My Kind of Country

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

Tag Archives: Jacky Ward

Album Review: Jessi Colter – ‘That’s The Way The Cowboy Rocks and Rolls’

After detouring with religious and inspirational music on Miriam, Jessi Colter returned to originals for 1978’s That’s The Way The Cowboy Rocks and Rolls. Much like her previous releases, the album was co-produced by her husband Waylon Jennings.

The album arrived too late to capitalize on the success of either Wanted! The Outlaws or her #2 peaking duet with Jennings, “Suspicious Minds.” Thus, the two singles failed to gain any traction at radio. “Maybe You Should’ve Been Listening,” a gentle ballad, peaked at #45. The second and final single, “Love Me Back to Sleep” only reached #91. Jacky Ward would score a #7 hit with the title track, a beautiful steel-drenched mid-tempo number, in 1980.

The main problem with That’s The Way The Cowboy Rocks and Rolls is the album’s lack of commercial viability. The title track and opening number “Roll On” are the only two cuts that can pass as uptempo and either one would’ve been better choices for singles than what Capitol sent to radio. Colter also does well with “Black Haired Boy” and “My Cowboy’s Last Ride,” both very good story songs. The remainder of the album is good, but nothing terribly exciting.

Grade: B

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Classic Rewind: Reba McEntire & Jacky Ward – ‘Three Sheets In The Wind’

Here’s a 23 year-old Reba singing her first top 20 hit, a duet with Jacky Ward, on a local access show in Texas in 1978.

 

Favorite country songs of the 1970s, Part 8

Here are some more songs that I like; one song per artist, not necessarily his or her biggest hit. As always, I consider myself free to comment on other songs by the artist.

Another Somebody Done Somebody Wrong Song” – Billy Joe “B.J.” Thomas (1975)
His biggest country hit reached #1 and also topped the pop charts. Despite his long-time appeal to country audiences this song was his first to chart country.

Next Time I Fall In Love (I Won’t)” – Hank Thompson (1971)
This song got to #15, Hank’s 59th chart hit. Hank never lost his vocal chops. Hank charted records from 1948 to 1983, a total of seventy-nine songs, including two top tens in “The Older The Violin, The Sweeter The Music” and “Who Left The Door To Heaven Open”. Hank Thompson was so highly regarded in his day that George Strait made one of his very few guest appearances on one of Hank’s albums.

Smooth Sailin’”/ “Last Cheater’s Waltz” – Sonny Throckmorton (1976)
Sonny wasn’t much of a singer and this record only reached #47. He was, however, one heck of a songwriter, and T. G. Sheppard took both of these songs into the top ten. His most famous copyright probably is “I Wish I Was Eighteen Again” which was a major hit for George Burns in 1980.

What Time of Day” – Billy ThunderKloud & The Chieftones (1975)
Billy and his group were native Indian musicians from Northwest British Columbia. This song reached #16, the biggest of their five chart hits.

“Midnight, Me and the Blues” – Mel Tillis (1974)
Just a song I happened to like, one of 24 top ten hits Mel would chart during the 70s. This song reached #2, one of twelve top ten hits on MGM. Mel had a long career in country music, with a recording career that saw chart records from 1958-1989, but he was never better than during his years with MGM.

It’s A Man’s World” – Diana Trask (1973)
Australian born singer, first charted in 1968 with “Lock Stock and Tear Drops.” This record reached #20, one of four top twenty hits.

“I’ve Got All The Heartaches I Can Handle” – Ernest Tubb (1973)
The last MCA/Decca chart hit for the legendary Texas Troubadour. This record only reached #93 for the then 59 year-old Tubb. His recording career was kaput by this time, but not his legacy. This wasn’t quite the end of his recording career as he charted several more songs on other labels, the most noteworthy being “Leave Them Boys Alone” (with Hank Williams, Jr. and Waylon Jennings) which reached #6 in 1983.

As long as there’s a honky-tonk, people will play “Set Up Two Glasses, Joe,” “Waltz Across Texas” and “Walking The Floor Over You.”

Delta Dawn” – Tanya Tucker (1972)
What else? Record World had this record reach #1 (Billboard #6/Cashbox #3). Tanya’s recordings through the end of 1974 are sometimes described as “American Gothic’s last stand.”

Sometimes” – Mary Lou Turner & Bill Anderson (1976)
This record reached #1 in early 1976, one of only two top ten records for Ms. Turner, both of them duets with “Whispering Bill” Anderson.

