it took a little longer than I thought it would
But this time she knows we’re really through

She wanted to hold me forever
And this lipstick shows her final try
And these tears on my shoulders are proof that she failed
And darling you know I wouldn’t lie
And darling you know I wouldn’t lie

The album closes with three Hank Sr. songs. In his earliest recordings Hank Jr. tried to be a clone of his father, but by now he was putting his stamp on the material.

There are many who consider “I’m So Lonesome I Could Cry” as the greatest country song ever written (personally I’m torn between this song, “El Paso”, and “The Last Letter”), but it is a great song, even if Hank Jr.’s version does not live up to his father’s version (no one else’s version does either). It’s a great song and should be appreciated for what it is.

This is followed by “Your Cheatin’ Heart”; again Hank Jr. cannot quite get that lonesome sound in his voice that his father does, but he does a fine job. For whatever reason, “Your Cheatin’ Heart” is not listed on the album cover, which caused me to think this was a shorter album than is actually the case.

The album closes with “I Saw The Light”. Country albums and live country shows frequently closed with gospel songs during this period of time. Unfortunately that tradition faded away in the 1970s
Unfortunately I was unable to find definitive information on the musicians playing on this album. Even PragueFrank’s website did not provide any information. Suffice it to say, it’s a very good band with a proficient steel player, a competent banjo and an excellent honky-tonk style pianist. I hope someday this gets released in a digital format with the missing tracks restored as bonus tracks. By the time this album was issued Hank Jr. had already scored a few more hits on non-Hank Sr. material, so I presume he might performed a few of them.

A few years ago I did an article on the twenty-five greatest live country albums. At that time, I placed this album sixteenth on my list, docking it a bit for the short playing time (based on the album’s back cover). The actual playing time is actually around thirty-two minute, which still seems too short – the album ended with me wanting more.

Obviously I give this album a solid A.

Album Review: Hank Williams Jr. & Lois Johnson – ‘Removing the Shadow’

R-4659119-1371346861-1435.jpegRemoving the Shadow sounds like it ought to be Hank Jr.’s declaration of independence from his father’s legacy, but instead it is a song about forgetting an old love and moving on to a new relationship. It’s also the title track of Hank Jr.’s 1970 duets album with Lois Johnson.

Lois Johnson was minor country artist who was active from 1969 to 1984. Her singles for MGM all peaked outside the Top 40, if they charted at all, and the label never released an album of her solo work. After moving on to 20th Century Records, she scored one Top 10 hit in 1975 with “Loving You Will Never Grow Old”. The mere fact that she was Hank Jr.’s labelmate is the most likely the reason she was paired up with him. Whether MGM was looking for a duet partner for Hank or just seeking to increase Johnson’s exposure is unclear. She had a pleasant voice but it was not very distinctive. As as a team, the two lacked the chemistry of the more successful duos of the era: Conway and Loretta, Porter and Dolly, George and Tammy. Hank Jr. needed to be teamed someone with the vocal prowess of a Melba Montgomery or a Connie Smith, but in those days labels limited their choices to someone who was already signed to their roster.

Like many albums of the era, Removing the Shadow relies a lot on cover material. Lois and Hank tackle Johnny and June’s “If I Were a Carpenter”, “Why Don’t You Love Me” (the obligatory Hank Sr. cover), and “So Sad (To Watch Good Love Go Bad)”, a 1960 pop hit for The Everly Brothers, which has been recorded many times, including versions by Connie Smith in 1976, Steve Wariner in 1978, and Emmylou Harris in 1983. My favorite version is a 1986 album cut by The Sweethearts of the Rodeo with Vince Gill. No one has ever scored a Top 10 hit on the country charts with this song, but Hank and Lois came the closest, taking it to #12. The song is a particular favorite of mine and it’s easily the best cut on this album.

