My Kind of Country

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

Tag Archives: Jack Greene

The best reissues of 2018

It wasn’t a great year for reissues but there were some bright spots. As always our British and European friends lead the way. Also, please note that these can take a while for foreign titles to become available from US suppliers, so it may be into 2019 before these are generally available.

In those cities that still have adequate recorded music stores (sadly, a rare commodity these days), it can be a real thrill finding a label you’ve not encountered before reissuing something you’ve spent decades seeking. It can be worthwhile to seek out the foreign affiliates of American labels for recordings that the American affiliate hasn’t reissued. For example, there are Capitol recordings not reissued in the US that are available on the UK or European EMI labels. For the rest of us, scanning the internet remains the best alternative.

Unfortunately as the sales of physical CDs continue to plummet, so does the willingness of labels, domestic and foreign, to invest in reissuing material by second and third tier artists. Still missing in action are the catalogues of such significant artists as Liz Anderson, Wilma Burgess, Johnny Darrell, Jack Greene, The Hager Twins, Freddie Hart, Warner Mack, Kenny Price and David Rogers. While there has been a slight uptick in vinyl sales and reissues, most of that has been of only the very top selling artists (and at $22 to $33 per title).
Anyway …

The British label Jasmine issued a number of worthy country releases:

Billy WalkerWell, Hello There – The Country Chart Hits and More 1954-1962. The album features most of Billy’s biggest Columbia hits in decent sound.

Johnny CashChange of Address – The Single As and Bs 1958-1962. This release is somewhat redundant as it collects the A&B sides of Cash’s first sixteen Columbia singles. The songs are available elsewhere, but it is nice to have the singles all in one place.

Kitty WellsI Heard The Juke Box Playing. This two CD set features Kitty’s 1950s solo hits plus a bunch of (not readily available) duets with the likes of Roy Acuff, Webb Pierce and Red Foley. While much of this material had been available in the past, it had been allowed to slip out of print so it is nice to have it available again.

The Collins KidsRockin’ and Boppin’. Lorrie and Larry Collins were teenage rockabilly artists backed by the cream of California’s country musicians. Their material has been unavailable for quite a while.

Jasmine isn’t specifically a country label with much of their output being R&B and Rock ‘n Roll, but their country reissues are always welcome. Jasmine also issued an early Homer & Jethro collection from their recordings on King Records, a Lee Hazlewood collection and several mixed artists albums during 2018.

Another British label, Ace Records, usually does a nice job with reissues. Unfortunately, 2018 was a sparse year for country reissues with a Johnny Lee Wills reissue (available only as a digital download) being about it this year.

The British Hux label had a light year as far as country reissues was concerned issuing nothing (that I have been able to find), but they did have a mid-2017 release that slipped my notice last year, a nice Dickey Lee reissue comprised of Dickey’s first two RCA albums from 1971 & 1972 in Never Ending Song Of Love / Ashes Of Love. Dickey Lee was far more successful as a songwriter than as a recording artist, but this pair features four of his hits plus some other songs he wrote including “She Thinks I Still Care”.

The British Humphead label has received criticism for using needle drops but they’ve gotten better at the process and in many cases, theirs are the only available (non-remake) recordings by the artist.

In October Humphead issued the Connie Smith collection My Part of Forever (Vol. 1), comprised of mainly her 1970s recording including tracks recorded for Warner Bros., in the mid-1990s, Sugar Hill in 2011, and rare lost radio performances from the early 1970s. Many of these tracks have been previously unavailable – a real find.

Humphead also had released a three CD Ed Bruce collection and a two CD best of the Kentucky Headhunters collection.

The British BGO label finished its reissue series of Charley Pride’s RCA catalogue with its two CD set consisting of The Best of Charley Pride Volumes 1-3 and Charley Pride’s Greatest Hits VI. At this time virtually everything from Charley Pride’s landmark RCA tenure is now available on CD, either from BGO or from other sources.

BGO also released a two CD set of Charlie McCoy’s first four albums on Monument (The Real McCoy / Charlie McCoy / Good Time Charlie / The Fastest Harp In The South). They are good, but rather more harmonica than I care to listen to at one sitting,

Other BGO sets can be found here.

