My Kind of Country

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

Tag Archives: Homer & Jethro

Johnny Cash: A Look Back

We lost Johnny Cash and his wife June Carter Cash within months of each other back in 2003, so 2018 marks a very sad 15th-anniversary farewell to the “Man In Black”.

The release last year of UNEARTHED, a nine album 180 gram vinyl box set (originally released on CD two months after his death) of unreleased tracks recorded by Rick Rubin, (it features some interesting pairings such as Fiona Apple providing guest vocals on Cat Stevens’ “Father & Son,” and the late Joe Strummer’s duets with Cash on Bob Marley’s “Redemption Song”) provides us with a excuse to take another look back at his career.

While modern country radio has no use for the likes of Johnny Cash, preferring more commercial fodder, other sections of the music industry have kept his music alive, whether on Willie’s Roadhouse (Sirius XM Radio) or through the musical press. Cover bands continue to play his music and while younger so-called country singers play music that bears little connection to country music, his music remains a staple of Roots-Rock, Texas Red-Dirt and Bluegrass performers

Make no mistake about it: Johnny Cash was a huge commercial success, despite his own apparent lack of concern about how commercial his music was at any given moment–Cash’s inquisitive artistry meant that he flitted from realm to realm, sometimes touching down in areas with limited commercial appeal.

Cash had 24 songs reach #1 on the Billboard, Cashbox or Record World country charts (often all three), but unlike more chart-oriented artists including Webb Pierce, Buck Owens, Sonny James, Alabama, Conway Twitty or George Strait, Cash never ran off a long string of consecutive #1s, with his longest streak being four during 1968 when “Roseanna’s Going Wild,” “Daddy Sang Bass,” “A Boy Named Sue,” and his iconic “Folsom Prison Blues” all reached the top of one of the charts.

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Classic Review: Stonewall Jackson – ‘Stars Of The Grand Ole Opry’ (1981)

stars of the grand ole opryDuring the 1960s, 1970s and 1980s major labels trimmed their rosters, shedding veteran artists who were no longer cranking out the hits or generating decent album sales. Sometimes these veteran artists would find another major label deal but mostly these artists wound up on minor / independent labels. Even those artists who managed to find a major label deal found their stay at the new label to be a short one that lead to landing on a minor label (for example, Jimmy Dickens: Columbia > Decca > Gusto / Charlie Walker: Columbia > RCA > Plantation).

While on the minor / independent labels, most of the veteran artists recorded very little new material, usually producing an album or two of dreary remakes of their older hits with perhaps some covers of other big hits from artists (it is astounding how many artists issued albums listing songs such as “San Antonio Rose”, “There Goes My Everything” and “There Stands The Glass” among their greatest hits).
Most of these albums featured low budget production, thin sound, and were recorded with minimal numbers of disinterested musicians accompanying a bored vocalist singing songs sung literally thousands of times before.

First Generation Records was owned by Pete Drake (1932-1988), one of the great steel guitar players, and a musician who was not about to settle for the bored and tired performances described above. Producing the records himself, and often playing steel guitar on the recording sessions, Pete gathered a group of excellent musicians to play on his recording sessions. Rather than merely re-recording an artist’s older hits, Pete’s Stars of the Grand Ole Opry series generally featured five songs new to the artist (and often simply new songs) followed by five of the artist’s older hits but with a difference, that difference being energized singers and musicians. Among the artists featured on the series were Ferlin Husky, Jan Howard, Vic Willis, Stonewall Jackson, Billy Walker, Ernest Tubb, George Hamilton IV, Ray Pillow, Jean Shepard, The Wilburn Brothers and Charlie Louvin. While all were decent to very good albums, the album with Stonewall Jackson is the standout among the series.

Prior to this album, Stonewall Jackson has not spent much time in the recording studios since his last new Columbia album was issued in 1971. There had been an album in 1976 for GRT (I think the tracks were leased from MGM, intended for a never released 1973 album) reprising his Columbia hits in the manner of most remake albums, plus a deplorable new song from Foster & Rice titled “Herman Schwartz”. There was a pair of 1979 albums for Little Darling with little to recommend them. One of the Little Darlin’ albums was remakes and the other was largely undistinguished new material, although two of the songs had clever song titles, “The Pint of No Return” and “The Alcohol of Fame”.