“Removing the Shadow”, which is also quite good, preceded “So Sad” as a single, peaking at #23. I also enjoyed the Cajun-flavored “Party People” and the upbeat honky-tonker “Settin’ the Woods on Fire”. This is an album that has a lot of appeal to traditionalists; it contains very little of the countrypolitan trappings of the era and has plenty of pedal steel. This probably limited its commercial appeal, though it sold well enough that the duo released a follow-up album in 1972. Removing the Shadow peaked at #21 on the Billboard Top Country Albums chart, but it has never been released on CD. While a digital version could possibly appear in the future, I think it is unlikely, which is somewhat unfortunate. It’s not essential listening but the material is top notch. If you’re a fan of classic country and can find a used vinyl copy somewhere, it’s worth seeking out.

As an aside, Lois Johnson’s last album was released in 1984. She died in Nashville in July 2014 at age 72.

Grade: B+

Album Review: Hank Williams Jr – ‘Country Shadows’

country shadowsHank Williams Jr continued to show artistic growth with the release of his seventh album in April 1967. The album’s title refers to the first song on the album, “Standing In The Shadows (of A Very Famous Man)”. The song reached #3 on Record World and was the first of Junior’s own compositions to become a hit. The lyrics encapsulate Junior’s dilemma completely:

I know that I’m not great
And some say I imitate
Anymore I don’t know
I’m just doing the best I can

After all I’m standing in the shadows
Of a very famous man

The second track, “Almost Nearly, But Not Quite Plumb” is an up-tempo novelty that has Hank sounding quite a bit like Jimmy Dean.

“Is It That Much Fun To Hurt Someone” is a Hank Jr. co-write that sounds more like something Ricky Nelson should have recorded in his teen idol days. It’s a nice song but not well suited to Hank’s voice
Track five of Side One is “I Can Take Anything” a Merle Kilgore-penned ballad; Merle would become very important in Hank’s career, but at this point in his career he was a third tier country artist who was better known as a songwriter. This slow ballad has the full Nashville Sound treatment.

Side One closes out with “Truck Drivin’ Man”, which is not the same song made famous by Terry Fell, Dave Dudley and others. This song is also known as “Ten Ton Load”:

Well, I pulled out of Georgia with a ten ton load
I’m headin’ down the cold stone that black topper road
Looked out the window at the sky up above
Sat back and I thought of the life that I love
Now you can give a banker a nice easy seat
And you can give the sailor all those sea that he meet
But when it comes to drive and just leave that of me
Cause I know in my heart it’s my destiny

I’ll never give up this truck driving life
For a son to call me daddy or a sweet loving wife
All you people have heard my story when I’m in my cab well I’m in my glory
Now it may be hard for some to understand
I was born and I’ll die the truck driving man
I was born and I’ll die the six wheeler man
I was born and I’ll die the truck driving man

Side Two opens with a killer version of the Jody Reynolds classic “Endless Sleep”. The song barely cracked the top fifty for Hank.

Ran in the water heart full of fear there in the breakers I saw her near
Reached for my darling held her to me stole her away from the angry sea
I looked at the sea and it seemed to say you took your baby from me away
My heart cried out she’s mine to keep I saved my baby from that endless sleep
Endless sleep, endless sleep, endless sleep

Next up is a track from John D Loudermilk (a first cousin to Ira & Charlie Louvin) titled “You’re Running My Life”. I’ve been married too long to comment on this song. This is followed by a Mitchell Torok composition “Pecos Jail” . Both songs are good album tracks but neither would have made a good single.

“In The First Place” is a bluesy ballad that is nothing more than album filler.

Hank Jr. had a hand in writing “I Went To All That Trouble For Nothing”. The song has a smart country blues arrangement somewhat reminiscent of the arrangement Jerry Kennedy devised for Tom T Hall. I would have liked this as a single.

He went to all that trouble for nothin’ I hear them say
It’s too bad that things turned out for him that way
You took my love and turned around and made me blue
I went to all that trouble for nothin’ for you
I turned my back on the girl I thought that she was mine
I gave up my friends and now it seems I’m givin’ up my mind
I did everything you wanted me to do I went to all that trouble for nothin’ for you

Side Two of the album closes with “Going Steady With The Blues”. The arrangement contains some brass and has the feel of a rock and roll ballad. I like the song but I’d like it better with a more bluesy arrangement.