Germany’s Bear Family Records has been the gold standard for reissues; however, this was a rather quiet year on the country side of the business. On the other hand, the one truly significant set released is a doozy. Bear had previously released vinyl and CD boxed sets on the legendary Lefty Frizzell. In October Bear released a greatly expanded twenty CD set titled An Article From Life – The Complete Recordings. The original Bear set was beyond great and if I had unlimited cash reserves I would buy this set which includes the following:

• Every 45, 78, and LP track from Lefty’s entire career. Every unissued session recording
• Newly-discovered demos and non-session recordings
• Newly-researched biography and discography
• Many previously unseen photos from the Frizzell family’s archives
• A new designed 264 page hardcover book!
• Many previously unissued recordings – a total of 12 CDs of music.
• An audio book on 8 CDs with Lefty’s life history, written and read by his brother David.

As for domestic reissues our friend Ken Johnson helps keep the folks at Varese Vintage on the straight and narrow for their country releases. This year Varese only had one country album released which occurred in November, when Varese issued the John Denver collection Leaving On A Jet Plane. This isn’t really country, but Denver was heavily played on country radio., These tracks come from the 1960s when Denver was part of a late edition of the Mitchell Trio and part of the successor group Denver, Boise and Johnson. The collection features John’s first recordings of “Leaving On A Jet Plane”.

Although not really a reissue, Yep Rock released a nice Jim Lauderdale/ Roland White collaboration that had never before been released. We reviewed it in September 2018 here.

Sony Legacy controls the rights to Columbia/CBS, Epic, RCA, Monument and some other labels as well. In May 2018, Sony Legacy released Outlaws & Armadillos: Country’s Roaring ’70s, a nice two CD set of “Outlaw Era” country. The thirty-six song collection is hardly essential but it is a nice introduction to the era, showcasing the obvious artists along with the likes of Marcia Ball, Rodney Crowell, Stevie Ray Vaughan and Willis Alan Ramsey. This label seems to be Willie Nelson’s current label for new material

Omnivore Recordings spent several years releasing the recordings of Buck Owens. In May of this year they released The Complete Capitol Singles: 1967-1970, a two CD set that seems to have completed their coverage of Buck’s peak period. Since then they have issued Country Singer’s Prayer, the never released last Capitol album, and Tom Brumley’s Steelin’ The Show, featuring Buckaroo and Buck Owens tracks on which Tom’s pedal steel was prominently featured. Neither of the latter two albums are essential but the Brumley collection highlights just what a great steel player was Tom Brumley.

Earlier in 2018, Omnivore released a Don Gibson collection featuring most of Don’s hits on Hickory plus some album tracks.

***

I suppose I should again say a few words about the Gusto family of labels. It appears that Gusto still is in the process of redesigning their website, but plenty of product can be found from other on-line vendors or from retail outlets such as Pottery Barn and various truck stops along the Interstates.

As I mentioned previously, with the exception of the numerous gospel recordings made by Porter Wagoner during the last decade of his life, there is little new or original material on the Gusto Family of labels. Essentially, everything Gusto does is a reissue, but they are forever recombining older recordings into new combinations.

Gusto has accumulated the catalogs of King, Starday, Dixie, Federal, Musicor, Step One, Little Darlin’ and various other small independent labels and made available the music of artists that are otherwise largely unavailable. Generally speaking, older material on Gusto’s labels is more likely to be original recordings. This is especially true of bluegrass recordings with artists such as Frank “Hylo” Brown, The Lonesome Pine Fiddlers, Stringbean and Curley Fox being almost exclusive to Gusto.

After 1970, Gusto’s labels tended to be old age homes for over-the-hill country and R&B artists, and the recordings often were remakes of the artists’ hits of earlier days or a mixture of remakes of hits plus covers of other artists’ hits. These recordings range from inspired to tired and the value of the CDs can be excellent, from the fabulous boxed sets of Reno & Smiley, Mel Street and The Stanley Brothers, to wastes of plastic and oxides with numerous short eight and ten song collections.

To be fair, some of these eight and ten song collections can be worth having, if they represent the only recordings you can find by a particular artist you favor. Just looking at the letter “A” you can find the following: Roy Acuff, Bill Anderson, Lynn Anderson, Eddy Arnold, Leon Ashley, Ernie Ashworth, Chet Atkins and Gene Autry. If you have a favorite first or second tier country artist of the 1960s or 1970s, there is a good chance that Gusto has an album (or at least some tracks) on that artist.