For Stonewall Jackson’s First Generation sessions, in addition to playing steel himself, Pete gathered up an all-star lineup of Nashville session men including Jimmy Capps, Billy Sanford, Pete Wade and Bill Hullett (guitar), Jimmy Crawford and John Hughey (steel), Hargus “Pig” Robbins and Bobby Emmons (piano), Tommy Williams (fiddle), Bob Moore and Randy Best (bass).

The album opens up with the Billy Joe Shaver composition “I’m Just An Old Chunk of Coal”, a very recent hit for John Anderson (I think it is possible that Jackson’s version pre-dates Anderson’s recording, but I’m not certain); Billy Joe’s album also hit the streets in 1981. Whatever the timing, I feel that the Stonewall Jackson recording is the best recording I’ve ever heard of the song, far better than Billy Joe’s version and slightly better than John Anderson’s version. Stonewall sings the song with great enthusiasm as the lyric fits the ‘hardscrabble-pull up your own bootstraps’ upbringing of Stonewall’s youth:

Hey, I’m just an old chunk of coal
But I’m gonna be a diamond some day
I’m gonna grow and glow till I’m so blue, pure, perfect
I’m gonna put a smile on everybody’s face
I’m gonna kneel and pray every day
At last I should become vain along the way
I’m just an old chunk of coal now, Lord
But I’m gonna be a diamond some day

R.J. Jones and M. Kosser wrote “Full Moon, Empty Pockets”, a song that several artists subsequently recorded. The song tells a tale of woe that many of us have encountered – time on our hands but no money.

Full moon empty pockets
Stone broke on a Saturday night
Full moon empty pockets
Won’t a lady treat a cowboy right

Next up is “There Are No Shortcuts (To Get Me Over You)”, a good heartbreak ballad that of the kind that Stonewall Jackson always tackled well. This is followed by a song from Ben Peters and Curly Putman, “Breaking Up Breakdown”, a song that I could see as a successful single had it been issued in 1966 rather than 1981. The song is an up-tempo barroom ballad in which the narrator asks for the band to keep playing that song about breaking up.

The last of the newer songs is ”Let The Sun Shine On The People” by Frank Dycus and Larry Kingston. Frank Dycus, of course, wrote some of George Strait’s hits and Larry Kingston provided a number of songs to Johnny Bush and other singers.

At this point the nostalgia trip begins, but with an enthusiastic Stonewall Jackson leading the way on excellent new versions of some of his classic hits, starting off with his biggest hit (#1 Country / #4 Pop) “Waterloo”. For those familiar only with the ABBA hit of the same name, this song is a bit of a romp through history referencing Adam, Napoleon and Tom Dooley:

Now old Adam, was the first in history
With an apple, he was tempted and deceived
Just for spite, the devil made him take a bite
And that’s where old Adam met his Waterloo

Chorus
Waterloo, Waterloo
Where will you meet your Waterloo
Every puppy has his day and everybody has his day
Everybody has to meet his Waterloo

Waterloo was such a big hit that Homer & Jethro took the time to spoof it:

The Lone Ranger and Tonto rode the trail
Catching Outlaws and putting them in jail
But the Ranger shot Tonto for it seems
He found out what ‘kemosabe’ means

Perhaps Stonewall’s most enduring song, “Don’t Be Angry,” is up next. Written by Stonewall’s brother Wade Jackson, not only was it a big hit for Jackson, but Donna Fargo took the song to the top during the 1970s and the song has been covered by many artists and remains in the active repertoires of county bar bands across the USA.