This Time I’ve Hurt Her More Than She Loves Me” – Conway Twitty (1976)
One of many #1 records Conway would enjoy during this decade. Yes, I know “Hello Darlin’“ was the biggie, but Conway had many records I liked better, including “I See The Want To In Your Eyes,” “I Can’t See Me Without You” and “How Much More Can She Stand.”

“Johnny One Time” – Kathy Twitty (1976)
This cover of a minor Willie Nelson hit works, but Kathy is not a compelling singer. The label on the 45 has her billed as ‘Jessica James.’ Kathy had three charting singles.

It’s a Heartache” – Bonnie Tyler (1978)
Raspy-voiced pop singer from Wales, this song reached #10 on the country charts, selling a million copies in the process.

Just When I Needed You Most” – Randy Vanwarmer (1979)
A few country stations gave this song some airplay, enabling it to reach #71 en route to selling a million copies.

“Until The End of Time” – Sharon Vaughn with Narvel Felts (1974)
Sharon isn’t a great singer and had much more success as a songwriter than as a performer. Narvel Felts, however, is a great singer and he salvages the record. This record was Sharon Vaughn’s only top 40 hit.

What Ain’t To Be Just Might Happen” – Porter Wagoner (1972)
Hard as it is to believe, this was Porter’s last solo top 10 recording, reaching #8 on Billboard and #6 on Cashbox. Another interesting record for Porter during this period is “The Rubber Room,” a record which Billboard failed to chart, but which spent seven weeks on Cashbox’s country chart (just missing the top 40).

When A Man Loves A Woman (The Way That I Love You)” – Billy Walker (1970)
Billy was never a dominant chart performer but he did have three consecutive singles reach #3 in 1970-71 and continued to have occasional top forty singles until 1975. In 1975, Billy signed with RCA–his short stint there produced “Word Games,” Billy’s last top ten single and one of my favorites.

Odds And Ends (Bits And Pieces)” – Charlie Walker (1974)
By 1974, it had been seven years since Charlie had a top 20 single. This was Charlie’s last charting song, dying at #66. The song and performance are quite effective, a remake of a Warren Smith hit from 1961 but by this time his recording career was completely dead.

If You Leave Me Tonight I’ll Cry” – Jerry Wallace (1972)
Jerry Wallace was more of a pop singer than a country singer. He had several huge pop/easy listening hits during the 1960s, but then hit lean times causing Jerry to re-launch his career as a country singer. This song got to #1 on all of the country charts, fueled by exposure on an episode of the popular television show Night Gallery.

Big Blue Diamond” – Jacky Ward (1972)
Recorded on the Target label, this song only got to #39 although it was really huge in some markets. This song landed him at Mercury where he had some bigger hits. The original version of this song has not been available for many years and none of the remakes have the sizzle of the original.

I’m Already Taken” – Steve Wariner (1978)
An early version of a song Wariner had more success with fifteen years later. This charted at #63, the first of many chart hits for Steve Wariner.

“Bottle of Wine” – Doc & Merle Watson (1973)
Legendary blind guitarist Doc Watson only charted twice, both times accompanied by his equally talented son Merle (1949-85). Anyone who has not heard Doc Watson truly has a gaping hole in their musical education. Fortunately, many of his fine albums remain in print.

The Old Man and His Horn” – Gene Watson (1977)
This is absolutely my favorite Gene Watson song, although it’s close between this song and 75 others. Gene was never quite the chart presence a singer of his enormous talent deserved, but he had a pretty strong run of top 10 records from 1975 to 1984, with four records making it to #1 on Billboard, Cashbox or Record World. This wasn’t one of the bigger hits, reaching #11 on both Billboard and Cashbox, but its strong New Orleans feel makes it perhaps Gene’s most distinctive hit record. My recommendation for those who want to delve deeper into Gene’s music is … buy everything!

I’ll Still Love You” – Jim Weatherly (1975)
Much better known as a songwriter; Ray Price recorded one album of nothing but Jim Weatherly songs and another album of mostly Jim Weatherly songs. Jim’s most famous song was “Midnight Train To Georgia,” which was a huge hit for Gladys Knight and the Pips. This was Jim’s only top 10 hit.

“The Happiness of Having You” – Jay Lee Webb (1971)
This was the last of three chart records for Loretta Lynn’s brother. Charley Pride would have a much bigger hit with this in 1976.