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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) 

Week ending 7/15/17: #1 singles this week in country music history

1957 (Sales): Bye Bye Love — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977I’ll Be Leaving Alone — Charley Pride (RCA)

1987: All My Ex’s Live In Texas — George Strait (MCA)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Lucky Man — Montgomery Gentry (Columbia)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Every Time I Hear That Song — Blake Shelton (Warner Bros.)

Week ending 7/8/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977That Was Yesterday — Donna Fargo (Warner Bros.)

1987: That Was a Close One — Earl Thomas Conley (RCA)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Lucky Man — Montgomery Gentry (Columbia)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): God, Your Mama, and Me — Florida Georgia Line ft. The Backstreet Boys (Republic Nashville)

Week ending 7/1/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)

1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Ticks — Brad Paisley (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): How Not To — Dan + Shay (Warner Bros.)

Week ending 6/17/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)

1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Moments — Emerson Drive (Midas Nashville)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)

Album Review: Jeannie Seely – ‘Written In Song’

61wcxdrzxl-_ss500Grand Ole Opry star Jeannie Seely, best known for her 1966 hit “Don’t Touch Me”, enjoyed only moderate success as a recording artist, but many do not realize that she is also an accomplished songwriter. Written In Song, her latest collection, was released last month. It consists of 14 tracks, all of which were written or co-written by Seely. Twelve of the songs were previously recorded by other artists, while two were newly written for this project. None of them, however, had ever been recorded by Jeannie herself, until now.

In the 1960s, Monument Records had marketed Seely as “Miss Country Soul”, which was likely in part an acknowledgement that her initial success had occurred outside the realm of country music. “Anyone Who Knows What Love Is”, the oldest song on this album had been a 1964 R&B hit for Irma Thomas. The other 13 selections are strictly country. At age 76, Seely’s voice is a little rough around the ages at times, but not enough to detract from my enjoyment of the album.

I have to admit that I wasn’t previously familiar with any of the songs on this album. “Leavin’ and Sayin’ Goodbye” was a Top 10 hit for Faron Young in 1971 and had also been recorded by The Time Jumpers. Kenny and Tessa Sears, widower and daughter of the late Dawn Sears, join Jeannie on this track, which is one of the album’s standouts. Aside from that, none of the others seem to have been major hits that are well remembered today. I suspect that most of them were album cuts that were never released as singles. Nevertheless, they are all worthy of another listen. My favorite tracks are “Senses”, a co-write with Glen Campbell that features local harmonies by Marty Stuart and Connie Smith, “Sometimes I Do”, which had been recorded by Ernest Tubb, and “Enough to Lie”, which had been recorded by Ray Price. On a number that had been recorded by her old duet partner Jack Greene, Seely promises “You don’t need me, but you will.”

The album’s two new numbers allow Jeannie’s sense of humor to shine through. “Who Needs You” casts her in the role of a jilted lover, who is comforting herself with alcohol and shopping — standard operating procedure for a country song. Then comes the song’s final verse which discloses that she’s been enjoying a little marijuana as well. It’s hardly a shocking revelation in this day in age — and as Seely points out in her spoken disclaimer before starting the final verse, it’s legal now in many states — but it sure wasn’t what I was expecting to hear on this album. The closing number is “We’re Still Hanging In There, Ain’t We Jessi”, which name drops the names of many famous women of country music — from Audrey Williams and Jan Howard to Tammy Wynette and Jessi Colter — who survived difficult relationships with some of country music’s famous men. Her own failed marriage to Hank Cochran is also referenced, all in an upbeat, tongue-in-cheek manner. Jan Howard and Jessi Colter both lend their voices to the track.

Written In Song is a surprisingly fresh-sounding album. It’s mostly traditional country, with plenty of fiddle and some fine steel guitar work, but it manages to avoid sounding retro despite the fact that many of the songs are fifty or more years old. I’m sure that many listeners, like me, will be hearing these songs for the first time. If it is something you don’t want to spend money on, it is available on streaming services such as Amazon Unlimited and is worth checking out.

Grade: B+

Week ending 2/4/17: #1 singles this week in country music history

220px-danseals-21957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Let My Love Be Your Pillow — Ronnie Milsap (RCA)

1987: You Still Move Me — Dan Seals (EMI America)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: Watching You — Rodney Atkins (Curb)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Guy With A Girl — Blake Shelton (Warner Bros.)

Week ending 1/28/17: #1 singles this week in country music history

rodney_atkins-21957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: I Can’t Believe She Gives It All To Me – Conway Twitty (MCA)

1987: Cry Myself To Sleep — The Judds (RCA/Curb)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: Watching You — Rodney Atkins (Curb)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Guy With A Girl — Blake Shelton (Warner Bros.)