Don’t think that I’ve been lonely because you left me
And broke my heart in two
I’ve got company, I’m going steady with the blues

Yes, every evening while you are dancing and you’re romancing
Oh well, I’m busy too
I’ve got company, I’m going steady with the blues

Very few of these tracks are available in any digital format. “Standing In The Shadows”, “Endless Sleep” and “In The First” place are on the MGM Living Proof Box: 1963-1975, and a few of the songs show up on YouTube. Hank is still finding his way with this album, but the Nashville Sound trappings are subdued and Hank is in good voice.

Grade: B+

Album Review: Hank Williams and Hank Williams Jr – ‘Father And Son Again’

FATHER AND SON AGAINThe first album of posthumous duets with duets with his dad sold well enough that a second volume was produced. Our friend Ken Nelson commented on Paul’s review of the previous effort that less well known material would have worked better and that is borne out on this sequel. The joins between old and new recordings are still evident at times, but seem less glaring.

A harmonica-led ‘My Sweet Love Ain’t Around’ with the senior Hank’s characteristic lonesome wail contrasting with his son’s more robust vocal is very good. Hank Jr is less convincing than his dad on the blues ‘My Bucket’s A Hole In It’, perhaps due to his youth.

However, both performances are great on one of my favourite Hank Williams songs, ‘I Can’t Help It (If I’m Still In Love With You)’. The affecting ‘My Son Calls Another Man Daddy’ has a special resonance for this father-son performance. ‘Moanin’ The Blues’ also works pretty well.

‘Window Shopping’ (an obscure tune written by the French-born Marcel Joseph and originally recorded by Hank Sr as the B side for his big hit ‘Jambalaya’) is a pained critique of a woman not prepared to settle down.

Strings sweeten the arrangement on ‘Why Should We Try Anymore’ giving a hint of what Hank senior’s music might have sounded like had he lived to the late 60s and been persuaded to adopt the Nashville Sound.

The downbeat material is mixed in with more lighthearted fare. ‘Baby, We’re Really In Love’ is a sunny love song. The less well known ‘I’ll Be A Bachelor Til I Die’ cheerfully defends the single life, again with prominent harmonica:

This freedom’s mighty precious in this land of liberty
I’ve seen what matrimony’s done to better men than me
I don’t mind keeping company with the apple of my eye
But get that marryin’ out of your head
I’ll be a bachelor ‘til I die

The blackly comic ‘I’ll Never Get Out Of This World Alive’ is effective. The pair’s version of ‘Howlin’ at The Moon’ is also entertaining, but the novelty ‘Kaw-Liga’ has never been one of my favourite Hank Williams tunes, and this version does nothing to change my mind.

Overall, this is an enjoyable album, but the fact that it is a shamelessly cynical money-grab by the label detracts somewhat.

Grade: A-

Album Review: Hank Williams and Hank Williams Jr – ‘Father And Son’

father and sonFather & Son was Hank’s fourth album and third non-soundtrack album. Like his first album Songs of Hank Williams and his second album, the soundtrack to Your Cheatin’ Heart, this 1965 album had Hank revisiting the songs of his father. This time there was a twist, however, in that MGM chose to graft Hank Junior’s vocals onto existing tracks recorded by Hank Senior, creating a very gimmicky album.

First a comment about the songs: I have nothing derogatory to say about any of the songs – how could I since these songs are an essential part of the canon of country music? Each and every one of these songs is a treasure, Better yet, this collection goes beyond the usual greatest hits collections to explore the depth of Hank Senior’s repertoire. The titles are listed as follows:

‘I Won’t Be Home No More’
‘Lovesick Blues’
‘May You Never Be Alone’
‘Move It On Over’
‘Lost Highway’
‘Crazy Heart’
‘Wedding Bells’
‘Honky Tonk Blues’
‘(I Heard That) Lonesome Whistle’
‘Why Don’t You Love Me’
‘Mind Your Own Business’
‘I Just Don’t Like This Kind Of Livin”

These songs run the gamut of human emotions from joy to despair and everything in between.