Dueling Banjos” – Eric Weissberg & Steve Mandell (1973)
Featured in the movie Deliverance, this song was written by Arthur “Guitar Boogie” Smith during the mid 1950s. There is an interesting back story arising out of the movie, as the producers of the movie tried to use the song without paying Smith any royalties. Smith sued (after first trying to negotiate and being stonewalled) – Weissberg testified at trial that he originally learned the song from a record his grandfather had of Don Reno and Arthur Smith playing the tune!

“Ballad of A Hillbilly Singer” – Freddy Weller (1972)
Freddy Weller was part of Paul Revere and The Raiders from 1967-71. He launched his country career in 1969 with a #1 Cashbox hit in “Games People Play” and continued to have top 10 country success for the next four years. A very successful songwriter with songs such as “Jam Up Jelly Tight” and “Dizzy” both being big pop hits for Tommy Roe. His biggest country copyright was “Lonely Women Make Good Lovers” which was a big hit for both Bob Luman and Steve Wariner. John Michael Montgomery, Reba McEntire, George Jones and countless others have recorded his songs.

This song was somewhat of an insider joke, containing instrumental signatures of artists such as Roy Acuff, David Houston, Johnny Cash, Ernest Tubb and Marty Robbins. Consequently it only reached #26, but I love the song. I would also commend “Perfect Stranger” to anyone who wants to check out Freddy Weller.

“Wild Side of Life” – Kitty Wells and Rayburn Anthony (1979)
Kitty Wells had no top forty hits during the 1970s. This was Kitty’s last charting record, her 81st chart hit. This record reached #60, and found Kitty interjecting answer verses into Rayburn’s recording of the old Hank Thompson hit. By the time this record hit, Kitty was 60 years old. In a few months she will turn 93. She still is the Queen of Country Music.

Country Sunshine” – Dottie West (1973)
Record World had this record reach #1, Cashbox and Billboard both had it at #2. If I recall correctly, this song was inspired by a Coca Cola commercial. Dottie was lost in the shuffle at RCA and later signed with United Artists where she had some huge hits on some of the most contrived material I’ve ever heard.

Una Paloma Blanca” – Slim Whitman (1977)
A cover of an international pop hit by the Dutch band George Baker Selection, Slim’s version did not chart, but it certainly showed off his vocal prowess.

Album Review: Reba McEntire – ‘My Kind of Country’

mkocReba McEntire’s rise to the top of the country music world was long and slow. Her first single for Mercury Records, 1976’s “I Don’t Want To Be A One Night Stand” peaked at #88 on the Billboard country singles chart, and the next few singles stalled in the 80s as well. She didn’t reach the Top 20 until 1979 and didn’t reach the Top 10 until the following year. She finally scored her first #1 in 1982 with “Can’t Even Get The Blues”, a song that had been intended for Jacky Ward, but which she fought hard to be allowed to record.

Dissatisfied with the material Mercury was providing for her, Reba left the label when her contract expired in 1983, and signed with MCA Records. Unfortunately, her tenure at MCA got off to a rocky start when she found herself in another situation where she had little say in the material she recorded. Her 1984 debut album for the label turned out to be another slick, overproduced, pop-oriented record, that was almost indistinguishable from the albums she’d released for Mercury. A frustrated McEntire made an appointment to see Jimmy Bowen, who had just taken over the helm as president of MCA’s Nashville division, unaware that he had already decided to drop her from the label. Bowen quickly rethought his decision after meeting Reba in person. He not only allowed her to make another album, he let her choose another producer and gave her complete control over song selection. The result was 1984’s My Kind of Country, a pivotal album for Reba McEntire and for country music. Produced by Harold Shedd, it helped kick off the New Traditionalist movement and began a new phase of Reba’s career. Gone were the lush string arrangements and electric guitar solos, and back in front and center were the fiddle and pedal steel.

Two singles were released from the album — “How Blue” and the Harlan Howard and Chick Raines-penned “Somebody Should Leave” — both, of which became #1 hits. Five of the remaining songs were covers of older songs, since it was difficult to find new traditional-sounding songs in early 1980s Nashville. Reba spent hours going through the back catalogs of the publishing companies, to find the kind of songs she wanted. She ended up choosing songs that had been made famous by the likes of Faron Young (“He’s Only Everything), Carl Smith (“Before I Met You”), Ray Price (“I Want To Hear It From You”) , Nat Stuckey (“Don’t You Believe Him”), and Connie Smith (“You’ve Got Me Right Where You Want Me”). She sings each of them with an enthusiasm and zeal that had been lacking on most of her previous releases. It was obvious that she was finally singing the kind of music she really loved, and having the time of her life in the process.

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