Week ending 1/21/17: #1 singles this week in country music history

7137e5hgb2l-_sl290_1957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: You Never Miss a Real Good Thing (Till He Says Goodbye) — Crystal Gayle (United Artists)

1987: What Am I Gonna Do About You — Reba McEntire (MCA)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Blue Ain’t Your Color — Keith Urban (Capitol)

Week ending 1/14/17: #1 singles this week in country music history

6783f6fc5a09f16f8986e4aeb6f3c5781957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Broken Down In Tiny Pieces — Billy “Crash” Craddock (ABC/Dot)

1987: Give Me Wings — Michael Johnson (RCA)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Blue Ain’t Your Color — Keith Urban (Capitol)

Week ending 1/7/17: #1 singles this week in country music history

173c7278b3ebcb9810a7b1c17440cf121957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Sweet Dreams — Emmylou Harris (Reprise)

1987: Mind Your Own Business — Hank Williams Jr. ft. Reba McEntire, Tom Petty, Reverend Ike, & Willie Nelson (Warner Bros./Curb)

1997: One Way Ticket (Because I Can) — LeAnn Rimes (Curb)

2007: She’s Everything — Brad Paisley (Arista)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Wanna Be That Song — Brett Eldredge (Atlantic)

Week ending 12/31/16: #1 singles this week in country music history

1391917135000-dn-20111207-tunein-112070805-11956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: There Goes My Everything — Jack Greene (Decca)

1976: Sweet Dreams — Emmylou Harris (Reprise)

1986: Mind Your Own Business — Hank Williams Jr. ft. Reba McEntire, Tom Petty, Reverend Ike, & Willie Nelson (Warner Bros./Curb)

1996: One Way Ticket (Because I Can) — LeAnn Rimes (Curb)

2006: Want To — Sugarland (Mercury)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Wanna Be That Strong — Brett Eldredge (Atlantic)

Week ending 12/24/16: #1 singles this week in country music history

jack-greene-obit-650-4301956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: There Goes My Everything — Jack Greene (Decca)

1976: Sweet Dreams — Emmylou Harris (Reprise)

1986: Too Much Is Not Enough — The Bellamy Brothers with The Forester Sisters (MCA/Curb)

1996: Little Bitty — Alan Jackson (Arista)

2006: Want To — Sugarland (Mercury)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): Song For Another Time — Old Dominion (RCA)

Single Review: Candi Carpenter – ‘Burn The Bed’

Candi Carpenter

Candi Carpenter

It’s always interesting to hear a new artist for the first time. Some singers get the right song straightaway, others get filed in the ‘promising pile’. Newcomer Candi Carpenter fits into the first category with her Sony debut single.

Born in Toledo, Ohio, Candi grew up singing gospel in a family band, and pursued a career in country music from her early teens, dropping out of high school to perform illegally in bars she was to young to be in. At 16 she was touring with veteran Jack Greene and performing with him at the Opry, giving her a solid grounding in country music, although her music draws on blues and rock influences as well. An exploitative management contract and bad marriage are now both behind her

The excellent song is from the viewpoint of the cheated wife. She tackles her man with righteous indignation. The situation is reminiscent of Highway 101’s late 80s classic ‘The Bed You Made For Me’, but where that and many other wronged-wife songs are fuelled principally by anger, in this one Candi’s anger is rooted deeply in the sadness of betrayal.

Most people take out the trash
They don’t bring it home
But you’d rather be cheap and dirty
Than spend one night alone

How long has this been going on, how long have you lied
Was she someone to replace me, or someone on the side

She concludes, with revulsion,

I don’t want to wash the sheets
I wanna burn the bed

She wrote the song herself, a delicate ballad, with Jerilyn Sawyer and Alden Witt. Shane McAnally’s production is nicely understated, and although not traditional country, it makes a reasonable compromise with contemporary radio appeal. Candi’s sweet voice has a purity in its tone that makes her wounded innocent completely believable, while she imbues the song with passionately felt emotion.

I shall be watching for Candi’s future music with considerable interest.