I have no doubt that this album, undertaken today would sound much better, if only because of the improvements in sound technology. Unfortunately, MGM did not have the ability to filter out hiss and background noise from the mono tracks of Hank Senior’s vocals. Consequently, on each track Hank Senior’s tracks have considerable noise. When Hank Junior sings alone, his vocals are clear and clean.

The usual format for the songs is for Hank Senior to sing a verse, then Hank Junior sings a verse and then sometimes Hank Junior gets grafted onto the chorus to create a duet with his father, so you get modern instruments plus the hiss from his father’s tracks

To make things worse there is a diversity of instrumentation – Hank Senior’s backing is left mostly alone when he sings alone, but whenever Hank Junior sings a modern country accompaniment shows up.

In comparing this album with earlier albums, it is obvious that Hank Junior’s voice is rapidly maturing and that he is becoming a more assured vocalist

Although this is a disjointed sounding album, it is a well sung album and far more than a curiosity. Because of the technology limitations of the time, I can only give this a solid B but if the label would take the time to redo this album, cleaning up the Hank Senior tracks with today’s digital technology and perhaps overdub a more uniform instrumentation, this could be a A+ album.

Album Review: Hank Williams Jr – ‘Ballads Of The Hills And Plains’

balladsBy 1965, it was becoming apparent that Hank Williams, Jr. would not be content to simply remake his father’s songbook. The first shot across the bow was this album of western and folk songs and similar songs by Nashville songsmiths. While it was a rebellion of sorts, it was a gentle rebellion as Hank gathered his own footing with this, his fourth album, and first not to feature any songs written by his father.

The band for this album was billed as the Cheatin’ Hearts but in reality it was a group of session musicians consisting of Grady Martin, Jerry Kennedy, Harold Bradley and Ray Edenton on guitars, Bob Moore on electric bass, Hargus “Pig” Robbins on piano with the Jordanaires providing vocal accompaniment. While Hank did have a touring band of Cheatin’ Hearts in future years, I doubt that this group ever backed Hank on stage unless it was on the Opry stage, since Hank was still only 16 years old.

The great outdoors, the old west and cowboys are themes Hank would turn to at many points in the future. This was the starting point.
Side One of the album opens with “The River”, an early Mack Vickery co-write with Cliff Friend and Jack Sanders that is a slow ballad about a young lad going after the man who gunned down his father. Unlike the lad in Johnny Cash’s “Don’t Take Your Guns To Town”, the young man here heads back home to his mother.

Next up is “Doc Holiday”, John Paulovic’s tale about Wyatt Earp’s old sidekick. This song is not about the famous Gunfight at the OK Corral, but simply an incident (probably fictional) in the life of Doc Holiday. The dominant instrument in this arrangement is Pig Robbins honky-tonk piano.

Have another drink on me, Doc Holiday
The kid ain’t gonna shoot you down

“Cowpoke” comes from the pens of Tillman Franks and David Houston. Houston was about to emerge as a first tier star, at least for a few years, but this song is western fare, which finds Hank displaying his cowboy yodel/falsetto:

I’m lonesome but happy,
Rich but I’m broke,
And the good Lord knows the reason,
I’m just a cowpoke.

From Cheyenne to Douglas,
All the ranges i know,
I drift with the wind,
No one cares where i go.

Well I ain’t got a dime,
In these old worn out jeans,
So i’ll quit eatin’ steak,
And go back to beans.

“Blood’s Thicker Than Water” by ace songwriters Danny Dill and Wayne P. Walker is a western ballad with a Mexican feel to the guitar work about a gunfight between two brothers that is broken up, at great personal cost by the boys’ mother. A very dramatic ballad.

Jim Reeves had a major hit with Harlan Howard’s “The Blizzard” in 1961. Hank is not a smooth balladeer in the same league as Reeves (very few are in that class) but this song is a narration rather than a crooner’s ballad and so Hank is very much in his element.

“Stampede” by Jim Dale and Frances Paulin is a nice western ballad that closes out side one of the vinyl album.

Side Two starts with “The Rainmaker”, another song from the trio of Cliff Friend, Jack Sanders and Mack Vickery. This narrative song is about a stranger who shows up in the town of Dry Gulch promising to make it rain. This lyric has an interesting twist to the lyric.