Don’t be angry at me darling if I fail to understand
All your little whims and wishes all the time
Just remember that I’m dumb I guess like any foolish man
And my head stays sorta foggy cause you’re mine

Well, I recall the first time that I flirted with you dear
When I jokingly said come and be my bride
Now that time has turned the pages it’s the sweetest joke on earth
That I have you near forever by my side

Joe Babcock authored the next Stonewall Jackson classic “I Washed My Hands In Muddy Water”, which also was a major hit for pop crooner Pat Boone and has also been a favorite of the R&B crowd and many of the rock & roll crowd as well, including Elvis Presley and Johny Rivers

I was born in Macon Georgia
They kept my daddy over in Macon jail
He told me if you keep your hands clean
You won’t hear them bloodhounds on your trail

Well I fell in with bad companions
Robbed a man, oh up in Tennessee
They caught me way up in Nashville
They locked me up and threw away the key

Chorus
I washed my hands in muddy water
Washed my hands, but they didn’t come clean
Tried to do what my daddy told me
But I must have washed my hands in a muddy stream

Next up is Bill Johnson’s “A Wound Time Can’t Erase”, a sad and tender ballad that was a big hit for Stonewall and later for Gene Watson.

The fifth and final Stonewall Jackson classic is the Melvin Endsley / Stonewall Jackson composition “Why I’m Walkin’”, a song Ricky Skaggs covered during the 1980s. Melvin Endsley was a disabled person who wrote several classic country songs including “Singling the Blues” and “Knee Deep In The Blues”. Some readers may remember an alternate title “Got My Angel On My Mind”, but however you label this ballad, it’s a good one.

I’ve got an angel on my mind, that’s why I’m walkin’
There’s such an aching in this old heart, now I ain’t talkin’
The little hand that held mine tight, just waved goodbye tonite
I’ve got her sweet love on my mind, that’s why I’m walkin’

This album is still readily available on CD, as are most of the other albums in the series. Unfortunately, Pete Drake began experiencing health problems in 1985 and passed away in 1988. I would like to have seen Pete issue new albums on the next generation of veteran artists released by the major labels. It would have been much better music than much of what was actually released by other minor/ independent labels over the next decade. Anyway, almost unique among this class of minor label albums by veteran artists, this album rates a solid A, the first album for Stonewall in many years that I would rate that highly.

25 Greatest Live Country Albums

All readers of this website are fans of recorded music. I would assume that most also enjoy seeing and hearing music performed live. After all, there is electricity which permeates a live performance, the interaction of performer and audience coupled with the ambiance of the venue. Tempos are usually faster, there is banter between the performer and the band and/or audience, and often songs are performed that never are recorded by the artist.

That said, it can be very difficult to capture that electricity and the landscape is littered with poor live recordings, victims of either poor recording technology, poor venue acoustics or sub-par backing bands (I had a cassette copy – probably a bootleg – of a live Chuck Berry performance in France where he was backed by what was essentially a polka band, complete with tuba and accordion). Below is my  listing of the greatest live country albums.  My list is solid country, without too many fellow travelers such as Americana or alt-country artists. I may admire John Prine and Townes Van Zandt as songwriters but I cannot stand to listen to either of them sing. The less said about the Eagles and Gram Parsons, the better.  In putting my list together, I’ve limited any given artist to one album, although I may comment on other live albums issued by the artist.

Yes, I know that bluegrass and western swing are underrepresented in my list as are modern era artists, although if I expanded to a top forty list, I’d have albums by Alabama, Tracy Lawrence, Tom T. Hall, Brad Paisley, The Osborne Brothers, Glen Campbell, Bob Wills, Hank Thompson, Rhonda Vincent and Hank Williams to include. Moreover, over time there have been improvements in recording technology and the sound of live recordings has improved, so sonically, some of the albums I’ve left off will sound better than some I’ve included.

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Country Heritage: Patti Page

People such as Gram Parsons, Linda Ronstadt, The Eagles and the Byrds all are occasionally credited as being the catalyst for breaking country music to the larger pop markets. No doubt, all were of some significance in introducing country music to a portion of the pop market, but long before any of them came along, there was “the singing rage”, Miss Patti Page.