Grade: A

Classic Rewind: Jack Greene – ‘The Last Letter’

Album Review: Dallas Wayne – ‘Songs The Jukebox Taught Me’

songs the jukebox taught meCountry DJ-singer-songwriter Dallas Wayne has a big booming voice which has not been heard on record for a while; his last album was released back in 2009. Now signed to traditionalist label Heart Of Texas Records, his fantastic new album shares some less familiar cover tunes which offer a solid honky tonk reminder of what country used to be.

Willie Nelson duets with Dallas on the lively shuffle ‘Your Time’s Comin’’, which was a #4 hit for Faron Young in 1969, and was written by Kris Kristofferson and Shel Silverstein. The cynical lyric relates a hookup with a woman who claims to be a neglected wife, but turns out to be an unrepentant serial cheater:

Just as I got up to leave
He walked through the door
And I guess that I thought he’d be surprised
But he looked at me as if to say
He’d been there before
And he offered me this word to the wise

He said, “you know she’s a cheater, son
But you believe that you’re the one
Who’s got a lot of what it takes to change her
And I’ve no doubt that you can get her
You ain’t much but that don’t matter
Nothing suits her better than a stranger
And the stranger man, the better
The chances are she’ll set her eyes on you
The next time she goes slummin’
So just sit back and wait your turn, boy
You got lots of time to learn, boy
Cool it while you can,
‘Cause your time’s comin’

Well, it happens that in time
It happened just like he said
And soon enough her shoes
Were sittin’ under my bed
And I’ll confess I did my best
To prove that man had lied
But nothing short of suicide
Could keep her satisfied

He ends up passing on the same advice to his successor.

Another Faron Young hit, ‘Three Days’ was written by Young with Willie Nelson. This has a loungier feel to the vocal.

Another enjoyable shuffle, ‘A Dime At A Time’, is about someone who is both broke and broken hearted, killing time one jukebox tune after another. It was a #12 hit for Del Reeves in 1967.

The mournful ballad ‘Who’ll Turn Out The Lights In Your World Tonight’ (a top 40 hit for Mel Street in 1980 and recorded by many other artists including George Jones and neotraditionalist Ricky Van Shelton) is loaded with steel and an emotional vocal does it justice.

The Nashville sound gets represented as well as the hardcore honky tonkers, with a string-laden version of Vern Gosdin’s 1977 top 10 hit ‘Yesterday’s Gone’. Willie Nelson’s daughter Paula guests on this, taking the part Emmylou Harris did on the original. It can’t match the exquisite original, but is still a nice recording with a strongly emotional reading.

‘No Relief In Sight’ is a stellar lost-love ballad which has been recorded a number of times, and is done well here. The sentimental Hank Jr ballad ‘Eleven Roses’ is also beautifully sung, with the song’s co-writer Darrell McCall’s wife Mona providing a harmony vocal.

‘It Just Doesn’t Seem To Matter’ was written by Jeannie Seely for herself and duet partner Jack Greene. She lends a hand on Dallas’s version, and while her voice is not what it was in her youth, the song itself is a fine one. ‘She Always Got What She Wanted’, another Seely composition, is a deeply sad ballad:

In more ways than one way I was her clown

She always got what she wanted
She got what she wanted for free
She always got what she wanted
Lord I wish that she wanted me

‘Sun Comin’ Up’ is a Nat Stuckey song I hadn’t heard before, but I was struck by the tune’s strong similarity to that of Randy Travis’s ‘Diggin’ Up Bones’. The upbeat feel of the melody is belied by a remorselessly dark lyric depicting a homeless alcoholic:

It’s that time of the mornin’ when the sun starts comin’ up
And I’m standin’ on the corner with my guitar and my cup
And I’m waitin’ for some people to come by and fill it up
But the sun ain’t come up yet this morning
I spend nights in the barrooms for the small change I can make
But the money don’t repay me for the things I have to take
Somebody buys me liquor, then they laugh at how I shake
But it makes my sun come up each morning
See that man with the spit-shine on his shoes, I know him well
He’ll slip me half a dollar, walk on by me, turn and yell
“Hey, that five spot ain’t for liquor!”
Well, he can go to hell
‘Cause he just made my sun come up this morning

Lord, I wish I could remember how it feels to be a man
To get knocked down and have the guts to get back up again
And know that I don’t really need this bottle in my hand
To make my sun come up each morning
I guess the devil knows he’s got me when the bottle does me in
Hell can’t be no worse than places I’ve already been
And I don’t wanna go to heaven
‘Cause I hear there ain’t no gin
To make my sun come up each morning

Dallas is very believable on this, and also on another powerful anti-alcohol anthem, ‘Devil In The Bottle’, a 1974 chart topper for T G Sheppard. The social commentary of ‘Skip A Rope’ still hits home, too.