Nearly every folk singer and cowboy singer has sung “The Streets of Laredo”, a tune which appears in the folk music of nearly every English-speaking culture, albeit sometimes with very different lyrics. Hank’s vocal is very effective and the backing is very sparse as befits the stark nature of the song.

“Black Lightning” is a jog-along ballad about a gunfighter on the run, speaking to his horse (and himself) as he is about to be run down by the posse chasing him.

“Big Twenty” is another ballad, the story of a muleskinner being pursued by the Apache , the title referring to his twenty mule team pulling a load of borax.

“The Eyes of Death” written by Danny Dill is the story of an inmate who knows that the brother of the man he killed is an inmate in the same prison, but he doesn’t even know what the brother looks like and the anticipation of being killed is worse than actually being killed.

The album ends with “I’m Afraid” by Allen Nelson and Carolyn Stringer. This is an up-tempo about an impending gunfight with a former friend. The dispute, of course, is over a woman.

Unfortunately this album has never been released in a digital format and only “The Blizzard” and “The River” are to be found on the MGM boxed set Living Proof.

All is not lost, however, as ten of the songs have been posted to You Tube as audio clips.

This album is essentially a western or cowboy album, a genre that Hank handles very effectively. The accompaniment is appropriately subdued and Hank is in great vocal form. The musicians and arrangements are all top flight and this is an album I greatly enjoy. As a first attempt at getting away from being a clone, this is a solid effort – at least a B+ or maybe an A-

Classic Rewind: Hank Williams Jr – Medley

Hank Jr performs a medley of his father’s greatest classics.

Album Review: Hank Williams Jr. – ‘Your Cheatin’ Heart: Original Motion Picture Soundtrack’

51rF-K-UoXL1985’s Sweet Dreams is somewhat of an anomaly when it comes to biographical films about musicians, in that the real Patsy Cline’s vocals are used for the soundtrack. Usually the actor attempts to do a reasonable impersonation of the subject: Sissy Spacek did it in Coal Miner’s Daughter and and Joaquin Phoenix did it in Walk the Line. 1964’s Hank Williams biopic Your Cheatin’ Heart starring George Hamilton, took a third approach by hiring a third party to do the singing. The producers went with the logical choice, Hank Williams Jr., who does a reasonable impression of his late father. It’s an impressive effort, considering that Hank Jr. was only 15 years old at the time.

I generally dislike musical impersonations, but soundtrack albums do need to be considered in their context and in a more forgiving manner. Your Cheatin’ Heart was Hank Jr.’s second album for MGM; the first had been released earlier the same year and also consisted of his father’s material. At that point in time, MGM was mainly interested in making him into a clone of his father.

There is no questioning that the material itself is top-notch. It’s also apparent, even at this early stage in his career, that the son had a stronger voice than the father. While I’d rather listen to Hank Jr. singing these songs as Hank Jr and not pretending to be his father, it’s impossible not to enjoy this album. The arrangements were all updated make them more contemporary — and in 1964 that meant Nashville Sound choruses and string sections, which certainly were not true to Hank Sr.’s era, but thankfully the producers were admirably restrained in using them. The only thing I really found objectionable was the saxophone on “Jambalaya (on the Bayou)” and “Hey Good Lookin'”, which would be more appropriate on a Bill Haley and the Comets recording. Fortunately, there are alternate versions of both songs without the saxophone.

Rhino Records reissued the album on CD in 1997 and included previously unreleased acoustic versions of most of the album’s songs. I have a soft spot for stripped-down versions of pretty much any song, so I particularly enjoyed listening to these, even though it makes the listening experience a bit repetitious. “There’ll Be No Teardrops Tonight” does not appear on the original soundtrack album so its inclusion on the CD is a bonafide bonus.

As well done as these songs are, they are mainly interesting because they show the origins of an artist who would entirely reinvent himself over the course of his career. In 1964 Hank Jr. had not yet found his own voice, but I still prefer these early efforts to his 80s Southern rock party anthems.

Grade: A-