Most of today’s listeners look no further back than 1955 when rock ‘n roll began to emerge. Consequently, aside from a specific few, such as Frank Sinatra, Dean Martin, Tony Bennett, Rosemary Clooney and Perry Como, most of the great pop singers of the immediate post-WW2 period largely have been forgotten.

Born in 1927 as Clara Ann Fowler, a product of Oklahoma, Patti Page would serve an apprenticeship as a country singer with Al Clauser’s Oklahoma Outlaws during the early 1940s. Clauser’s band appeared on KTUL in Tulsa; as a result of this exposure, Patti Became the featured vocal on a program sponsored by the Page Milk Company. It was as a result of this program that she became known as Patti Page. From here she moved to the Jimmy Joy Band, a pop swing band which toured the Midwest. While in Chicago she became friends with members of Benny Goodman’s orchestra, which in turn led to a recording contract with Mercury.

Patti’s first single, “Confess” came out during one of the Petrillo strikes in 1947, meaning that background singers were not available for recording purposes. Mercury thought that Patti’s voice was sufficiently versatile that she could do her own harmony backgrounds, and so developed the practice of Patti overdubbing her own harmony vocals on record, the first artist with which this was done. “Confess” was one of three top twenty records she would chart from 1947-1949.

1950 was Patti’s breakthrough year as “With My Eyes Wide Open, I’m Dreaming” became her first million selling single, quickly followed by another million seller “All My Love (Bolero)” and then a song that would represent a career for anyone, her cover of the Pee Wee King-Redd Stewart classic “Tennessee Waltz”. Not only did this record reach #1 on Billboard’s Pop charts, staying there for 13 weeks, but it would reach #2 on Billboard’s country chart selling over six million copies in the United States alone.

While Patti Page is primarily thought of as a pop singer, and a very successful one with over 100 million singles sold world-wide, she continued to record country songs for the pop market having hits with such titles “Detour”, “Down The Trail of Aching Heart”, “Mister and Mississippi”, “I Went To Your Wedding”, “You Belong To Me” (another Pee Wee King-Redd Stewart collaboration). So popular was she with country audiences that country comics Homer & Jethro even lampooned her pop hit “How Much Is That Doggie In The Window”. All told, Patti Page would have 16 gold singles.

Even after the onset of the rock and roll blight, Patti continued to chart on the pop charts, although after 1958 the really big hits were a thing of the past, with the exception of her 1964 hit “Hush Hush Sweet Charlotte”, from the movie of the same name. Since she always had sung and recorded country songs as part of her repertoire, Patti made the natural turn to recording straight country songs during the late 1960s, with sixteen songs charting on Billboard’s country charts between 1970-1982 including the #14 duet with Tom T. Hall “Hello We’re Lonely” in late 1972.

After the 1980’s Patti focused more on jazz in her recorded music. Since Patti is now over 83 years old, I am not sure how active she is as a live performer, but she was quite active until very recently.

I wouldn’t try to convince anyone that Patti Page was a great country artist, but she was a great recording artist and did as much as (and probably more than) any other non-country performer to help spread the popularity of country music around the world

DISCOGRAPHY


VINYL

A search of used record shops will turn up a huge number of Patti Page vinyl albums – there were at least thirty albums released on Mercury, at least another ten or so on Columbia and then for miscellaneous other labels over the years. Her best pop recordings were on Mercury – any of her Mercury albums will reveal a consummate professional at work – if you like the songs, you’ll like the albums.

CD

Patti Page is not as well represented on CD as should be the case – she does have a website which offers some titles for sale

http://www.misspattipage.com/

Collectors Choice Music currently has 19 CDs and a DVD available

SINGLES 1946-1952 gives you 84 of her Mercury hits
LIVE AT CARNEGIE HALL: THE 50th ANNIVERSARY CONCERT demonstrates that Patti still could bring it
HUSH HUSH SWEET CHARLOTTE / GENTLE ON MY MIND is a two-fer of Columbia albums, a 1965 pop album and a country flavored album from 1968. It’s an odd pairing but a good value

Other titles have been in and out of print over the years.