‘Sea Of Heartbreak’ is delivered briskly and is pleasant but inessential listening, at least in comparison to the rest of the album. ‘Stop The World And Let me Off’ balances pace and emotion more effectively and is rather enjoyable.

Overall, this is an excellent reminder of what real country music sounds like. I thoroughly recommend it.

Grade: A+

Album Review: Loretta Lynn – ‘Sings’

loretta lynn singsLoretta Lynn Sings was Loretta Lynn’s debut album on Decca Records. Released in December 1963, the album followed on the heels of an uncharted single 1961 (“I Walked Away From The Wreck”), two 1962 singles including her first chart single “Success”, and another uncharted single (“World of Forgotten People”), and in 1963 another charted single, “The Other Woman”. There would be another single released in 1963, the #4 “Before I’m Over You” (not found on this album) before this album was released.

The album opens up with “Success” written by Johnny Mullins, who was a high school custodian. “Success” was a lament about how a husband’s career success was undermining their marriage. The song went to #6 as would “Blue Kentucky Girl”, another Johnny Mullins-penned song a few years later.

Since Loretta was a new artist that Decca was trying to break into the country markets, this album, more so than most country albums of the time, is full of covers rather than a few covers and some filler.

For many years Jimmy Gateley was the front man for Bill Anderson’s band. He was also an adept song-writer, as “The Minute You’re Gone” proves. Sonny James would have a top ten country hit with the song in 1963, and British rocker Cliff Richard would take the song to #1 on the UK pop charts (and top ten in seven other countries). Needless to say, Loretta sounds nothing like Cliff Richard but her presentation is strong and clear.

Betty Sue Perry would provide Loretta with quite a few songs during the 1960s. “The Other Woman”, not to be mistaken for the Ray Price song of the same title, tells the love triangle story from the perspective of the mistress.

According to Billboard, “Alone With You” was Faron Young’s biggest hit, spending a whopping ten weeks at #1. While I don’t think it was Faron’s biggest seller, it was a great song and Loretta acquits herself well on the song.

“Why I’m Walking” was writing by Stonewall Jackson and Melvin Endsley. A big hit for Stonewall Jackson, it resurfaced decades later as a hit for Ricky Skaggs. Again Loretta acquits herself admirably.

The first of Loretta’s own compositions “The Girl That I Am Now” is next. Although not released as a single, I think it would have made a good single and it demonstrates how proficient Loretta already was as a songwriter. This song is bout a wife who cheated on her husband and is racked by guilt and the hope that he never finds out about what she did.

He loves the girl I used to be
But could he love the girl I am now

I don’t think I need to say anything about the lineage of “Act Naturally’. Loretta tackles the song with aplomb. The instrumental arrangement remains up-tempo but the acoustic guitars have a very hootenanny era feel.

Another Loretta Lynn composition follows, “World of Forgotten People”. I don’t remember it being a hit single for anyone but everybody and his cousin recorded the song including the Osborne Brothers, George Jones, Conway Twitty, Vernon Oxford, The Wilburn Brothers, Ernest Tubb and countless others:

I live in the world world of forgotten people
Who’ve loved and lost their hearts so many times
I’m here in the world of forgotten people
Where every heart is aching just like mine

“The Color of The Blues” was written by George Jones and Lawton Williams and was a hit for George Jones. Lawton Williams, of course, wrote “Fraulein” and “Farewell Party”. Loretta handles the song effectively.

“Hundred Proof Heartache” is another of Loretta’s compositions. This works as an album cut but would not have made a good single for Loretta.

I’ve got a hundred proof heartache and a case of the blues
My baby’s gone and left me I’ve lost all I can lose
I’ve got a hundred proof heartache my world keeps turnin’ round
This hundred proof heartache’s got me down
You waded through my tears and said goodbye
You didn’t seem to care how much I’d cry
You made your home the tavern down the street
And this old heart cries out with every beat

Cindy Walker was a great songwriter, being a favorite writer for Bob Wills, Jack Greene and countless other country stars. “I Walked Away from the Wreck” equates a failed love affair with an automobile accident. Although released as a single, the song did not chart.

Justin Tubb’s “Lonesome 7-7203″ proved to be the only #1 record for Hawkshaw Hawkins, and a posthumous one at that for “The Hawk”, who died in the same plane crash that killed Cowboy Copas and Patsy Cline. The song would also be a hit for Tony Booth about a decade later. Whoever arranged the song took it at a far too slow tempo. Taken at a faster tempo I think Loretta could have really nailed the song.

There was a distinctive “Decca Records” sound during the 1960s that tends to permeate all of the label’s recordings. Since the same studio musicians and same arranger (Owen Bradley) were used on most of the major artists recordings, this is understandable. There was a little bit of an attempt to vary Loretta’s sound through occasional use of banjo or acoustic guitar on Loretta’s recordings but it was still basically a formulaic background production. Set apart Loretta’s recordings was her voice which could never be anything but country, no matter the pop trappings applied to the final product.

Loretta Lynn Sings would reach #2 on Billboard’s country albums chart. This album is a solid B+ but better albums would follow.

Classic Rewind: Jack Greene – ‘It’s Time To Cross That Bridge’

Reissues wish list part 2: MCA and Decca

webb pierceFor most of the Classic Country era, the big four of country record labels were Decca /MCA, RCA, Columbia and Capitol. Of these labels, MCA/Decca has done the poorest job of keeping their artists’ catalogues alive in the form of reissues.

When speaking of the big four labels we will need to define terms.
MCA/Decca refers to recordings released on MCA, Decca, Brunswick and for some periods, Vocalion.

During the 1940s, 1950s, 1960s and 1970s, Decca (later MCA) can be argued as having the strongest roster of artists. Such titans as Ernest Tubb, Red Foley, Webb Pierce, Conway Twitty, Jack Greene, Bill Anderson, Jimmy Martin, The Osborne Brothers, Bill Monroe, Patsy Cline, Kitty Wells and Loretta Lynn frequently dominated the charts with many strong second tier acts such as The Wilburn Brothers, Jimmie Davis, Roy Drusky, Jimmie C. Newman, Johnny Wright, Cal Smith, Bill Phillips, Crystal Gayle, Jeanie Seely, Jan Howard and Red Sovine passing through the ranks at various times. Crystal Gayle, of course, became a major star in the late 1970s and 1980s

In the early digital days MCA had virtually nothing of their classic artists available aside from some Loretta Lynn, Bill Monroe and Conway Twitty discs. Then in 1991 they started their County Music Hall of Fame Series, showcasing artists elected to the Country Music Hall of Fame. Unfortunately, because of industry politics, their biggest stars, Webb Pierce and Conway Twitty, had not yet been elected.

Each of the discs contained fifteen or sixteen tracks or about 38 minutes of music. Many of the CDs featured artists who had not been on Decca for many years, and many featured artists who just passed through on their way to bigger and better things or had been bigger stars in the past. Among the CDS in the series were The Carter Family (on Decca 1937-1938), Jimmie Davis, Red Foley, Grandpa Jones (with Decca in the late 1950s – several remakes of King label hits), Loretta Lynn, Uncle Dave Macon (a real old-timer), Tex Ritter (1930s recordings), Roy Rogers, Sons of The Pioneers (with Decca during the 1930s and again in 1954), Hank Thompson (ABC/Dot recordings of the late 1960s and 1970s – MCA purchased the ABC & Dot labels – Hank never actually recorded for MCA/Decca). Floyd Tillman (1939-1944), Ernest Tubb, Kitty Wells, Bill Monroe and Bob Wills (Bob’s best years were on Columbia and MGM). The Bob Wills recordings were 1955-1967 recordings on the Decca & Kapp labels – the Kapp recordings usually featured Nashville session players with no real feel for swing and are the least essential recordings Wills ever made.

Each of the CDs mentioned above are undeniably worthy, but are either inadequate or not representative of the artists’ peaks.

Some MCA/Decca artists have been covered by Bear Family, most notably Ernest Tubb, Kitty Wells, Bill Monroe, Bill Anderson, Jimmy Martin and The Osborne Brothers. One could wish for more on some of these artists, but what is available generally is enough; however, it is expensive. Good two-disc sets would be desirable.

During the 1960s, Decca had their artists re-record their hits in order to take advantage of modern stereo technology, since for artists who peaked before 1957, such as Kitty Wells, Ernest Tubb, Webb Pierce and Red Foley, their biggest hits were recorded in monaural sound. An additional consideration for Ernest Tubb was that his then-current band was larger and better with musicians such as Billy Byrd and Buddy Emmons (to name just two) being members of the band. In the case of Ernest Tubb, the re-recordings were superior to the original string band recordings.

In the case of most other artists, I think the originals were better BUT for many years the original recordings were not available and listeners of my generation grew up hearing the stereo remakes whether on records or on the radio. Since the digital era began the stereo remakes have been unavailable except on Bear Family sets. It would be nice if the stereo remakes were available, and it would be nice if MCA/Decca artists were available on decent domestic collections.

Webb Pierce – several domestic releases of Webb Pierce’s hits are available but they generally contain about a dozen songs, all from the 1950s. There is a Bear Family set that covers up to 1958 – it’s great but it misses all of Webb’s lesser later hits. Webb was the #1 country artist of the 1950s according to Billboard, and while he slipped thereafter, he was still the sixth ranked artist of the 1960s with many hits, including a couple of Record World #1s. None of this has been released on CD. What is needed is a good three CD set gathering up Webb’s 1960s (and early 1970s) chart hits plus key album tracks and the stereo remakes of the fifties hits.

For as widely popular as she was. you would expect much of Barbara Mandrell‘s output to be available. Barbara moved from Epic to ABC/Dot and when ABC/Dot was absorbed by MCA, her music was issued on that label. Barbara had 30+ hits for ABC/Dot/MCA with many #1 and top five recordings. Currently, not much is available and she warrants a boxed set.

Jack Greene and Cal Smith both had fairly late starts to their solo careers. While there exist a few hit collections for each artist (on foreign labels), neither is very complete, leaving off key songs. For Cal Smith, since Kapp and MCA are both owned by the same company, a two disc set collecting Cal’s Kapp & MCA/Decca singles should suffice (possibly a single disc with about thirty tracks would be okay).

For Jack Greene, more is needed since Jack had over thirty chart singles for Decca and issued at least fourteen albums plus a hits collection while on MCA/Decca. Jack was a superior vocalist and his albums contain recordings of others’ hits that often were better than the original hits. While not a hit for Jack, his version of “The Last Letter” is the definitive recording of the song.

The Osborne Brothers were bluegrass innovators, developing an almost unique (Jim & Jesse were doing something similar) bluegrass and country hybrid with bluegrass instruments augmented by electric guitar, steel guitar and sometimes other amplified instruments. After leaving MCA/Decca for CMH and other labels, the Osborne Brothers went back to a more traditional bluegrass approach. Almost none of that classic hybrid material is available except for a gospel CD and an excellent but short (ten songs) collection titled Country Bluegrass which seems randomly put together. No bluegrass group ever has huge numbers of hit records on the country charts, but the Osborne Brothers did chart quite a few and they should be available domestically. I would think a single disc set of thirty tracks would be acceptable, although more would be better, of course.

Johnny Wright is better know as part of the duo Johnny & Jack (with Jack Anglin), but after Anglin’s death in 1963, Wright embarked on a successful solo career which saw the release of at least six albums on MCA/Decca plus twelve chart singles including the #1 “Hello Vietnam” , the first chart topper for a Tom T. Hall song. Johnny’s wife was Kitty Wells, and while he never reached her level of success as a solo artist, apparently it never bothered Wright as he and Kitty were married from 1937 until his death in 2011 at the age of 97. A good single disc collection would suffice here.

The bulk of Little Jimmy Dickens’ career occurred for another label, but his time on MCA/Decca saw the release of two albums of new material plus an album featuring remakes of his earlier hits. The Decca albums featured a staple of Jimmy’s live shows “I Love Lucy Brown” and an amusing novelty “How To Catch An African Skeeter Alive”. I think most of this would fit on a single CD.

Wilma Burgess was an excellent singer who came along about four decades too soon. While Wilma did not flaunt being lesbian, neither did she particularly hide it. Consequently, she never got much of a commercial push from her label. Many have recorded “Misty Blue” but none did it as well as Wilma Burgess. She recorded at least five albums for MCA/Decca plus some duets with Bud Logan, former band leader for Jim Reeves. A decent two disc set of this outstanding singer should be easy to compile.

I would like to see a collection on Loretta Lynn’s siblings, Peggy Sue and Jay Lee Webb. Since Loretta’s other well known sibling started on MCA/Decca as well, it should be possible to do a good two CD set of Loretta’s kinfolks. Jay Lee Webb’s “She’s Looking Better By The Minute” is an all-time honky-tonk classic.